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"Drawing on interdisciplinary work in the field of ethics and literature by a diverse range of thinkers, including Martha Nussbaum, Emmanuel Levinas and Paul Ricoeur, Jil Larson offers new readings of late Victorian and turn-of-the-century British fiction, she shows how ethical concepts can transform our understanding of narratives, just as narratives make possible a valuable, contextualised moral deliberation. Focusing on novels by Thomas Hardy, Sarah Grand, Olive Schreiner, Oscar Wilde, and Henry James, Larson explores the conjunction of ethics and fin-de-siècle history and culture through a consideration of what narratives from this period tell us about emotion, reason, and gender, aestheticism, and such speech acts as promising and lying. This book will be of interest to scholars of nineteenth century and modernism, and all interested in the conjunction between narrative, ethics and literary theory."

"The language theory of Mikhail Bakhtin does not fall neatly under any single rubric - 'dialogism,' 'marxism,' 'prosaics,' 'authorship' - because the philosophic foundation of his writing rests ambivalently between phenomenology and Marxism. The theoretical tension of these positions creates philosophical impasses in Bakhtin's work, which have been neglected or ignored partly because these impasses are themselves mirrored by the problems of antifoundationalist and materialist tendencies in literary scholarship. In Mikhail Bakhtin: Between Phenomenology and Marxism Michael Bernard-Donals examines various incarnations of phenomenological and materialist theory - including the work of Jauss, Fish, Rorty, Althusser, and Pecheux - and places them beside Bakhtin's work, providing a contextualised study of Bakhtin, a critique of the problems of contemporary critics, and an original contribution to literary theory"

"Michael Levenson, author of the acclaimed A Genealogy of Modernism, devotes this second book to the complex question of the self, the individual subject, as it undergoes various transitions throughout the period we designate 'modernist'. The book is an elaborate and compelling engagement with the problem of individuality in our age, structured around a sophisticated reading of eight major novels by Conrad, James, Forster, Madox Ford, Lewis, Lawrence, Joyce and Woolf. Professor Levenson takes account of the large body of modern theoretical writing on this topic, and his study will be of interest to theorists, cultural historians, and literary scholars in equal measure. It addresses issues (the crisis of liberalism, challenge to Eurocentrism, advance of bureaucracy, contest between men and women) still of crucial concern in our culture, showing that the problem, when it comes to locating the self within the entanglements of a community, is one of defining a formal concept while at the same time preserving a moral value"

"In this groundbreaking study, Jonathan Greenberg locates a satiric sensibility at the heart of the modern. By promoting an antisentimental education, modernism denied the authority of emotion to guarantee moral and literary value. Instead, it fostered sophisticated, detached and apparently cruel attitudes toward pain and suffering. This sensibility challenged the novel's humanistic tradition, set ethics and aesthetics into conflict and fundamentally altered the ways that we know and feel. Through lively and original readings of works by Evelyn Waugh, Stella Gibbons, Nathanael West, Djuna Barnes, Samuel Beckett and others, this book analyzes a body of literature - late modernist satire - that can appear by turns aloof, sadistic, hilarious, ironic and poignant, but which continually questions inherited modes of feeling. By recognizing the centrality of satire to modernist aesthetics, Greenberg offers not only a new chapter in the history of satire but a persuasive new idea of what made modernism modern."