As a literary genre, academic fiction has emerged in recent years as one of the most popular modes for satirizing the cultural conflicts and sociological nuances inherent in campus life. Drawing upon recent insights in ethical criticism and moral philosophy, Postwar Academic Fiction: Satire, Ethics, Community offers new readings of fictional and nonfictional works by such figures as Kingsley Amis, Vladimir Nabokov, Joyce Carol Oates, David Lodge, David Mamet, Ishmael Reed, Sandra M. Gilbert and Susan Gubar and Jane Smiley.

The Campus Novel elucidates the intercultural exchange between the well-established Western canon of British and American academic fiction and its more recent regional response outside the Anglo-American territory.

This volume addresses the teaching of satire written in English over the past three hundred years. For instructors covering current satire, it suggests ways to enrich students' understanding of voice, irony, and rhetoric and to explore the questions of how to define satire and how to determine what its ultimate aims are. For instructors teaching older satire, it demonstrates ways to help students gain knowledge of historical context, medium, and audience, while addressing more specific literary questions of technique and form. Readers will discover ways to introduce students to authors such as Swift and Twain, to techniques such as parody and verbal irony, and to the difficult subject of satire's offensiveness and elitism. This volume also helps teachers of a wide variety of courses, from composition to gateway courses and surveys, think about how to use modern satire in conceiving and structuring them.

Excerpt from The Satirical Element in the American Novel: A Thesis Presented to the Faculty of the Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English Satire being a compounding of three distinct elements, it follows that there will be great variation in what may properly be classed as satire. It may be decidedly indirect, where the criticism is merely implied in the situa tion; it may be less indirect, where the author puts the criticism into the mouth of one of his characters; or it may be still less indirect, where the author himself speaks ironically. In every case, however, there is insinua tion, rather than direct attack. Likewise with regard to the other two elements, wit and criticism, there may be wide variation. We must necessarily come upon some writing Which contains an infinitesimal amount of criticism, with a great deal of wit. Conversely, we shall find writing in which the criticism is strong, and the wit almost negligible. So long, however, as the three elements, wit, criticism, and indirectness of treatment, are present, we have satire, though it is often advisable to use, not the noun, but the adjective, and to say that the writing is satirical, or has a satirical quality. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

"A trio of dazzling novels in a comic mode that the author has now made completely his own...a cause for celebration." -The New York Times Book Review David Lodge's three delightfully sophisticated campus novels, now gathered together in one volume, expose the world of academia at its best-and its worst. In Changing Places, we meet Philip Swallow, British lecturer in English at the University of Rummidge, and the flamboyant American Morris Zapp of Euphoric State University, who participate in a professorial exchange program at the close of the tumultuous sixties. Ten years later in Small World, older but not noticeably wiser, they are let loose on the international conference circuit-along with a memorable and somewhat oversexed cast of dozens. And in Nice Work, the leftist feminist Dr. Robyn Penrose at Rummidge University is assigned to shadow the director of a local engineering firm, sparking a collision of ideologies and lifestyles that seems unlikely to foster anything other than mutual antipathy.

Narrative satire was one of the dominant literary forms of the 18th century, but it came to be displaced by novelistic and historical forms of narrative. Palmeri (English, U. of Miami) argues that these new forms defined themselves in opposition to satire, but also by appropriating elements of satir