Until fairly recently, the 'Authorised Version' of cultural modernism stated that the secularising trends of liberal modernity - and the resultant emphasis on irony, parody and dissolution in modernist artforms - had pushed religion to the edges of early twentieth-century culture. This Companion complicates this understanding by furnishing students and academic researchers with more nuanced and probing assessments of the intersections and tensions between religion, myth and creativity during this half century of geopolitical ferment. It addresses the variety and specificity of modernist spiritualities as well as the intricately textured and shifting standpoints that modernist figures have occupied in relation to theological traditions, practices, creeds and institutions. What emerges is a multi-textured account of modernism's deep-rooted concern with the historical and established forms of religion, as well as new engagements with 'occulture' and indigenous traditions. In short, the Companion supplies a lively and original exploration of the aesthetic, publishing, technological and philosophical trends that shape debates about spirituality, community and self from the 1890s to the 1940s and beyond.

From the birth of the museum to the explosion of mass-produced illustrated books, the Romantic period (c. 1770-1840) was a moment of rapid change and fruitful experimentation in the fields of art and literature alike. New advances in print production encouraged a wider range of readers to engage with literary forms that opened a path into the once aristocratic field of the visual arts. This Companion captures the way recent engagements with visual studies have reshaped how we approach and understand the boundaries between print and visual culture in the period. It brings together 27 research-led chapters that offer a detailed account of the productive, if sometimes tense, interactions between emergent forms of intermedial expression that were redefining culture in the Romantic period - as they continue to do today.

The Edinburgh Companion to the Essay distinguishes itself by the wide range and scope of its themes, voices and approaches. Thirty-five leading essayists, literary critics and writing instructors explore the essay from multiple perspectives, including its theories, forms and histories as well as its cultural, political and pedagogical contexts. In particular, the volume extends the theory of the essay by addressing topics such as the construction of an essayistic self and the political dimensions of essaying. It further explores the relationship between the essay and other forms, such as philosophical writing, the column, science writing, the novel, the lyric and the advert as well as the essay in digital spaces.

Vegan literary studies has been crystallised over the past few years as a dynamic new specialism, with a transhistorical and transnational scope that both nuances and expands literary history and provides new tools and paradigms through which to approach literary analysis. Vegan studies has emerged alongside the 'animal turn' in the humanities. However, while veganism is often considered as a facet of animal studies, broadly conceived, it is also a distinct entity, an ethical delineator that for many scholars marks a complicated boundary between theoretical pursuit and lived experience.

This collection of twenty-five essays maps and engages with that which might be termed the 'vegan turn' in literary theoretical analysis via essays that explore literature from across a range of historical periods, cultures and textual forms. It provides thematic explorations (such as veganism and race and veganism and gender) and covers a wide range of genres (from the philosophical essay to speculative fiction, and from poetry to the graphic novel, to name a few). The volume also provides an extensive annotated bibliography summarising existing work within the emergent field of vegan studies.

Though modernism's emergence in an environment of techno-cultural acceleration has long been recognized, recent scholarship has deepened and challenged our understanding of the connections between twentieth-century cultural production and its technological interlocutors. In twenty-eight chapters by leading academics, The Edinburgh Companion to Modernism and Technology re-examines the machines and media that functioned as modernism's contexts and competitors. Grounded in an interdisciplinary approach informed by the theoretical and socio-historical frames of current teaching and research on modernism and technology, this research volume makes a crucial and timely intervention in the field of modernist studies. The scholarly contributions on machines that govern transport, production, and public utilities, on media and communication technologies, on the intersections of technology with the human body, and on the technological systems of the early twentieth-century capture the contemporary state of modernist technology studies and chart the future directions of this vibrant area.