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This new edition of the groundbreaking "Romanticism: An Anthology" is the only book of its kind to contain complete texts of a wide range of Romantic works, including Blake's "Songs of Innocence and of Experience," "The Marriage of Heaven and Hell," and "Urizen"; Wordsworth and Coleridge's "Lyrical Ballads" (1798); Wordsworth's "Two-Part Prelude"; early and revised versions of Coleridge's 'The Eolian Harp', 'This Lime-Tree Bower my Prison', 'Frost at Midnight', and 'The Ancient Mariner'; Shelley's "Prometheus Unbound," "Epipsychidion" and "Adonais"; Byron's "Childe Harold's Pilgrimage" Canto III and "Don Juan" Dedication and Cantos I and II; and Keats's "Odes," the two "Hyperions," "Lamia," "Isabella" and "The Eve of St Agnes." It also carries explanatory annotations and author headnotes. Updated to incorporate the latest scholarly findings, it remains the essential text on Romanticism.
"Don Juan" Dedication and Cantos I and II; and Keats's "Odes," the two "Hyperions," "Lamia," "Isabella" and "The Eve of St Agnes." It also carries explanatory annotations and author headnotes. Updated to incorporate the latest scholarly findings, it remains the essential text on Romanticism.Includes all texts from the third edition, with the addition of Keats's "Isabella" and Shelley's "Epipsychidion," as well as a selection of the poems of Walter Scott Includes a wider and deeper selection of texts by the Big Six male poets (Blake, Wordsworth, Coleridge, Keats, Byron and Shelley) than any competing volume Includes a generous range of texts by female Romantic poets All editorial materials, including annotations, author headnotes, and prefatory materials, have been revised for the new edition The only book to contain complete texts, edited for this volume from manuscript and early printed sources by Wu, along with explanatory annotations and author headnotes Contains everything teachers and students require for an in-depth survey of the principal writings to emerge from the British Romantic period The most widely-used teaching anthology in the field in the UK Companion website features a dynamic timeline detailing significant events of the romantic period and providing images, suggestions for further reading and useful links to other online resources: www.romanticismanthology.com
The Cambridge Edition of the Complete Fiction of Henry James provides, for the first time, a scholarly edition of a major writer whose work continues to be read, quoted, adapted and studied. One of James's strangest works, The Sacred Fount, explores ideas of sexual desire and power in an English country house setting. The novel aroused considerable critical bewilderment and hostility on its original publication in 1901 but was retrieved by a subsequent generation of critics who found its ambiguity and stylistic elaboration an instance of James's 'mastery' and an early example of literary modernism. This is the first critical edition of James' landmark text and is supported by a full critical apparatus including introduction, notes, glossary, textual variants and bibliography. The volume will be of interest to researchers, scholars and advanced students of Henry James, and of nineteenth- and twentieth-century British and American fiction and literature.
As in many literatures of the New World grappling with issues of slavery and freedom, stories of racial insurrection frequently coincided with stories of cross-racial romance in nineteenth-century U.S. print culture. Colleen O'Brien explores how authors such as Harriet Jacobs, Elizabeth Livermore, and Gertrudis Gomez de Avellaneda imagined the expansion of race and gender-based rights as a hemispheric affair, drawing together the United States with Africa, Cuba, and other parts of the Caribbean. Placing less familiar women writers in conversation with their more famous contemporaries--Ralph Waldo Emerson, Margaret Fuller, and Lydia Maria Child--O'Brien traces the transnational progress of freedom through the antebellum cultural fascination with cross-racial relationships and insurrections. Her book mines a variety of sources--fiction, political rhetoric, popular journalism, race science, and biblical treatises--to reveal a common concern: a future in which romance and rebellion engender radical social and political transformation.
Emily Bronte tells the story of the ill-fated love of Catherine Earnshaw for the dark and brooding Heathcliff. It is the full text, with an introduction, notes on the author, Notes on characters, story outline and themes. The book also includes exam questions. It is ideal for students.
For more than 25 years, York Notes have been helping students throughout the UK to get the inside track on the written word. Firmly established as the nation's favourite and most comprehensive range of literature study guides, each and every York Note has been carefully researched and written by experts to make sure that you get the most wide-ranging critical analysis, the most detailed commentary and the most helpful key points and checklists. York Notes Advanced offer a fresh and accessible approach to English Literature. Written by established literature experts, they introduce students to a more sophisticated analysis, a range of critical perspectives and wider contexts.
The Cambridge Edition of the Complete Fiction of Henry James provides, for the first time, a scholarly edition of a major writer whose work continues to be read, quoted, adapted and studied. Widely considered James's first great work of fiction and highly innovative in its narrative techniques, The Portrait of a Lady follows the story of an ardent, idealistic American heroine, Isabel Archer, in a cosmopolitan Europe. It explores individual freedom amidst confining circumstance, romantic choice, and the consequences of disillusionment and betrayal. This edition, based on the most reliable of the work's first book appearances (Macmillan, 1882), provides an authoritative text of one of James's finest long novels, with extensive annotations, a detailed textual history and an analysis of the reasons for its long-held popular appeal. It will be of particular interest not only to James scholars, but also book historians and students of nineteenth-century Anglo-American literature and culture.
Just how did Jane Austen become the celebrity author and the inspiration for generations of loyal fans she is today? Devoney Looser's The Making of Jane Austen turns to the people, performances, activism, and images that fostered Austen's early fame, laying the groundwork for the beloved author we think we know. Here are the Austen influencers, including her first English illustrator, the eccentric Ferdinand Pickering, whose sensational gothic images may be better understood through his brushes with bullying, bigamy, and an attempted matricide. The daring director-actress Rosina Filippi shaped Austen's reputation with her pioneering dramatizations, leading thousands of young women to ventriloquize Elizabeth Bennet's audacious lines before drawing room audiences. Even the supposedly staid history of Austen scholarship has its bizarre stories. The author of the first Jane Austen dissertation, student George Pellew, tragically died young, but he was believed by many, including his professor-mentor, to have come back from the dead. Looser shows how these figures and their Austen-inspired work transformed Austen's reputation, just as she profoundly shaped theirs. Through them, Looser describes the factors and influences that radically altered Austen's evolving image. Drawing from unexplored material, Looser examines how echoes of that work reverberate in our explanations of Austen's literary and cultural power. Whether you're a devoted Janeite or simply Jane-curious, The Making of Jane Austen will have you thinking about how a literary icon is made, transformed, and handed down from generation to generation.
Jane Austen has resonated with readers across generations like no other writer. More than two hundred years after the publication of her most celebrated novel, Pride and Prejudice, people around the world continue to honor ""dear Jane."" In Performing Jane, Sarah Glosson explores this vibrant fandom, examining a long history of Austen fans engaging with her work, from wearing hand-A sewn bonnets and period-A appropriate corsets to creating spirited fanfiction and comical gifsets. Sophisticated and engaging, this study demonstrates that Austen fans of today have a great deal in common with those who loved the English novelist long before the term ""fan"" came into use. Performing Jane analyzes three ways fans engage with Austen and her work: collecting material related to the writer, whether in physical scrapbooks or on socialA -media platforms; creating and consuming imitative works, including fanfiction and modernized adaptations such as The Lizzie Bennet Diaries; and making pilgrimages to Steventon, Hampshire, Chawton Cottage, and even to annual meetings of Jane Austen societies. Key to Glosson's exploration of Austen fans is the notion that all of these activities, whether occurring in private or in public, are fundamentally performative. And in counterbalance to studies that center on fans with a tendency to transform and disrupt the original text, this study provides much-A needed understanding of a fandom that predominantly reaffirms Austen's works. Because Austen's writing has bridged the realms of both literary and popular culture, this fandom serves as an excellent case study to understand the ways in which we draw distinctions between fandom and other forms of intensive engagement and, more importantly, to appreciate how fluid those distinctions can be. Performing Jane embraces a holistic view of the long history of Austen fandom, relying on archival research, literary and visual analyses, and ethnographic study. This groundbreaking book not only demonstrates the ways in which fan practices, today and in the past, are performative, but also provides fresh perspectives into fandom and contributes to our understanding of the ways readers engage with literature.
In her lively and accessibly written book, Juliet McMaster examines Jane Austen's acute and frequently uproarious juvenile works as important in their own right and for the ways they look forward to her novels. Exploring the early works both collectively and individually, McMaster shows how young Austen's fictional world, peopled by guzzlers and unashamed self-seekers, operates by an ethic of energy rather than the sympathy that dominates the novels. A fully self-conscious artist, young Jane experimented freely with literary modes - the epistolary, the omniscient, the drama. Early on, she developed brilliantly pointed dialogue to match her characters. Literary parody impels her creativity, and McMaster's sustained study of Love and Friendship shows the same intricate relation of the parody to the work it parodies that we later see with Northanger Abbey and the Gothic novel. As an illustrator herself, McMaster is especially attuned to the explicit and sometimes hilarious descriptions of bodies that preceded Austen's famous reticence about physicality. Rather than focusing on the immaturities of the juvenilia, McMaster maps the gradual shifts in tone and emphasis that signpost Austen's journey as a writer. She shows, for instance, how the shameless husband-hunting in The Three Sisters and the vigorous partisanship of The History of England lead on to Pride and Prejudice. Her book will appeal to Austen's critics and to passionate general readers, as well as to scholars working in the fields of juvenilia, children's literature, and childhood studies.
In the late nineteenth century, numerous French plays, novels, cartoons, and works of art focused on Mormons. Unlike American authors who portrayed Mormons as malevolent 'others,' however, French dramatists used Mormonism to point out hypocrisy in their own culture. Aren't Mormon women, because of their numbers in a household, more liberated than French women who can't divorce? What is polygamy but another name for multiple mistresses? This new critical edition presents translations of four musical comedies staged or published in France in the late 1800s: Mormons in Paris (1874), Berthelier Meets the Mormons (1875), Japheth's Twelve Wives (1890) and Stephana's Jewel (1892). Each is accompanied by a short contextualizing introduction with details about the music, playwrights, and staging. Humorous and largely unknown, these plays use Mormonism to explore and mock changing French mentalities during the Third Republic, lampooning shifting attitudes and evolving laws about marriage, divorce, and gender roles.
This book collects, for the first time, Colm Toibin's critical essays on Henry James. Shortlisted for the Booker Prize for his novel about James's life, "The Master," Toibin brilliantly analyzes James from a novelist's point of view.
Known for his acuity and originality, Toibin is himself a master of fiction and critical works, which makes this collection of his writings on Henry James essential reading for literary critics. But he also writes for general readers. Until now, these writings have been scattered in introductions, essays in the "Dublin Times," reviews in the "New York Review of Books," and other disparate venues.
With humor and verve, Toibin approaches Henry James's life and work in many and various ways. He reveals a novelist haunted by George Eliot and shows how thoroughly James was a New Yorker. He demonstrates how a new edition of Henry James's letters along with a biography of James's sister-in-law alter and enlarge our understanding of the master. His "Afterword" is a fictional meditation on the written and the unwritten.
Toibin's remarkable insights provide scholars, students, and general readers a fresh encounter with James's well-known texts.
Showcasing the genius of Russian literature, art, music, and dance over a century of turmoil, within the dynamic cultural ecosystem that shaped it, The Firebird and the Fox explores the shared traditions, mutual influences and enduring themes that recur in these art forms. The book uses two emblematic characters from Russian culture - the firebird, symbol of the transcendent power of art in defiance of circumstance and the efforts of censors to contain creativity; and the fox, usually female and representing wit, cleverness and the agency of artists and everyone who triumphs over adversity - to explore how Russian cultural life changed between 1850 and 1950. Jeffrey Brooks reveals how high culture drew on folk and popular genres, then in turn influenced an expanding commercial culture. Richly illustrated, The Firebird and the Fox assuredly and imaginatively navigates the complex terrain of this eventful century.
War and Peace and Anna Karenina are widely recognised as two of the greatest novels ever written. Their author, Leo Tolstoy, has been honoured as the father of the modern war story; as an innovator in psychological prose and forerunner of stream of consciousness; and as a genius at using fiction to reveal the mysteries of love and death. At the time of his death in 1910, Tolstoy was known the world over as both a great writer and as a merciless critic of institutions that perpetrated, bred, or tolerated injustice and violence in any form. Yet among literary critics and rival writers, it has become a commonplace to disparage Tolstoy's "thought" while praising his "art." In this Very Short Intorduction Liza Knapp explores the heart of Tolstoy's work. Focussing on his masterpieces of fiction which have stood the test of time, she analyses his works of non-fiction alongside them, and sketches out the core themes in Tolstoy's art and thought, and the interplay between them. Tracing the continuing influence of Tolstoy's work on modern literature, Knapp highlights those aspects of his writings that remain relevant today. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
In ""Good Observers of Nature"", Tina Gianquitto examines nineteenth-century American women's intellectual and aesthetic experience of nature and investigates the linguistic, perceptual, and scientific systems that were available to women to describe those experiences. Many women writers of this period used the natural world as a platform for discussing issues of domesticity, education, and the nation. To what extent, asks Gianquitto, did these writers challenge the prevalent sentimental narrative modes (like those used in the popular flower language books) and use scientific terminology to describe the world around them? The book maps the intersections of the main historical and narrative trajectories that inform the answer to this question: the changing literary representations of the natural world in texts produced by women from the 1820s to the 1880s and the developments in science from the Enlightenment to the advent of evolutionary biology. Though Gianquitto considers a range of women's nature writing (botanical manuals, plant catalogs, travel narratives, seasonal journals, scientific essays), she focuses on four writers and their most influential works: Almira Phelps (""Familiar Lectures on Botany"", 1829), Margaret Fuller (""Summer on the Lakes"", in 1843), Susan Fenimore Cooper (""Rural Hours"", 1850), and Mary Treat (""Home Studies in Nature"", 1885). From these writings emerges a set of common concerns about the interaction of reason and emotion in the study of nature, the best vocabularies for representing objects in nature (local, scientific, or moral), and the competing systems for ordering the natural world (theological, taxonomic, or aesthetic). This is an illuminating study about the culturally assumed relationship between women, morality, and science.
This book aims to intervene in current critical contexts for the study of nineteenth-century literature within the academy and beyond. Topics discussed include science and technology, poetry and philosophy, the Gothic, anatomical exhibitions, the global spread of liberalism, Anglo-American publishing, Punjabi popular culture and the neo-Victorian in literature, film and performance. By bringing together a broad range of intellectually challenging perspectives, the book offers an engaging critical overview of the field of nineteenth-century literary studies that will appeal both to scholars working within the field and students and teachers encountering this fascinating area of study for the first time. -- .
Rooted in a thriving culture of amateur natural history, the keeping of nature journals and diaries flourished in late-eighteenth-and early-nineteenth-century Britain. As prescientific worldviews ceded to a more materialist outlook informed by an explosion of factual knowledge, lovers of nature both famous and obscure began to use daily composition as a quest for information about and a celebration of their surroundings. A central site of encounter, discovery, and expression, nature diaries took part in a vigorous cultural dialogue, performing, in an era called the "golden age" of nature writing, an engaging alchemy of language, science, and art.
In "Daybooks of Discovery: Nature Diaries in Britain, 1770-1870, " Mary Ellen Bellanca offers the first critical study of this genre. In looking at the diaries of Gilbert White, Dorothy Wordsworth, Emily Shore, George Eliot, and Gerard Manley Hopkins, as well as those of lesser-known figures, she explores the writers' pursuit of empirical knowledge of nature for its own sake, rather than focusing on Romantic nature philosophy or on 'ecology' as a metaphor for spiritual connectedness. Each chapter situates an individual author's journals amid contemporary discourses of natural history, examining how journal writing enabled and mediated the diarist's practice as naturalist.
A melange of fact, narrative, and imaginative re-creation, the nature diary played a crucial role in literature and science in a period of burgeoning knowledge about the natural world. For students and scholars of environmental history, the history of science, ecocriticism, and Victorian studies, "Daybooks of Discovery" will prove an essential tool for understanding this distinct genre.
Referred to long ago as a "disease" of Swiss soldiers and Highland regiments far from home, nostalgia became known in the 1920s as more of a fleeting rather than debilitating condition. Yet what caused this shift in our collective understanding of the term? In "Nostalgia in Transition, 1780-1917, " Linda M. Austin traces the development of nostalgia from a memory disorder in the eighteenth century to its modern formulation as a pleasant recreational distraction. Offering a paradigm for and analysis of nostalgic memory as it operates in various attempts to reenact the past, Austin explains both the early and the modern understanding of this phenomenon.
Beginning with an account of nostalgia's transformation from an acute form of melancholia and homesickness into elegiac expression and idyllic representation, Austin goes on to examine an array of texts, from poetic meditations on nostalgia in the first half of the nineteenth century to the popular adult souvenirs of childhood in the second half. She shows how, in novels by Hardy; in elegies and lyrics by Arnold, Tennyson, and Emily Bronte; in illustrations by Kate Greenaway and Helen Allingham; and in late Victorian cultural histories of the cottage, nostalgia acts as a collective, rather than an individual reenactment of an invented, rather than a remembered, past or place.
For students and scholars interested in the Victorian era, as well as in Romanticism and modernism, "Nostalgia in Transition" provides a well-rounded perspective on how and why our understanding of nostalgia has changed over time.
In "Fettered Genius, " Keith D. Leonard identifies how African American poets' use and revision of traditional poetics constituted an antiracist political agency. Comparing this practice to the use of poetic mastery by the ancient Celtic bards to resist British imperialism, Leonard shows how traditional poetics enable African American poets to insert racial experience, racial protest, and African American culture into public discourse by making them features of validated artistic expression. As with the Celtic bards, these poets' artistry testified to their marginalized people's capacity for imagination and reason within and against the terms of the dominant culture.
In an ambitious survey that moves from slavery to the cultural nationalism of the 1960s, Leonard examines numerous poets, placing each in the context of his or her time to demonstrate the antiracist meaning of their accomplishments. The book offers new insight on the conservatism of Phillis Wheatley, Paul Laurence Dunbar, and the genteel members of the Harlem Renaissance, how their rage for assimilation functioned to refute racist notions of difference and, paradoxically, to affirm a distinctive racial experience as valid material for poetry. Leonard also demonstrates how the more progressive and ethnically distinctive poetics of Langston Hughes, Sterling Brown, Gwendolyn Brooks, Robert Hayden, and Melvin B. Tolson share some of the same ambivalence about cultural achievement as those of the earlier poets. They also have in common the self-conscious pursuit of an affirmation of the African American self through the substitution of African American vernacular language and cultural forms for traditional poetic themes and forms. The evolution of these poetics parallels the emergence of notions of ethnic identity over racial identity and, indeed, in some ways even motivated this shift.
Leonard recognizes poetic mastery as the African American bardic poet's most powerful claim of ethnic tradition and of social belonging and clarifies the full hybrid complexity of African American identity that makes possible this political self-assertion. The development that is traced in Fettered Genius illustrates nothing less than the defining artistic coherence and political significance of the African American poetic tradition.
Oxford Student Texts offer an accessible route into the study of texts for A Level including line-by-line notes, and detailed sections covering key themes, issues and contexts. This edition focuses on The Importance of Being Earnest by Oscar Wilde.
Taking as his point of departure the competing uses of the critical term the materiality of writing, Daniel Hack turns to the past in this provocative new book to recover the ways in which the multiple aspects of writing now conjured by that term were represented and related to one another in the mid-nineteenth century. Diverging from much contemporary criticism, he argues that attention to the writing's material components and contexts does not by itself constitute reading against the grain. On the contrary, the Victorian discourse on authorship and the novels Hack discusses--including works by Thackeray, Dickens, Collins, and Eliot--actively investigate the significance and mutual relevance of the written word or printed word's physicality, the exchange of texts for money, the workings of signification, and the corporeality of writers, readers, and characters.
Hack shows how these investigations, which involve positioning the novel in relation to such widely denigrated forms of writing as the advertisement and the begging letter, bring into play such basic novelistic properties as sympathetic identification, narrative authority, and fictionality itself. Combining formalist and historicist critical methods in innovative fashion, Hack changes the way we think about the Victorian novel's simultaneous status as text, book, and commodity.
A fantastic reissue of Richard Holmes' epic biography of this most enigmatic and intriguing of the Romantic poets. This is simply one of the greatest biographical achievements of recent years. Shelley, the most neglected of all the great Romantic poets, was born in Sussex in 1792 and died in Tuscany in 1822, a brief life packed with love affairs, alarums and excursions. Holmes's book offers a serious and critical reappraisal of Shelley as a man and a writer; all his prose and poetry is carefully re-examined, his sense of spiritual and geographical isolation brilliantly described and a detailed portrait of his macabre imaginative life slowly assembled. Shelley's intense friendships with some of the most remarkable figures of his age fill Holmes's pages with a vivid parorama of revolutionary idealism and recklessness. To this is added the private story of Shelley's tortuous romantic liaisons, complications which affected both the peculiar tenor of his daily life and the remotest conceptions of his poetry. This is a stunning, entrancing biography of a fascinating subject, and a timely reissue of an absolutely seminal work.
In 1872 the mistress of a neighbouring landowner threw herself under a train at a station near Tolstoy's home. This gave Tolstoy the starting point he needed for composing what many believe to be the greatest novel ever written. In writing Anna Karenina he moved away from the vast historical sweep of War and Peace to tell, with extraordinary understanding, the story of an aristocratic woman who brings ruin on herself. Anna's tragedy is interwoven with not only the courtship and marriage of Kitty and Levin but also the lives of many other characters. Rich in incident, powerful in characterization, the novel also expresses Tolstoy's own moral vision. `The correct way of putting the question is the artist's duty', Chekhov once insisted, and Anna Karenina was the work he chose to make his point. It solves no problem, but it is deeply satisfying because all the questions are put correctly. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
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