An emblematic figure of the 'bourgeois century', the parvenu represents the Other on which a society depends. This drama of exclusion is symptomatic of nineteenth-century society: ambivalent about social mobility, oscillating between a new sense of opportunity for all and a backward-looking retrenchment to rigid social structures.

Dangerous Enthusiasm considers Blake's prophetic books written during the 1790s in the light of the French Revolution controversy raging at the time; his works are shown to be less the expressions of isolated genius than the products of a complex response to the cultural politics of his contemporaries. William Blake's work presents a stern challenge to historical criticism. Jon Mee's new study meets the challenge by investigating contexts outside the domains of standard literary histories. He traces the distinctive rhetoric of the illuminated books to the French Revolution controversy of the 1790s and Blake's fusion of the diverse currents of radicalism abroad in that decade. The study is supported by a wealth of original research which will be of interest to historians and literary critics alike. Blake emerges from these pages as a 'bricoleur' who fused the language of London's popular dissenting culture with the more sceptical radicalism of the Enlightenment. Dangerous Enthusiasm presents a more comprehensively politicized picture of Blake than any previous study.

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The horse was essential to the workings of Victorian society, and its representations, which are vast, ranging, and often contradictory, comprise a vibrant cult of the horse. Examining the representational, emblematic, and rhetorical uses of horses in a diversity of nineteenth-century texts, Gina M. Dorre shows how discourses about horses reveal and negotiate anxieties related to industrialism and technology, constructions of gender and sexuality, ruptures in the social fabric caused by class conflict and mobility, and changes occasioned by national "progress" and imperial expansion. She argues that as a cultural object, the horse functions as a repository of desire and despair in a society rocked by astonishing social, economic, and technological shifts. While representations of horses abound in Victorian fiction, Gina M. Dorre's study focuses on those novels by Charles Dickens, Elizabeth Braddon, Anna Sewell, and George Moore that engage with the most impassioned controversies concerning horses and horse-care, such as the introduction of the steam engine, popular new methods of horse-taming, debates over the tight-reining of horses, and the moral furor surrounding gambling at the race track. Her book establishes the centrality of the horse as a Victorian cultural icon and explores how through it, dominant ideologies of gender and class are created, promoted, and disrupted.

Lucia Ruprecht's study is the first monograph in English to analyse the relationship between nineteenth-century German literature and theatrical dance. Combining cultural history with close readings of major texts by Heinrich von Kleist, E.T.A. Hoffmann and Heinrich Heine, the author brings to light little-known German resources on dance to address the theoretical implications of examining the interdiscursive and intermedial relations between the three authors' literary works, aesthetic reflections on dance, and dance of the period. In doing so, she not only shows how dancing and writing relate to one another but reveals the characteristics that make each mode of expression distinct unto itself. Readings engage with literary modes of understanding physical movement that are neglected under the regime of eighteenth-century aesthetic theory, and of classical ballet, setting the human, frail and expressive body against the smoothly idealised neoclassicist ideal. Particularly important is the way juxtaposing texts and performance practice allows for the emergence of meta-discourses about trauma and repetition and their impact on aesthetics and formulations of the self and the human body. Related to this is the author's concept of performative exercises or dances of the self which constitute a decisive force within the formation of subjectivity that is enacted in the literary texts. Joining performance studies with psychoanalytical theory, this book opens up new pathways for understanding Western theatrical dance's theoretical, historical and literary continuum.

This book examines continuities and changes in narrative strategies deployed to deal with female desire in a broad range of fiction from the late sixteenth-century to the early nineteenth-century. By focussing on 'designing women' and the lengths to which they can and should go as agents of their desires, this book investigates the way generic and moral or social issues intersect in the depiction of female subjectivity. The book examines narrative strategies deployed in the representation of female desire in a broad range of fiction from the late sixteenth-century to the early-nineteenth century, discussing key texts such as Jane Eyre, Pamela, Pride and Prejudice and Arcadia

Incorporating the most recent discoveries concerning Blake's heritage and cultural context, Visionary Materialism in the Early Works of William Blake: The Intersection of Enthusiasm and Empiricism proposes a radical new reading of his early works, that sees them taking enlightenment ideas to heights never dreamed of by Locke and Priestley. Drawing on a careful analysis of key figures from both sides of the enlightenment/counter-enlightenment divide (including Boehme, Swedenborg, the Moravians, Lavater, Brothers, Erasmus Darwin), the discussion traces an alternative tradition that disrupts previous assumptions about important aspects of Blake's thought.

Edward F. Mooney takes us into the lived philosophies of Melville, Kierkegaard, Henry Bugbee, and others who write deeply in ways that bring philosophy and religion into the fabric of daily life, in its simplicities, crises, and moments of communion and joy. Along the way Mooney explores meditations on wilderness, on the enigma of self-deception, the role of maternal love and the pain of separations, and the pervasiveness of "difficult reality" where valuable things are presented to us under two (or more) aspects at once.

Long before the physical advent of Blacks in Europe, Professor Dathorne asserts they featured over and over again in literature as marginalized Others, but rarely were real Blacks present. As English developed as a language, race came into the evolution of the signifiers, so that words like darkness, blackness, and so on became heavily charged with negative connotations.

Using travel literature as well as figures on the Elizabethan and Jacobean stage and material from later writers, Dathorne shows how negative elements surrounding Blackness were transferred to Native Americans, to Indians from India, to South Pacific islanders, and others. A provocative analysis for scholars, students, and researchers involved with Ethnic Studies, Cultural Studies, and race.

The only modern collection of speeches by southerners on the themes that have shaped the history and culture of the region, this anthology, which spans eighty tumultuous years of southern history, reflects the strategies of southern orators as they attempted to defend the indefensible, as well as those few who advocated a more compassionate South. Southern leaders were judged largely by their oratorical ability and their skills in defending the southern way of life. Accordingly, they placed much emphasis on developing consummate rhetorical skills. Thus, one can read the history of the region in the speeches of its politicians, ministers, and other public figures. Beginning in 1820 with the debates over the admission of Missouri to the Union, many southerners took a defensive posture against those forces from outside the region which they saw as threats to their culture. While the rhetoric of most southern leaders was clearly defensive, one must remember that they were dealing with the difficult issues of slavery; the relationship of federal and state government; their vision of the ideal society; the coming civil war and its aftermath; and living in a defeated, desolate, war-torn region. As demagogic, defensive, and archaic as they may seem today, these speakers developed and expanded patterns of thought and rhetorical strategy that echoed throughout the region. The collective memory that they created would shape their contemporaries and affect the lives of generations to follow.

"British Victorian Women's Periodicals" explores themes and patterns of poetry publication in a variety of women's periodicals published throughout the Victorian era to answer questions about taste, style, and the significance of poetry to our understanding of women's lives in the nineteenth century. Ledbetter shows how the periodical's advice about maintaining or acquiring social respectability through appropriate fashion, good behavior, and regulation of the household is seamlessly integrated with poetry that aimed to inspire, teach, and cultivate feeling. This book questions traditional evaluations of nineteenth-century sentimental poetry, and argues for a consideration of women's poetry within its own cultural milieu.

One of the greatest American authors, Mark Twain holds a special position not only as a distinctly American cultural icon but also as a preeminent portrayer of youth. His famous writings about children and youthful themes are central to both his work and his popularity. The distinguished contributors to Mark Twain and Youth make Twain even more accessible to modern readers by fully exploring youth themes in both his life and his extensive writings. The volume's twenty-six original essays offer new perspectives on such important subjects as Twain's boyhood; his relationships with his siblings and his own children; his attitudes toward aging, gender roles, and slavery; the marketing, reception, teaching, and adaptation of his works; and youth themes in his individual novels--Adventures of Huckleberry Finn, The Adventures of Tom Sawyer, The Prince and the Pauper, Pudd'nhead Wilson, and Joan of Arc. The book also includes a revealing foreword by actor Hal Holbrook, who has performed longer as "Mark Twain" than Samuel Clemens himself did. The book includes contributions by: Lawrence Berkove, John Bird, Jocelyn A. Chadwick, Joseph Csicsila, Hugh H. Davis, Mark Dawidziak, Shelley Fisher Fishkin, James Golden, Alan Gribben, Benjamin Griffin, Ronald Jenn, Holger Kersten, Andrew Levy, Cindy Lovell, Karen Lystra, Debra Ann MacComb, Peter Messent, Linda A. Morris, K. Patrick Ober, John R. Pascal, Lucy E. Rollin, Barbara Schmidt, David E. E. Sloane, Henry Sweets, Wendelinus Wurth.

Conceiving the City is an innovative study of the ways in which a generation of late-Victorian novelists, poets, painters, and theoreticians attempted to represent London in literature and art. Breaking away from the language and style of Dickens and the static panorama paintings of William Powell Frith, major figures such as Henry James and J. M. Whistler, and, crucially, less-celebrated authors such as Arthur Machen, Edwin Pugh, and George Egerton bent realism into exciting new shapes. In the naturalism of George Gissing and Arthur Morrison, the fragmentary impressions of Ford Madox Ford, and the brooding mystery of Alvin Langdon Coburn's photogravures, London emerged as a focus for dynamic, explicitly modern art. Although many of these insights would be dismissed or at least downplayed by subsequent generations, the ideas evolved during the period from 1870 to 1914 anticipate not only the work of high modernists such as Eliot and Woolf, but also that of later urban theorists such as Foucault and de Certeau, and the novels and travelogues of contemporary London writers Peter Ackroyd and Iain Sinclair. Nicholas Freeman recovers a sense of late-Victorian London as a subject for dynamic theoretical and aesthetic experiments, and shows, in stimulating analyses of Conan Doyle, H. G. Wells, Arthur Symons, and others how much of our understanding of urban space we owe to eminent (and not so eminent) Victorian figures. Written in a clear and accessible style, the book restores a much-needed historical perspective to our engagement with the metropolis.

Re-examining English Romanticism through Hegel's philosophy, this book outlines and expands upon Hegel's theory of recognition. Deakin critiques four canonical writers of the English Romantic tradition, Coleridge, Wordsworth, P.B. Shelley and Mary Shelley, arguing that they, as Hegel, are engaged in a struggle towards philosophical recognition.

This collection of essays examines the links between the images of death and sexuality in Victorian fiction and poetry. The contributors examine the ways in which fear of death was placed beside sexual desire and how Victorian writers managed to write about sex without overtly referring to it.;The essays include an examination of Count Dracula's eternal seductions, an exploration of the pairing of Eros and Thanatos in George Eliot's fiction and an exploration of the work of Ruskin. Some of the essays attempt to "undo" much of the preceding critical wisdom on the subject. The dialectics of sex and death, these critics claim, must be viewed as one of the most influential patterns in Victorian poetry and prose.;Regina Barreca has written "Punch Lines: Women, Comedy and Subversion in English and American Literature" and is editor of "Last Laughs: Perspectives on Women and Comedy".

The empirical/evangelical dialectic of Romantic Anglo-America culminates in the poetry of Emily Dickinson (1830-86). For example, just as her poems of science and technology reflect her faith in experience, and just as her lyrics about natural history build on this empiricism and develop her commitment to natural religion, so too do her poems of revealed religion constitute her experience of faith. Thus, for an American audience, Dickinson recasts British-Romantic themes of natural and spiritual perception. This double perspective, this counterintuitive combination of natural models with spiritual metaphors, parallels the androgynous ideal of her nineteenth-century feminism and champions her belief in immortality. The experience/faith paradox of her Late-Romantic imagination forms the mind and soul, as well as the heart, of her legacy.

Much has been written about the Victorian novel, and for good reason. The cultural power it exerted (and, to some extent, still exerts) is beyond question. The Oxford Handbook of the Victorian Novel contributes substantially to this thriving scholarly field by offering new approaches to familiar topics (the novel and science, the Victorian Bildungroman) as well as essays on topics often overlooked (the novel and classics, the novel and the OED, the novel, and allusion). Manifesting the increasing interdisciplinarity of Victorian studies, its essays situate the novel within a complex network of relations (among, for instance, readers, editors, reviewers, and the novelists themselves; or among different cultural pressures - the religious, the commercial, the legal). The handbook's essays also build on recent bibliographic work of remarkable scope and detail, responding to the growing attention to print culture. With a detailed introduction and 36 newly commissioned chapters by leading and emerging scholars - beginning with Peter Garside's examination of the early nineteenth-century novel and ending with two essays proposing the 'last Victorian novel' - the handbook attends to the major themes in Victorian scholarship while at the same time creating new possibilities for further research. Balancing breadth and depth, the clearly-written, nonjargon -laden essays provide readers with overviews as well as original scholarship, an approach which will serve advanced undergraduates, graduate students, and established scholars. As the Victorians get further away from us, our versions of their culture and its novel inevitably change; this Handbook offers fresh explorations of the novel that teach us about this genre, its culture, and, by extension, our own.

Building on recent work on Victorian print culture and the turn toward material historical research in modernist studies, this collection extends the frontiers of scholarship on the "Atlantic scene" of publishing, exploring new ways of grappling with the rapidly changing universe of print at the turn of the twentieth century.

Using the 180-year history of Keats's Eve of St. Agnes as a basis for theorizing about the reading process, Stillinger's book explores the nature and whereabouts of `meaning' in complex works. A proponent of authorial intent, Stillinger argues a theoretical compromise between author and reader, applying a theory of interpretive democracy tha includes the endlessly multifarious reader's response as well as Keats's guessed-at intent. Stillinger also ruminates on the process of constructing meaning, and posits an answer to why Keats's work is considered canonical, and why it is still being read and admired.

One of the most important novelists of the early 19th century, Jane Austen (1775-1817) continues to be read and studied today. Throughout her novels, she creates characters who embody various virtues and limitations. The best characters represent the best behavior, just as the less admirable ones behave in less admirable ways. The courtesy books of the 18th century advise certain moral behavior for character development. This book studies Austen's parallels to 18th century courtesy books. Educational and recreational activities in Austen's novels, such as reading, dancing, card-playing, and theatre-going, are often similar to those activities recommended in the courtesy books with which Austen would have been familiar. So too, various social activities and personal characteristics depicted in Austen's novels frequently accord with courtesy book recommendations.

Proper behavior was of great concern to Austen's contemporaries. Throughout the 18th century, numerous courtesy books were written, advocating certain moral behavior for character development. Austen would have been familiar with these books, for they were influential during the late 18th century, when she grew up, and in the early 19th century, when her works were published.

Although Austen is known as a novelist of manners, surprisingly little work has been done to compare the manners recommended by the courtesy books of the time with the manners of the characters in her novels. This study demonstrates Austen's parallels with 18th century courtesy books in shaping her characters. Educational and recreational activities in her works are often similar to the activities recommended by the courtesy books of her time. So too, the social activities and personal characteristics she presents frequently accord with the recommendations of the courtesy books. Austen's reliance on courtesy books is of great importance, for scholars have generally held that her novels are reflective of the manners of the period. Without the documentation that this study provides, such assertions would remain empty of authority.

This acclaimed biography of Margaret Fuller, first published nearly five decades ago, is now available in a new, expanded edition. Based on Fuller's detailed journals and other writings, it records the life and experiences of a literary critic, radical educator, and outspoken feminist who was deeply involved in the political, spiritual, and cultural ferment that characterized mid-nineteenth century America. It also provides a comprehensive update on recent scholarship and documentary materials that have come to light since the biography's original publication. Madeleine Stern examines Fuller's Massachusetts background, her friendship and literary collaboration with Ralph Waldo Emerson, her feminist writings, and her role as an educator of women. Universal in her interests, Fuller also concerned herself with the new "sciences" of phrenology and animal magnetisim, the advancement of the arts in Boston, the last stand of the Indians of the West, and the ill-fated Italian Republic. She became more widely known as the literary critic on Greeley's New York Tribune and later as America's first woman foreign correspondent. Stern includes a detailed chronology of Fuller's life and a review of Fuller scholarship, including biographies, editions of Fuller's works, and documentary sources. Drawn entirely from facts and impressions recorded by Margaret Fuller herself, this work provides a uniquely lifelike portrait, as well as the carefully researched resource for women's social history and the social, spiritual, and intellectual history of nineteenth-century America.

Looking at the novels of James's major phase in the context of "fin-de-siecle" decadence, "Decadence in the Late Novels of HenryJames" illuminates central issues in the James corpus and central aspects of a rich and fraught cultural moment. Through a close examination of the textures of the novels, Anna Kventsel defines and explores their psycho-cultural field of meaning.

The close of a century invites both retrospection and prognostication. As a period of transition, it also brings a sense of uncertainty, finality, and apocalypticism. These feelings stem from various events, such as political turmoil, scientific advancements, and social change. As might be expected, literature reflects such changes and the feelings they engender. But perhaps more surprisingly, children's literature is especially sensitive to such matters, and fiction for children often struggles with dark and unpleasant issues. This book examines fin de siecle tensions in 19th- and 20th-century children's literature from around the world. Each chapter is written by an expert contributor, and the volume ranges over a disparate variety of topics. These include poetry, series books, pacifist fiction, gender issues, religion and literature, eco-criticism, minority experiences, humor and the Holocaust, fantasy and science fiction, and computer culture. In exploring these issues in relation to children's literature, the contributors reveal the shifting nature of our values and the world in which we live. Global in nature, the chapters look at children's literature from such places as Germany, Holland, the United Kingdom, Australia, and the United States.

Benjamin Rush (1746-1813) exerted a remarkably wide-ranging influence on the medical, political, and social life of the emerging American nation. He fulfilled the multiple roles of first American professor of chemistry, signer of the Declaration of Independence, foremost American physician, father of American psychiatry, pioneer abolitionist, educator, advocate of temperance, and proponent of prison reform. The success of these endeavors rested largely on the strength and size of his literary output, which was unparalleled by any of the other founding fathers. This bibliographic guide is the only work to identify all of Rush's published writings as well as hundreds of writings about him.

The Introduction surveys Rush's published writings on a variety of topics and places them in their late 18th and early 19th century context. Part one provides a comprehensive chronological listing of Rush's published works, including articles, pamphlets, and books in all their editions. Part one also includes comments from Rush scholars on the nature and significance of many of the works, along with references to contemporary reviews. Extensive cross-references show the relationship between documents. Aids to locating the documents in their original, reprinted, and microtext forms are also provided. Part two lists over 500 publications about Rush and his role in American history. The work includes a title and general index to part one and an author and general index to part two.

Honig's short, pleasantly written book is a consideration of the images of women--as mothers, spinsters, girls, and supernatural women--in 19th-and early 20th-century fantasy novels for children. . . . Honig sees fantasy as a means of freeing women from the Victorian social restraints--at first, imaginatively. "Choice"

This is the first book-length study of nineteenth-century children's fantasy from a feminist viewpoint. Honig focuses on a number of major works that are representative of the best of their era--including such classics as "Alice's Adventures in Wonderland" by Lewis Caroll; "The Golden Key," "The Princess and the Goblin," and others by George MacDonald; the works of Mary Louisa Molesworth; "Peter and Wendy" by James Barrie; "The Five Children and It"and "The Enchanted Castle" by Edith Nesbit. Through a close reading of these fantasies Honig demonstrates that although Victorian women were still being repressed in the home and the marketplace, the female figure in literature played a role that was quite different from the traditional stereotype of the meek, submissive wife and mother.