The poetry of Christina Rossetti is often described as 'gothic' and yet this term has rarely been examined in the specific case of Rossetti's work. Based on new readings of the full range of her writings, from 'Goblin Market' to the devotional poems and prose works, this book explores Rossetti's use of Gothic forms and images to consider her as a Gothic writer. Christina Rossetti's Gothic analyses the poet's use of the grotesque and the spectral and the Christian roots and Pre-Raphaelite influences of Rossetti's deployment of Gothic tropes.

This is a book about two empires-America and Rome-and the forms of time we create when we think about them together. Ranging from the eighteenth century to the present day, through novels, journalism, film, and photography, Time and Antiquity in American Empire reconfigures our understanding of how cultural and political life has generated an analogy between Roman antiquity and the imperial US state-both to justify and perpetuate it, and to resist and critique it. The book takes in a wide scope, from theories of historical time and imperial culture, through the twin political pillars of American empire-republicanism and slavery-to the popular genres that have reimagined America's and Rome's sometimes strange orbit: Christian fiction, travel writing, and science fiction. Through this conjunction of literary history, classical reception studies, and the philosophy of history, however, Time and Antiquity in American Empire builds a more fundamental inquiry: about how we imagine both our politics and ourselves within historical time. It outlines a new relationship between text and context, and between history and culture; one built on the oscillating, dialectical logic of the analogy, and on a spatialising of historical temporality through the metaphors of constellations and networks. Offering a fresh reckoning with the historicist protocols of literary study, this book suggests that recognizing the shape of history we step into when we analogize with the past is also a way of thinking about how we have read-and how we might yet read.

While neither Kate Chopin nor Edith Wharton can be called feminist writers, each did produce "female moral art," writings that focus relentlessly on the dialectics of social relations and the position of women therein. Mary Papke analyzes their disintegrative visions through detailed readings of virtually all of their novels and several of their shorter works. Unlike comparable writers of their time, theirs was a nonpolemical but nonetheless political art in which disruption of the rules of masculine/feminine discourse and the hegemonic world view are deeply but obviously embedded within character, plot, and theme. Papke begins with a brief examination of the ideology of true womanhood, which, she argues, permeates Chopin's and Wharton's fiction and world views. The remainder of her work offers an ideological reading of their social fiction in which their characters search for states of liminality, where they might achieve, however momentarily, autonomy. Repeatedly, Papke argues, these states of liminality are literally encoded into images of characters positioned on the edge of an abyss that then becomes a repository of multiple meanings. The author presents Chopin's and Wharton's female discourse as radical art because it dares to defy that which is both alienating and destructive. Papke's provocative analysis will be of interest not only to Wharton and Chopin scholars, but also to those working in the fields of feminist and women's studies. It will also interest scholars and students of American studies, particularly those working on late nineteenth and early twentieth century literature.

This study treats the Victorian Antipodes as a compelling, fantastical, and utopian site of romance and subsequent satire for five middle-class writers who went to New Zealand between 1840 and 1872. Examining their dreams and experiences and the writing produced from their travels, chapters illuminate how contact with England's opposite and mirror produced literary studies of motion, distance, inversion, primitivism, and travels in time and space, foregrounding the empire's instrumental shaping of literary form, challenging realism with romance and gesturing towards science fiction and modernism.

Readers have long been enthralled by the novels of Wilkie Collins, whose The Moonstone is considered the first modern detective novel. This book by Tamar Heller--the most comprehensive study of Collins' work ever written--places Collins within Victorian literary history, showing how his fiction transforms the conventions of the traditionally female genre of the Gothic novel and can be read as a critique of the gender and class distinctions that structured Victorian society. Heller offers an insightful account of the ways in which Collins' work in the female Gothic tradition influenced his characteristic themes and imagery. She also explores how this association with the genres of the Gothic and with controversial "sensation fiction" linked Collins with women writers and literary and social marginality during an era when novel writing was increasingly a male-defined and male-dominated profession. Heller argues that Collins' fictions reflect his own contradictory status as a Victorian writer; his novels focus on the relation of the writer to the literary marketplace and also on the intricate and ambivalent dialectic of masculine literary authority and feminine marginality. This study of Collins makes an original contribution to feminist literary criticism by demonstrating its value for the reexamination of an important male writer. In addition, by exploring the complexity of the relationship of a male writer to a feminine literary tradition, the book breaks new ground in the study of literary influence and in critical discussions of the literary canon.

Women writers have often felt alienated from both the Bible and the canonical literary tradition that has been built on its foundation. Yet contemporary American women writers seem to be as haunted by the Bible as their nineteenth-century predecessors. This study of feminist biblical revision argues that women writers' contentious dialogues with the Bible ultimately reconstruct the writers' own basis of authority. The author traces the evolution of this phenomenon from the mid-nineteenth century to the present and analyzes biblical revision in works by Emily Dickinson, H.D., Anne Sexton, Sylvia Plath, Gloria Naylor, and Toni Morrison.

History and the Ever-Present Now in Antebellum American Writing examines the meaning and possibilities of the present and its relationship to history and historicity in a number of literary texts; specifically, the writings of several figures in antebellum US literary historysome, but not all of whom, associated with the period's romantic movement. Focusing on nineteenth-century writers who were impatient for social change, like those advocating for the immediate emancipation of slaves, as opposed to those planning for a gradual end to slavery, the book recovers some of the political force of romanticism. Through close readings of texts by Washington Irving, John Neal, Catharine Sedgwick, Frederick Douglass, Ralph Waldo Emerson, and Herman Melville, the book argues that these writers practiced forms of literary historiography that treat the past as neither a reflection of present interests nor as an irretrievably distant 'other', but as a complex and open-ended interaction between the two. In place of a fixed and linear past, these writers imagine history as an experience rooted in a fluid, dynamic, and ever-changing present. The political, philosophical, and aesthetic disposition Insko calls 'romantic presentism' insists upon the present as the fundamental sphere of human action and experience-and hence of ethics and democratic possibility.

Proclaimed by H.L. Mencken as one of the great masterpieces of the world and by Ernest Hemingway as the source of all modern American literature, Adventures of Huckleberry Finn remains firmly established in both the American and world literary canons as a classic work of literature. Yet it continues to have its critical detractors and still arouses the kind of impassioned controversy that banned it from the Concord, Massachusetts, Public Library on publication as trashy and vicious. The Critical Response to Mark Twain's Huckleberry Finn contains newspaper articles, book reviews, and scholarly essays spanning the period from the early response in the 1880s, through the centennial celebration, to the present. The collection reflects the major literary trends and issues of response to Huckleberry Finn, such as the persistent attempts to ban the book, the literary criticism concerning the book's ending, and the many thematic interpretations. Among the essayists included are literary figures such as T.S. Eliot and Twain specialist scholars such as Walter Blair, Leo Marx, and James Cox. The text of an ABC-TV Nightline News Special on the centennial, Huckleberry Finn: Literature or Racist Trash is printed. Editor Champion provides an introductory overview on the range and issues of critical response, a feature on the various adaptations of Huckleberry Finn, and a bibliography of additional scholarship. Of interest to any scholar or researcher of Mark Twain, the collection would be valuable to teachers and students reading Huckleberry Finn at any level from high school upward.

Part I of this authoritative handbook offers systematic essays, which deal with major historical, social, philosophical, political, cultural and aesthetic contexts of the English novel between 1830 and 1900. The essays offer a wide scope of aspects such as the Industrial Revolution, religion and secularisation, science, technology, medicine, evolution or the increasing mediatisation of the lifeworld. Part II, then, leads through the work of more than 25 eminent Victorian novelists. Each of these chapters provides both historical and biographical contextualisation, overview, close reading and analysis. They also encourage further research as they look upon the work of the respective authors at issue from the perspectives of cultural and literary theory.

As an essayist, philosopher, ex-pencil manufacturer, notorious hermit, tax protester, and all-around original thinker, Thoreau led so singular a life that he is in some ways a perfect candidate for the historical and biographical treatments made possible by the Historical Guides to American Authors series format. William E. Cain, the volume editor, includes contributions on his relationship with 19th century authority and concepts of the land, which should help the volume's reach beyond those who read Thoreau for illumination to those general readers who love him for embodying the spirit of American rebellion.

This study confronts current influential theories that science fiction is either an American phenomenon or an international one. The study rejects the idea that British science fiction is distinguishable only by its pessimistic outlook--while also rejecting the idea that other designations, such as "scientific romance" or "speculative fiction," better fit the British product. Instead, the study traces the evolution of British science fiction, showing how H. G. Wells synthesized various strains in English literature, and how later writers, conscious of this Wellsian tradition, built upon Wells's literary achievement. An introduction defines what might reasonably be placed under the heading British science fiction, and why. Chapter 1 examines previous critical ideas about the nature of British science fiction, revealing that most of them are based on untested assumptions. Chapter 2 explores the significance of the dominant motif of the island in British SF --a motif that suggests that British SF and mainstream English literature have been long and fruitfully intertwined. Chapters 3 and 4 deal respectively with British disaster fiction before and after the Second World War. They focus on why British science fiction has so frequently seemed obsessed with catastrophe. Chapter 5, a polemical conclusion, deals with the future of British science fiction based on its current predicament. Ultimate Island forms a theoretical counterpart to the author's recently-published British Science Fiction: A Chronology 1478-1990 (Greenwood 1992), which defines the historical scope of the field.

?? [[ Best known as the author of imaginative short fiction, such as The Fall of the House of Usher and The Cask of Amontillado, and as the author of hauntingly sonorous poems such as The Raven, Edgar Allan Poe was a leading practitioner of the American Gothic and helped popularize the short story as a genre. This reference work assembles in dictionary format a complete and current body of information on Poe's life and work. More than 1900 entries cover all phases of Poe's art and literary criticism, his family relationships, his numerous travels and residences, and the abundance of critical responses to his works. Each entry provides bibliographical information, and the volume concludes with an extensive listing of works for further consideration. ]] ?? Best known for his mysterious and imaginative short fiction, such as The Fall of the House of Usher and The Cask of Amontillado, as well as hauntingly sonorous poems such as The Raven, Edgar Allan Poe has secured a lasting place in the American literary canon. He was one of the first American authors to be given serious attention in Europe, and his works popularized the Gothic, the short story, and detective fiction in America. Poe's works are frequently studied in schools and colleges, but he also retains his appeal as one of America's most demanding popular authors. His works reflect his vast and sometimes arcane erudition, his probing insights into the workings of the mind, his theories of literature and aesthetics, and his interest in science and the supernatural. Through more than 1900 alphabetically arranged entries, this reference book provides complete and current coverage of Poe's life and work. Some entries treat Poe's known reading and his responses to literary contemporaries and international literary figures. Others comment on the impact of various writers and literary traditions on Poe's imagination. Still others address Poe's views on subjects ranging from Shakespeare to mesmerism to phrenology. Each entry is supplemented by a bibliographical note which gives the basis for the entry and suggests sources for further investigation. Each entry for Poe's fiction and poetry contains a critical synopsis, and an extensive bibliography at the end of the volume lists the most important critical and biographical studies of Poe.

"Sites Unseen" examines the complex intertwining of race and architecture in nineteenth and early-twentieth century American culture, the period not only in which American architecture came of age professionally in the U.S. but also in which ideas about architecture became a prominent part of broader conversations about American culture, history, politics, and&#8212although we have not yet understood this clearly&#8212race relations. This rich and copiously illustrated interdisciplinary study explores the ways that American writing between roughly 1850 and 1930 concerned itself, often intensely, with the racial implications of architectural space primarily, but not exclusively, through domestic architecture.

In addition to identifying an archive of provocative primary materials, "Sites Unseen" draws significantly on important recent scholarship in multiple fields ranging from literature, history, and material culture to architecture, cultural geography, and urban planning. Together the chapters interrogate a variety of expressive American vernacular forms, including the dialect tale, the novel of empire, letters, and pulp stories, along with the plantation cabin, the West Indian cottage, the Latin American plaza, and the "Oriental" parlor. These are some of the overlooked plots and structures that can and should inform a more comprehensive consideration of the literary and cultural meanings of American architecture. Making sense of the relations between architecture, race, and American writing of the long nineteenth century&#8212in their regional, national, and hemispheric contexts&#8212"Sites Unseen" provides a clearer view not only of this catalytic era but also more broadly of what architectural historian Dell Upton has aptly termed the social experience of the built environment.

Dickens, Religion and Society examines the centrality of Dickens's religious attitudes to the social criticism he is famous for, shedding new light in the process on such matters as the presentation of Fagin as a villainous Jew, the hostile portrayal of trade unions in Hard Times and Dickens's sentimentality.

Unseasonable Youth examines a range of modernist-era fictions that cast doubt on the ideology of progress through the figure of stunted or endless adolescence. Novels of youth by Oscar Wilde, Olive Schreiner, Rudyard Kipling, Joseph Conrad, H.G. Wells, James Joyce, Virginia Woolf, Jean Rhys, and Elizabeth Bowen disrupt the inherited conventions of the bildungsroman in order to criticize bourgeois values and to reinvent the biographical plot, but also to explore the contradictions inherent in mainstream developmental discourses of self, nation, and empire. The intertwined tropes of frozen youth and uneven development, as motifs of failed progress, play a crucial role in the emergence of dilatory modernist style and in the reimagination of colonial space at the fin-de-siecle. The genre-bending logic of uneven development - never wholly absent from the coming-of-age novel -- takes on a new and more intense form in modernism as it fixes its broken allegory to the problem of colonial development. In novels of unseasonable youth, the nineteenth-century idea of world progress comes up against stubborn signs of underdevelopment and uneven development, just at the same moment that post-Darwinian racial sciences and quasi-Freudian sexological discourses lend greater influence to the idea that certain forms of human difference cannot be mitigated by civilizing or developmental forces. In this historical context, the temporal meaning and social vocation of the bildungsroman undergo a comprehensive shift, as the history of the novel indexes the gradual displacement of historical-progressive thinking by anthropological-structural thinking in the Age of Empire."

In this wide-ranging study, Simon Bainbridge highlights the major role that poetry played in the mediation of the Revolutionary and Napoleonic wars to the British public, and explores the impact that the wars had on poetic practices and theories in the Romantic period. Bainbridge examines a wide range of writers, both canonical (Wordsworth, Coleridge, and Byron) and non-canonical (Smith, Southey, Scott, and Hemans), and locates their work within the huge amount of war poetry published in newspapers and magazines.

"Middlemarch" is one of the great classic novels of the Victorian age and has also been seen as a key turning point in the history of the genre. George Eliot's novel is widely studied and this guide will provide an introduction to its context, language, themes, criticism and afterlife, leading students to a more sophisticated understanding of the text.It is the ideal guide to reading and studying the novel, setting "Middlemarch" in its historical, intellectual and cultural contexts, offering analyses of its themes, style and structure, providing exemplary close readings, presenting an up-to-date account of its critical reception. It also discusses the cultural afterlife including film and TV adaptations. It includes points for discussion, suggestions for further study and an annotated guide to relevant reading."Continuum" Reader's Guides are clear, concise and accessible introductions to key texts in literature and philosophy. Each book explores the themes, context, criticism and influence of key works, providing a practical introduction to close reading, guiding students towards a thorough understanding of the text. They provide an essential, up-to-date resource, ideal for undergraduate students.

Thomas Hardy's "Poetical Matter" notebook, the last to be published from among the small group of notebooks not destroyed by Hardy himself or by his executors, has now been meticulously edited with full scholarly annotation. Through its inclusion of so many notes copied by Hardy from old pocket-books subsequently destroyed, "Poetical Matter" reaches back to all periods of his life, and is especially valuable from a biographical standpoint for its expansion and enhancement of knowledge of Hardy's final years and for its preservation of such intimate records as his richly revealing memories of the Bockhampton of his childhood and his sexually charged impressions of a woman glimpsed during a trip on a pleasure steamer in 1868. Its special distinctiveness nevertheless lies in its uniqueness as a late working notebook devoted specifically to verse. Florence Hardy, Hardy's widow, recalled his having experienced a great outburst of late creativity, feeling that he could go on writing almost indefinitely, and "Poetical Matter" bears direct witness to his actively thinking about poetry and projecting and composing new poems until shortly before his death at the age of eighty-seven. As such, it contains an abundance of new ideas for poems and sequences of poems and demonstrates Hardy's characteristic creative progression, his working variously with initial ideas, with gathered notes, whether old or new, and with tentative prose formulations, verse fragments, metrical schemes, and rhyme patterns, towards the writing of the drafts from which, yet further worked and reworked, the completed poem would ultimately emerge.

The nineteenth-century roots of environmental writing in American literature are often mentioned in passing and sometimes studied piece by piece. Writing the Environment in Nineteenth-Century American Literature: The Ecological Awareness of Early Scribes of Nature brings together numerous explorations of environmentally-aware writing across the genres of nineteenth-century literature. Like Lawrence Buell, the authors of this collection find Thoreau's writing a touchstone of nineteenth-century environmental writing, particularly focusing on Thoreau's claim that humans may function as "scribes of nature." However, these studies of Thoreau's antecedents, contemporaries, and successors also reveal a range of other writers in the nineteenth century whose literary treatments of nature are often more environmentally attuned than most readers have noticed. The writers whose works are studied in this collection include canonical and forgotten writers, men and women, early nineteenth-century and late nineteenth-century authors, pioneers and conservationists. They drew attention to the conflicted relationships between humans and the American continent, as experienced by Native Americans and European Americans. Taken together, these essays offer a fresh perspective on the roots of environmental literature in nineteenth-century American nonfiction, fiction, and poetry as well as in multi-genre compositions such as the travel writings of Margaret Fuller. Bringing largely forgotten voices such as John Godman alongside canonical voices such as Nathaniel Hawthorne, Herman Melville, Walt Whitman, and Emily Dickinson, the authors whose writings are studied in this collection produced a diverse tapestry of nascent American environmental writing in the nineteenth-century. From early nineteenth-century writers such as poet Philip Freneau and novelist Charles Brockden Brown to later nineteenth-century conservationists such as John James Audubon and John Muir, Scribes of Nature shows the development of an environmental consciousness and a growing conservationist ethos in American literature. Given their often surprisingly healthy respect for the natural environment, these nineteenth-century writers offer us much to consider in an age of environmental crisis. The complexities of the supposed nature/culture divide still work into our lives today as economic and environmental issues are often seen at loggerheads when they ought to be seen as part of the same conversation of what it means to live healthy lives, and to pass on a healthy world to those who follow us in a world where human activity is becoming increasingly threatening to the health of our planet.

New essays on the cultural representations of the relationship between Britain and China in the nineteenth century, focussing on the Amherst diplomatic problem. On 29 August 1816, Lord Amherst, exhausted after travelling overnight during an embassy to China, was roughly handled in an attempt to compel him to attend an immediate audience with the Jiaqing Emperor at the Summer Palace of Yuanming Yuan. Fatigued and separated from his diplomatic credentials and ambassadorial robes, Amherst resisted, and left the palace in anger. The emperor, believing he had been insulted, dismissed the embassy without granting it animperial audience and rejected its "tribute" of gifts. This diplomatic incident caused considerable disquiet at the time. Some 200 years later, it is timely in 2016 to consider once again the complex and vexed historical andcultural relations between two of the nineteenth-century world's largest empires. The interdisciplinary essays in this volume engage with the most recent work on British cultural representations of, and exchanges with, Qing China,extending our existing but still provisional understandings of this area of study in new and exciting directions. They cover such subjects as female foot binding; English and Chinese pastoral poetry; translations; representationsof the trade in tea and opium; Tibet; and the political, cultural and environmental contexts of the Amherst embassy itself. Featuring British and Chinese writers such as Edmund Spenser, Wu Cheng'en, Thomas De Quincey, Oscar Wilde, James Hilton, and Zhuangzi, these essays take forward the compelling and highly relevant subject for today of Britain and China's relationship. Peter J. Kitson is Professor of English at the University of East Anglia;Robert Markley is W.D. and Sara E. Trowbridge Professor of English at the University of Illinois. Contributors: Elizabeth Chang, Peter J. Kitson, Eugenia Zuroski-Jenkins, Zhang Longxi, Mingjun Lu, Robert Markley, EunKyung Min, Q.S. Tong

The first real reviewing of African-American literature in France began in 1844, when audiences welcomed the romantic dramas of Victor Sejour. With the passing of time, African-American works have become increasingly known in France, where they are now translated almost as soon as they come out in the United States. This bibliography charts the French critical response to African-American literature from the 19th century to 1970. The bulk of the items selected were published between 1900 and 1970, and all were printed in French. The selection has been limited to responses to the works of creative writers, along with some important and influential autobiographical writings. Entries are arranged in chronological sections, and then alphabetically within each section. Annotations summarize the critical views expressed in the work cited. As a whole, the bibliography is a valuable guide to changing French critical attitudes toward African-American literature and is an index to the growing popularity of African-American literature in France.

Jane Austen significantly shaped the development of the English novel, and her works continue to be read widely today. Though she is best known for her novels, "Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, Northanger Abbey, " and "Persuasion," she also wrote poems, letters, prayers and various pieces of juvenalia. These writings have been attracting the attention of scholars; her major works have already generated a large body of scholarly and critical studies. This reference is a guide to her works and the response to them.

Austen's works are fraught with ambiguity. Because she was adept at displaying numerous aspects of an issue, her writings invite multiple interpretations. In light of the ambiguity of her texts, each of her major works is approached from a reader-response perspective, in which an expert contributor illuminates the reader's relationship to her writing. And because so many readers have had such varied responses to her novels, the volume also includes chapters summarizing the critical response to each of her major works. In addition, the book includes separate chapters on her poems, letters, and prayers.

Contextualizing the popular topos of the neglected child in nineteenth-century Britain within a large variety of texts and discourses, this book isolates a strand in literary history that has not been fully examined yet, and fills a gap in literary criticism. Rereading Romantic poems, Victorian novels and social documents of the period, it challenges the largely-accepted narrative according to which the turn of the century witnessed a clear transition from a Puritan, oppressive approach to children, to a Romantic, liberating one. Narratives of Child Neglect demonstrates that these contradictory trends continued to be a shaping factor of British literature and society way into the late nineteenth century. The book demonstrates the ways in which the oppressive approach managed to survive in the subconscious of the new discourses of childhood and traces a difficulty in representing the child's subjectivity as valuable even in texts written by key figures in the formation of the Romantic cult of childhood such as Rousseau, Blake, Wordsworth, and Dickens.

In the wake of psychoanalysis and the birth of therapy, trauma is a powerful concept in twenty-first century culture. Thomas J. Brennan, S.J. finds roots of the "sensibility of trauma" by returning to the work of Wordsworth, Tennyson, and Eliot. By reading these poets of mourning through the framework of trauma, Brennan reflects on our traumatized moment and weighs two potential responses--the fantasy of transcendence and the ethic of trust.

"The multidisciplinary aesthetics of Walter Pater, the nineteenth century's most provocative critic, are explored by an international team of scholars. True aesthetic criticism takes place working across the arts, Pater insists: acknowledging the differences between media, but seeking possibilities of interconnection"--