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Books > Language & Literature > Literature: history & criticism > Literary studies > 19th century
How was music depicted in and mediated through Romantic and Victorian poetry? This is the central question that this specially commissioned volume of essays sets out to explore in order to understand better music's place and its significance in nineteenth-century British culture. Analysing how music took part in and commented on a wide range of scientific, literary, and cultural discourses, the book expands our knowledge of how music was central to the nineteenth-century imagination. Like its companion volume, The Idea of Music in Victorian Fiction (Ashgate, 2004) edited by Sophie Fuller and Nicky Losseff, this book provides a meeting place for literary studies and musicology, with contributions by scholars situated in each field. Areas investigated in these essays include the Romantic interest in national musical traditions; the figure of the Eolian harp in the poetry of Coleridge and Shelley; the recurring theme of music in Blake's verse; settings of Tennyson by Parry and Elgar that demonstrate how literary representations of musical ideas are refigured in music; George Eliot's use of music in her poetry to explore literary and philosophical themes; music in the verse of Christina and Dante Gabriel Rossetti; the personification of lyric (Sappho) in a song cycle by Granville and Helen Bantock; and music and sexual identity in the poetry of Wilde, Symons, Michael Field, Beardsley, Gray and Davidson.
Filling a significant gap in current scholarship, the fourteen original essays that make up this volume individually and collectively reflect on the relationship between music and Orientalism in the British Empire over the course of the long nineteenth century. The book is in four themed sections. 'Portrayal of the East' traces the routes from encounter to representation and restores the Orient to its rightful place in histories of Orientalism. 'Interpreting Concert Music' looks at one of the principal forms in which Orientalism could be brought to an eager and largely receptive - yet sometimes resistant - mass market. 'Words and Music' investigates the confluence of musical and Orientalist themes in different genres of writing, including criticism, fiction and travel writing. Finally, 'The Orientalist Stage' discusses crucial sites of Orientalist representation - music theatre and opera - as well as tracing similar phenomena in twentieth-century Hindi cinema. These final chapters examine the rendering of the East as 'unachievable and unrecognizable' for the consuming gaze of the western spectator.
This book, first published in 1988, reveals the great care Dickens took with the planning and preparation of A Tale of Two Cities and its roots. It also explores the aspects of Dickens's life, especially his interest in private theatricals, which contributed to the genesis of the novel. For the first time the historical sources for the very individual account of the French Revolution presented in A Tale of Two Cities are examined, and the book investigates the novelist's debt to French and English eye-witnesses. This Companion identifies the multitude of allusions to what Dickens often regarded as the whims of eighteenth-century justice, religion, philosophy, fashion and society. It provides the modern reader with both fundamental sources of information and a fascinating account of the creation of a complex historical novel.
This book, first published in 1986, explores the allusions in Dickens's work, such as current events and religious and intellectual issues, social customs, topography, costume, furniture and transportation. Together with an analysis of Dickens's imaginative responses to his culture, and their place in the genesis and composition of the text, this book is a full-scale, thoroughgoing annotation that The Mystery of Edwin Drood requires.
This book looks at the roots of a global visual news culture: the trade in illustrations of the news between European illustrated newspapers in the mid-nineteenth century. In the age of nationalism, we might suspect these publications to be filled with nationally produced content, supporting a national imagined community. However, the large-scale transnational trade in illustrations, which this book uncovers, points out that nineteenth-century news consumers already looked at the same world. By exchanging images, European illustrated newspapers provided them with a shared, transnational, experience.
Doctrine and Difference: Readings in Classic American Literature aims to expand and deepen the inquiry begun in the volume from 2007. Beginning with an essay on the avowedly Puritan poetry of Anne Bradstreet and ending with two not-quite-secular novels from late in the 19th century, this volume seeks to uncover the religious and philosophical meanings deeply embedded in so much of 19th century American literature, and then, importantly, to identify and analyze the techniques by which the "doctrines" are differentiated into imaginative literature. Poe, Emerson, Thoreau, Hawthorne, Melville-and yes, even Howells and James-are driven by powerful thematic intentions. But they do not preach: they dramatize. And, as they talk their way through their existential issues, they often talk to one another: yes, no, maybe, ok but not so fast. Stressing the idea of a shared, poet-Puritan inheritance, the new Doctrine and Difference means to re-confirm the vitality of literary history and, in particular, the importance of reading the classic texts of American literature in context and in relation.
In an unprecedented comparison of two of the most important female authors of the nineteenth century, Azelina Flint foregrounds the influence of the religious communities that shaped Louisa May Alcott's and Christina Rossetti's visions of female creativity. In the early stages of the authors' careers, their artistic developments were associated with their patrilineal connections to two artistic movements that shaped the course of American and British history: the Transcendentalists and Pre-Raphaelites. Flint uncovers the authors' rejections of the individualistic outlooks of these movements, demonstrating that Alcott and Rossetti affiliated themselves with their mothers and sisters' religious faith. Applying the methodological framework of women's mysticism, Flint reveals that Alcott's and Rossetti's religious beliefs were shaped by the devotional practices and life-writing texts of their matrilineal communities. Here, the authors' iconic portrayals of female artists are examined in light of the examples of their mothers and sisters for the first time. Flint recovers a number of unpublished life-writings, including commonplace albums and juvenile newspapers, introducing readers to early versions of the authors' iconic works. These recovered texts indicate that Alcott and Rossetti portrayed the female artist as a mouthpiece for a wider community of women committed to social justice and divine communion. By drawing attention to the parallels in the authors' familial affiliations and religious beliefs, Flint recuperates a tradition of nineteenth-century women's mysticism that departs from the individualistic models of male literary traditions to locate female empowerment in gynocentric relationships dedicated to achieving a shared revelation of God.
The Critical Heritage gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling student and researcher to read the material themselves.
The Critical Review brings together a large body of critcal sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling student and researcher to read the material themselves.
In 1797 Robert Southey published a richly detailed account of his journey in Spain and Portugal between December 1795 and May 1796, from his arrival in Coruna in the northwest of the Spanish coast to the heart of Castile and into Madrid, before making his way to Lisbon. Structured as a series of letters written as he travelled across the Iberian Peninsula, Letters Written During a Short Residence in Spain and Portugal engages with the tradition of English travelogues, while borrowing traits from other genres such as the journal, translation, literary criticism, history, and the picturesque guidebook. On his way, Southey comments on every aspect of Spanish and Portuguese society, from local food and wine, bizarre customs, literature and theatregoing, to Iberian politics and religion. In his letters Southey, who would grow to become one of the leading Hispanists in late Georgian England, contrasts the political, religious, cultural and social systems of Britain and two of the oldest nations in the European continent in a way that raises important questions about cultural contact and transmission during the Romantic period. This edition critically reassesses Letters Written During a Short Residence in Spain and Portugal by looking at Southey's deeply ambiguous cultural cosmopolitanism and his life-long investment in all things Spanish and Portuguese.
Romantic Anti-capitalism and Nature examines the deep connections between the romantic rebellion against modernity and ecological concern with modern threats to nature. The chapters deal with expressions of romantic culture from a wide variety of different areas: travel writing, painting, utopian vision, cultural studies, political philosophy, and activist socio-political writing. The authors discuss a highly diverse group of figures - William Bartram, Thomas Cole, William Morris, Walter Benjamin, Raymond Williams, and Naomi Klein - from the late eighteenth to the early twenty-first century. They are rooted individually in English, American, and German cultures, but share a common perspective: the romantic protest against modern bourgeois civilisation and its destruction of the natural environment. Although a rich ecocritical literature has developed since the 1990s, particularly in the United States and Britain, that addresses many aspects of ecology and its intersection with romanticism, they almost exclusively focus on literature, and define romanticism as a limited literary period of the late eighteenth and early nineteenth centuries. This study is one of the first to suggest a much broader view of the romantic relation to ecological discourse and representation, covering a range of cultural creations and viewing romanticism as a cultural critique, or protest against capitalist-industrialist modernity in the name of past, pre-modern, or pre-capitalist values. This book will be of great interest to students and scholars of ecology, romanticism, and the history of capitalism.
The influence of John Ruskin (1819-1900), both on his own time and on artistic and social developments in the twentieth century, cannot be over-stated. He changed Victorian perceptions of art, and was the main influence behind 'Gothic revival' architecture. As a social critic, he argued for the improvement of the condition of the poor, and against the increasing mechanisation of work in factories, which he believed was dull and soul-destroying. The thirty-nine volumes of the Library Edition of his works, published between 1903 and 1912, are themselves a remarkable achievement, in which his books and essays - almost all highly illustrated - are given a biographical and critical context in extended introductory essays and in the 'Minor Ruskiniana' - extracts from letters, articles and reminiscences both by and about Ruskin. Volume 1 contains early essays, and two pieces of fiction: Leoni and The King of the Golden River.
The influence of John Ruskin (1819-1900), both on his own time and on artistic and social developments in the twentieth century, cannot be over-stated. He changed Victorian perceptions of art, and was the main influence behind 'Gothic revival' architecture. As a social critic, he argued for the improvement of the condition of the poor, and against the increasing mechanisation of work in factories, which he believed was dull and soul-destroying. The thirty-nine volumes of the Library Edition of his works, published between 1903 and 1912, are themselves a remarkable achievement, in which his books and essays - almost all highly illustrated - are given a biographical and critical context in extended introductory essays and in the 'Minor Ruskiniana' - extracts from letters, articles and reminiscences both by and about Ruskin. This second volume contains Ruskin's poems.
The influence of John Ruskin (1819-1900), both on his own time and on artistic and social developments in the twentieth century, cannot be over-stated. He changed Victorian perceptions of art, and was the main influence behind 'Gothic revival' architecture. As a social critic, he argued for the improvement of the condition of the poor, and against the increasing mechanisation of work in factories, which he believed was dull and soul-destroying. The thirty-nine volumes of the Library Edition of his works, published between 1903 and 1912, are themselves a remarkable achievement, in which his books and essays - almost all highly illustrated - are given a biographical and critical context in extended introductory essays and in the 'Minor Ruskiniana' - extracts from letters, articles and reminiscences both by and about Ruskin. This fourth volume contains volume 2 of Modern Painters.
The influence of John Ruskin (1819-1900), both on his own time and on artistic and social developments in the twentieth century, cannot be over-stated. He changed Victorian perceptions of art, and was the main influence behind 'Gothic revival' architecture. As a social critic, he argued for the improvement of the condition of the poor, and against the increasing mechanisation of work in factories, which he believed was dull and soul-destroying. The thirty-nine volumes of the Library Edition of his works, published between 1903 and 1912, are themselves a remarkable achievement, in which his books and essays - almost all highly illustrated - are given a biographical and critical context in extended introductory essays and in the 'Minor Ruskiniana' - extracts from letters, articles and reminiscences both by and about Ruskin. This fifth volume contains Volume 3 of Modern Painters.
The influence of John Ruskin (1819-1900), both on his own time and on artistic and social developments in the twentieth century, cannot be over-stated. He changed Victorian perceptions of art, and was the main influence behind 'Gothic revival' architecture. As a social critic, he argued for the improvement of the condition of the poor, and against the increasing mechanisation of work in factories, which he believed was dull and soul-destroying. The thirty-nine volumes of the Library Edition of his works, published between 1903 and 1912, are themselves a remarkable achievement, in which his books and essays - almost all highly illustrated - are given a biographical and critical context in extended introductory essays and in the 'Minor Ruskiniana' - extracts from letters, articles and reminiscences both by and about Ruskin. This sixth volume contains Volume 4 of Modern Painters.
The influence of John Ruskin (1819-1900), both on his own time and on artistic and social developments in the twentieth century, cannot be over-stated. He changed Victorian perceptions of art, and was the main influence behind 'Gothic revival' architecture. As a social critic, he argued for the improvement of the condition of the poor, and against the increasing mechanisation of work in factories, which he believed was dull and soul-destroying. The thirty-nine volumes of the Library Edition of his works, published between 1903 and 1912, are themselves a remarkable achievement, in which his books and essays - almost all highly illustrated - are given a biographical and critical context in extended introductory essays and in the 'Minor Ruskiniana' - extracts from letters, articles and reminiscences both by and about Ruskin. This eighth volume contains The Seven Lamps of Architecture.
The influence of John Ruskin (1819-1900), both on his own time and on artistic and social developments in the twentieth century, cannot be over-stated. He changed Victorian perceptions of art, and was the main influence behind 'Gothic revival' architecture. As a social critic, he argued for the improvement of the condition of the poor, and against the increasing mechanisation of work in factories, which he believed was dull and soul-destroying. The thirty-nine volumes of the Library Edition of his works, published between 1903 and 1912, are themselves a remarkable achievement, in which his books and essays - almost all highly illustrated - are given a biographical and critical context in extended introductory essays and in the 'Minor Ruskiniana' - extracts from letters, articles and reminiscences both by and about Ruskin. This ninth volume contains Volume 1 of The Stones of Venice.
The influence of John Ruskin (1819-1900), both on his own time and on artistic and social developments in the twentieth century, cannot be over-stated. He changed Victorian perceptions of art, and was the main influence behind 'Gothic revival' architecture. As a social critic, he argued for the improvement of the condition of the poor, and against the increasing mechanisation of work in factories, which he believed was dull and soul-destroying. The thirty-nine volumes of the Library Edition of his works, published between 1903 and 1912, are themselves a remarkable achievement, in which his books and essays - almost all highly illustrated - are given a biographical and critical context in extended introductory essays and in the 'Minor Ruskiniana' - extracts from letters, articles and reminiscences both by and about Ruskin. This tenth volume contains Volume 2 of The Stones of Venice.
The influence of John Ruskin (1819-1900), both on his own time and on artistic and social developments in the twentieth century, cannot be over-stated. He changed Victorian perceptions of art, and was the main influence behind 'Gothic revival' architecture. As a social critic, he argued for the improvement of the condition of the poor, and against the increasing mechanisation of work in factories, which he believed was dull and soul-destroying. The thirty-nine volumes of the Library Edition of his works, published between 1903 and 1912, are themselves a remarkable achievement, in which his books and essays - almost all highly illustrated - are given a biographical and critical context in extended introductory essays and in the 'Minor Ruskiniana' - extracts from letters, articles and reminiscences both by and about Ruskin. This eleventh volume contains Volume 3 of The Stones of Venice.
The influence of John Ruskin (1819-1900), both on his own time and on artistic and social developments in the twentieth century, cannot be over-stated. He changed Victorian perceptions of art, and was the main influence behind 'Gothic revival' architecture. As a social critic, he argued for the improvement of the condition of the poor, and against the increasing mechanisation of work in factories, which he believed was dull and soul-destroying. The thirty-nine volumes of the Library Edition of his works, published between 1903 and 1912, are themselves a remarkable achievement, in which his books and essays - almost all highly illustrated - are given a biographical and critical context in extended introductory essays and in the 'Minor Ruskiniana' - extracts from letters, articles and reminiscences both by and about Ruskin. This twelfth volume contains Ruskin's lectures on architecture and painting.
The influence of John Ruskin (1819-1900), both on his own time and on artistic and social developments in the twentieth century, cannot be over-stated. He changed Victorian perceptions of art, and was the main influence behind 'Gothic revival' architecture. As a social critic, he argued for the improvement of the condition of the poor, and against the increasing mechanisation of work in factories, which he believed was dull and soul-destroying. The thirty-nine volumes of the Library Edition of his works, published between 1903 and 1912, are themselves a remarkable achievement, in which his books and essays - almost all highly illustrated - are given a biographical and critical context in extended introductory essays and in the 'Minor Ruskiniana' - extracts from letters, articles and reminiscences both by and about Ruskin. This thirteenth volume contains The Harbours of England and other writings on Turner.
The influence of John Ruskin (1819-1900), both on his own time and on artistic and social developments in the twentieth century, cannot be over-stated. He changed Victorian perceptions of art, and was the main influence behind 'Gothic revival' architecture. As a social critic, he argued for the improvement of the condition of the poor, and against the increasing mechanisation of work in factories, which he believed was dull and soul-destroying. The thirty-nine volumes of the Library Edition of his works, published between 1903 and 1912, are themselves a remarkable achievement, in which his books and essays - almost all highly illustrated - are given a biographical and critical context in extended introductory essays and in the 'Minor Ruskiniana' - extracts from letters, articles and reminiscences both by and about Ruskin. This fourteenth volume contains Ruskin's 'Academy Notes' and other writings on painting and painters.
The influence of John Ruskin (1819-1900), both on his own time and on artistic and social developments in the twentieth century, cannot be over-stated. He changed Victorian perceptions of art, and was the main influence behind 'Gothic revival' architecture. As a social critic, he argued for the improvement of the condition of the poor, and against the increasing mechanisation of work in factories, which he believed was dull and soul-destroying. The thirty-nine volumes of the Library Edition of his works, published between 1903 and 1912, are themselves a remarkable achievement, in which his books and essays - almost all highly illustrated - are given a biographical and critical context in extended introductory essays and in the 'Minor Ruskiniana' - extracts from letters, articles and reminiscences both by and about Ruskin. This sixteenth volume contains essays and lectures on aesthetics.
The influence of John Ruskin (1819-1900), both on his own time and on artistic and social developments in the twentieth century, cannot be over-stated. He changed Victorian perceptions of art, and was the main influence behind 'Gothic revival' architecture. As a social critic, he argued for the improvement of the condition of the poor, and against the increasing mechanisation of work in factories, which he believed was dull and soul-destroying. The thirty-nine volumes of the Library Edition of his works, published between 1903 and 1912, are themselves a remarkable achievement, in which his books and essays - almost all highly illustrated - are given a biographical and critical context in extended introductory essays and in the 'Minor Ruskiniana' - extracts from letters, articles and reminiscences both by and about Ruskin.This seventeenth volume contains Ruskin's works on political economy: Unto This Last, Munera Pulveris and Time and Tide. |
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