This literary life of the best-loved of all the major Romantic writers uses Coleridge's own "Biographia Literaria" as its starting point and destination. The most sustained criticism and ambitious theory that had ever been attempted in English, the "Biographia" was Coleridge's major statement to an embattled literary culture in which he sought to define and defend, not just his own, but all imaginative life. This book offers a reading of Coleridge and his life in the context of that culture and the institutions that comprised it, and is a 'must-read' for any student or scholar of Coleridge.

In a work that will be of interest to students and scholars of American Literature, Romanticism, Transcendentalism, the History of Ideas,and Religious Studies, Brad Bannon examines Samuel Taylor Coleridge's engagement with the philosophical theology of Jonathan Edwards. A closer look at Coleridge's response to Edwards clarifies the important influence that both thinkers had on seminal works of the nineteenth century, ranging from the antebellum period to the aftermath of the American Civil War-from Poe's fiction and Emerson's essays to Melville's Billy Budd and Crane's The Red Badge of Courage. Similarly, Coleridge's early espousal of an abolitionist theology that had evolved from Edwards and been shaped by John Woolman and Olaudah Equiano sheds light on the way that American Romantics later worked to affirm a philosophy of supernatural self-determination. Ultimately, what Coleridge offered the American Romantics was a supernatural modification of Edwards' theological determinism, a compromise that provided Emerson and other nineteenth-century thinkers with an acceptable extension of an essentially Calvinist theology. Indeed, a thoroughgoing skepticism with respect to salvation, as well as a faith in the absolute inscrutability of Providence, led both the Transcendentalists and the Dark Romantics to speculate freely on the possibility of supernatural self-determination while doubting that anything other than God, or nature, could harness the power of causation.

Today Blake scholarship is experiencing a period of unprecedented variety and mutuality. These essays reflect the methodological cross-fertilisations now taking place in Blake scholarship and explore the range of debates and contentions generated by these encounters, embracing figurative, structural, and material readings of Blake's life and works.

The first edition was regarded as the definitive survey of Gothic and related terror writing in English. No other text considers this genre on such a scale and covers the theoretical perspectives so comprehensively. In the latest edition, the broad range of theoretical perspectives has been enlarged to include modern critical theories. Volume One is a thoroughly updated edition of the original text, covering the period from 1765 up to the Edwardian age, exploring the richness and literary diversity of the gothic form: from the original eighteenth-century gothic of Ann Radcliffe to the melodramatic fiction of Wilkie Collins.

This collection reveals the variety of literary forms and visual media through which travel records were conveyed in the long nineteenth century, bringing together a group of leading researchers from a range of disciplines to explore the relationship between travel writing, visual representation and formal innovation.

In his quest for a truly native idiom, Walt Whitman (1819-1892) incarnated the American geography and its people in a new and transcendent poetic form. His monumental work, Leaves of Grass, celebrates sexuality, gender equality, and the astonishing beauty of the everyday. For Whitman, "The true use for the imaginative faculty of modern times is to give ultimate vivification to facts, to science and to common lives, endowing them with glows and glories and final illustriousness which belong to real things, and to real things only."
This complete edition of Leaves of Grass, which includes "Sands at Seventy" (from November Boughs) and "Good-bye My Fancy," contains those poems that have become part of the great American literature, including "Song of Myself," "When Lilacs Last in the Dooryard Bloom'd," "I Sing the Body Electric," and "O Captain, My Captain."

Walter Benjamin holds a unique fascination for students and scholars interested in the question of modernity. The most original thinker of Weimar Germany, Benjamin has become something of a cultural icon and his works are often regarded with awe rather than critical scrutiny. This book offers surprising new insights from a number of perspectives -- sociology, history, women's studies, literary and cultural studies -- and investigates unexplored areas of Benjamin scholarship to arrive at a critically balanced perception of his work.
There are four main sections:
- a critical re-evaluation of Benjamin's concepts of history and modernity in light of postmodernist discourses;
- a discussion of aspects of Benjamin's literary scholarship;
- a re-evaluation of Benjamin's writings on media and performance theories; and
- an investigation of Benjamin's peculiar 'utopianism' which includes a critical consideration of sexual/gender politics.

In Writing in Between, Beth Sharon Ash develops an important theoretical framework for interpreting Conrad's signal texts and his situation as an author. Using relational psychoanalysis, Ash reinserts into the literary conversation the idea of the psychologically inflected subject. She integrates authorial and fictional subjectivity within specific historical contexts, thus lending agency and density to the "relational subject" without neglecting the social forces which shape it. Organized around the thematics of unfinished mourning, this book carefully positions Conrad as a writer caught 'in between,' as both a figure of alienation critically disenchanted with British imperialism, and an orphan of genius desperately desiring a fit with his adopted culture. Through fine-grained, often surprising readings of Conrad's novels and broad analyses of psychoanalytic and modernist criticism, Ash persuasively refocuses how one reads Conrad and, in doing this, retheorizes the subject and its literary relations.

"Coleridge and the Crisis of Reason" examines Coleridge's understanding of the Pantheism Controversy - the crisis of reason in German philosophy - and reveals the context informing Coleridge's understanding of German thinkers. It challenges previous accounts of Coleridge's philosophical engagements, forcing a reconsideration of his reading of figures such as Schelling, Jacobi and Spinoza. This exciting new study establishes the central importance of the contested status of reason for Coleridge's poetry, accounts of the imagination and later religious thought.

Part of the American Literatures Initiative Series From the patricians of the early republic to post-Reconstruction racial scientists, from fin de siecle progressivist social reformers to post-war sociologists, character, that curiously formable yet equally formidable "stuff," has had a long and checkered history giving shape to the American national identity. Bodies of Reform reconceives this pivotal category of nineteenth-century literature and culture by charting the development of the concept of "character" in the fictional genres, social reform movements, and political cultures of the United States from the mid-nineteenth to the early-twentieth century. By reading novelists such as Herman Melville, Mark Twain, Pauline Hopkins, and Charlotte Perkins Gilman alongside a diverse collection of texts concerned with the mission of building character, including child-rearing guides, muscle-building magazines, libel and naturalization law, Scout handbooks, and success manuals, James B. Salazar uncovers how the cultural practices of representing character operated in tandem with the character-building strategies of social reformers. His innovative reading of this archive offers a radical revision of this defining category in U.S. literature and culture, arguing that character was the keystone of a cultural politics of embodiment, a politics that played a critical role in determining-and contesting-the social mobility, political authority, and cultural meaning of the raced and gendered body.

Written in an age of revolutions, Lyrical Ballads represents a radical new way of thinking - not only about literature but also about our fundamental perceptions of the world. The poetry of Wordsworth and Coleridge continues to be among the most appealing and challenging in the rich tradition of English Literature; and Lyrical Ballads, composed at the height of the young authors' creative powers, is now widely acclaimed as a landmark in literary history. In this lively study, detailed analysis of individual poems is closely grounded in the literary, political and historical contexts in which Lyrical Ballads was first conceived, realised and subsequently expanded into two volumes. John Blades examines poetry from both volumes and carefully reassesses the poems in the light of Wordsworth's and Coleridge's revolutionary theories, while Part II of the study broadens the discussion by tracing the critical history of Lyrical Ballads over the two centuries since its first publication. Providing students with the critical and analytical skills with which to approach the poems, and offering guidance on further study, this stimulating book is essential reading.

This book examines Austen's novels in relation to her philosophical and religious context, demonstrating that the combination of the classical and theological traditions of the virtues is central to her work. Austen's heroines learn to confront the fundamental ethical question of how to live their lives. Instead of defining virtue only in the narrow sense of female sexual virtue, Austen opens up questions about a plurality of virtues. In fresh readings of the six completed novels, plus Lady Susan, Emsley shows how Austen's complex imaginative representations of the tensions among the virtues engage with and expand on classical and Christian ethical thought.

This collection of essays sets out to challenge the dominant narrative about Victorian theatre by placing the practices and products of the Victorian theatre in relation to Victorian visual culture, through the lens of the concept of 'Ruskinian theatre, ' an approach to theatre which values its educative purpose as well as its aesthetic expression.

'Beer offers an assemblage of discrete essays ( written in the spirit of the short story itself), connected by generic and thematic concerns, with the delightful result of giving us a series of lucidly written close readings from the perspective of what Virginia Woolf calls 'the common reader' - Katherine Joslin, Western Michigan University A wide range of short fiction by Kate Chopin, Edith Wharton and Charlotte Perkins Gilman is the focus for this study, examining both genre and theme. Chopin's short short stories, Wharton's novellas, Chopin's frankly erotic writing and the homilies in which Gilman warns of the dangers of the sexually transmitted disease are compared. There are also essays on ethnicity in the work of Chopin, Wharton's New England stories, Gilman's innovative use of genre and 'The Yellow Wallpaper' on film.

For women-identified writers of both eras, the fantastic offered double vision. Not only did the genre offer strategic cover for challenging the status quo, but also a heuristic mechanism for teasing out the gendered psyche's links to creative, personal, and erotic agency. These dynamic presentations of female and gender-queer subjectivity, are linked in intriguing and complex matrices to key moments in gender(ed) history. This volume contains essays from international scholars covering a wide range of topics, including werewolves, mummies, fairies, demons, time travel, ghosts, haunted spaces and objects, race, gender, queerness, monstrosity, madness, incest, empire, medicine, and science. By interrogating two non-consecutive decades, we seek to uncover the inter-relationships among fantastic literature, feminism, and modern identity and culture. Indeed, while this book considers the relationship between the 1890s and 1920s, it is more an examination of women's modernism in light of gendered literary production during the fin-de-siecle than the reverse.

The confidence of the Victorian age was not built on consensus; the Victorians were divided between multiple views of the political, religious and social issues that motivated their changing aspirations. Such contentions were a fundamental aspect of the literature of the period, and this book proposes new ways of understanding their significance.

Dickens's career as a journalist spanned four decades, during which he wrote over 350 articles: reports, sketches, reviews, leaders, exposblioges, satires and reminiscences. This project offers the first critical guide to over a million words of vintage Dickens, which have been much overlooked in continuous assessments and re-assessments of his novels. It provides both a biographical and socio-historical account of the main phases of Dickens's career as a journalist, and a critical assessment of the thematic and stylistic development of his work.

William Wordsworth (1770-1850) needs little introduction as the central figure in Romantic poetry and a crucial influence in the development of poetry generally. This broad-ranging survey redefines the variety of his writing by showing how it incorporates contemporary concepts of language difference and the ways in which popular and serious literature were compared and distinguished during this period. It discusses many of Wordsworth's later poems, comparing his work with that of his regional contemporaries as well as major writers such as Scott. The key theme of relationship, both between characters within poems and between poet and reader, is explored through Wordsworth's construction of community and his use of power relationships. A serious discussion of the place of sexual feeling in his writing is also included.

Matthew Arnold was one of the nineteenth century's greatest spokesmen for the saving power of culture, especially of poetry, to substitute for a vanishing religion. Yet he was persistently troubled throughout his career by the difficulty of finding adequate authority in language. Matthew Arnold and the Betrayal of Language explores Arnold's attempts to find an authoritative language, and argues that his occasional claims for such a language reveal more uneasiness than confidence in the value of ""letters."" It examines Arnold's poetry within this context and demonstrates that his various experiments - to speak in oracular voice, to use classic forms, to achieve a grand style - and their failures, reflect the inevitable difficulties facing any poet in an age of intellectual and cultural upheaval. Riede argues that Arnold's determined efforts to write with authority, combined with his deep-seated suspicion of his medium, result in an exciting if often agonized tension in his poetic language - a language that strains against its inevitable but generally unacknowledged limitations.

More than one hundred years after being written, Great Expectations is still one of the most widely studied works of fiction. This casebook of historical documents, collateral readings and essays brings to life both Dickens' masterpiece and the social issues surrounding his work. The interdisciplinary approach offers students insight into the historically significant issues, such as child welfare, that ignited Dickens' creative and moral sensibilities. Newlin has unearthed significant documentation on the dilemma of Victorian women, supplying original social commentary such as Mary Wollstonecraft's 1792 A Vindication of the Rights of Women, and John Stuart Mill's 1861 The Subjection of Women. This work also addresses the transportation and deportation of convicts with first-hand accounts of the treatment of prisoners. Original materials describing the significance of class distinctions, with demographic data from 1834, point up the socio-economic gaps that stratified Victorian society. Other primary documents describe the physical settings such as the Marsh Country and the river, and Bow Street in London, that figure prominently in Great Expectations. This collection of sources will help broaden students' understanding of Great Expectations and places it within its historical context. A literary analysis chapter introduces students to the important themes and various writing techniques employed by Dickens. Each subsequent chapter offers original essays and explication of historical documents on significant issues. Each section concludes with thought-provoking study questions, topics for research, and lists of suggested readings. This volume will enhance students' reading of this classicand will facilitate further research for student and teacher alike.

The continuing cultural encounters of the Americas, between European and indigenous cultures, and between scientific materialism and premodern supernaturalism, have originated new narrative forms. While supernatural short fiction of the Americas belongs to the broad category of the fantastic, which is generally approached synchronically, reading audiences of the past 200 years have shifted their beliefs about the supernatural several times. While nineteenth-century readers understood science as real and the supernatural as imaginary, modern audiences recognize both as inaccurate, a shift which allows authors of supernatural fiction to celebrate premodern indigenous beliefs which were once disdained by a materialist culture.

This book situates supernatural short fiction of the Americas within the changing cultural and epistemological contexts of the last 200 years and explores how authors have drawn upon a wealth of indigenous traditions. The book begins with a discussion of theories of the supernatural and the fantastic. It then looks at some of the first encounters of European and Native American supernatural beliefs and points to the common elements of these early traditions. The volume next focuses on American literature of the nineteenth century, which has a complex fusion of materialist biases and metaphysical fascinations. The final portion of the book gives greater attention to Spanish-American literature and the blending of the supernatural with attitudes of nostalgia and uncertainty.

From his work editing "Wordsworth's Juvenile Poetry (1785-1790)," Duncan Wu came to understand that much of the content of the poet's later great work drew on early childhood experiences, particularly delayed mourning arising from his parents' deaths. This original study is the first fully to investigate the impact of this formative experience on Wordsworth's poetry and to integrate it into a critical account of how his art developed from 1787 to 1813. In doing so it seeks to explain the importance of Wordsworth's great epic, "The Recluse," to his work as a whole, and looks at how some of it got written and why it was left unfinished at his death.

The book includes 20 illustrations from original notebooks retained by the Wordsworth Trust in Grasmere, and, among its numerous discoveries, presents the first annotated reading text of The "White Doe of Rylstone" (1808) with its important 'Advertizement'. Written in an accessible manner, this revealing study will be of great interest to students and researchers of Wordsworth's poetry.

Romanticism, Medicine and the Natural Supernatural explores the relationship between the Romantic preoccupation with visionary kinds of experience and early nineteenth-century medical theories of hallucination and the nerves, placing it in the context of accounts of perception in philosophical empiricism. Starting with an examination of Ann Radcliffe's Gothic narrative, and the canonical Romanticism of Wordsworth and Coleridge, the book goes on to examine the persistence of this medical topos of hallucination and the visionary in mid nineteenth-century writers influenced by Romanticism, such as Harriet Martineau and Harriet Beecher Stowe. The book concludes with a discussion of how the pathological language employed in early debates about Pre-Raphaelite painting reflects this Romantic conception of the interrelationship between nervous strain, hallucination and vision.

This collection of essays by leading Byronists explores the development of the myth of Byron and the Byronic from the poet's self-representations to his various appearances in nineteenth- and twentieth-century literature and in drama, film and portraiture. Byromania (as Annabella Milbanke named the frenzied reaction to Byron's poetry and personality) looks at the phenomena of Byronism through a variety of critical perspectives, and it is designed to appeal to both an academic and a popular readership alike.

This lively and wide-ranging study argues that English Literature as typically understood has not been English, but tailored to UK state needs, and that it has blocked a literature of England, which has nevertheless recently become irresistible. Going back through twentieth century literary and cultural history, it shows that this re-emergence has risen unevenly since the 1910s, and has struggled against the foundations of the discipline, which it sees in the reaction against the French Revolution. Where after 1815 English Literature helped to export a certain idea of a pre-existing canon in empire, these conditions have now decayed to the extent that a re-emergence of a 'placed' literature of England is inevitable. This study relates the emergence of England in literature to the constitutional changes which have unwound in devolution, and shows that these intimately related moments of rupture will have widespread impact on the Humanities.