Romanticism and Blackwood's Magazine is inspired by the ongoing critical fascination with Blackwood's Edinburgh Magazine, and the burgeoning recognition of its centrality to the Romantic age. Though the magazine itself was published continuously for well over a century and a half, this volume concentrates specifically on those years when William Blackwood was at the helm, beginning with his founding of the magazine in 1817 and closing with his death in 1834. These were the years when, as Samuel Taylor Coleridge put it in 1832, Blackwood's reigned as "an unprecedented Phenomenon in the world of letters." The magazine placed itself at the centre of the emerging mass media, commented decisively on all the major political and cultural issues that shaped the Romantic movement, and published some of the leading writers of the day, including Coleridge, Thomas De Quincey, John Galt, Felicia Hemans, James Hogg, Walter Scott, and Mary Shelley.

American literary magazines published between 1850 and 1900 were an outlet for numerous creative works, book reviews, and other material. Like Herman Melville, Mark Twain, and Henry James, many of the authors who wrote for these magazines are among the most famous American authors. This index makes readily available for the first time thousands of references to major and minor literary figures and their works. It is also a guide to the many thousands of facts, opinions, and comments on 19th-century American culture that are contained in literary magazines of the period. Alphabetically arranged entries cover roughly a thousand authors, along with topics such as the novel, poetry, drama and theater, Darwinism, women, American literature, and copyright law. During the latter half of the 19th-century, literary magazines flourished in America. Young writers enjoying their first important publication stand shoulder to shoulder with established writers in magazine issues that are so rich with original material that they often resemble anthologies. Perhaps even more significantly, editors and reviewers doggedly plied their trade of evaluating and criticizing promising new volumes, analyzing trends and movements, and recording the rise and fall of reputations. The Literary Index is the result of combing 11 prominent American literary magazines for every reference to all major and hundreds of minor writers and their works that appeared on the American literary scene in the second half of the 19th century. Brought to light are tens of thousands of references to writers, works, and issues that have never been studied before. This rich source of material drawn from all sections of the magazines-original works, articles, reviews, gossip columns, and correspondence, provides unprecedented access to information on the receptions of major works, the comings and goings of writers and obscure works. The 700 author entries are arranged alphabetically and include citations for some 7000 titles. In addition, there are exhaustive and comprehensive lists of citations for general subjects such as the novel, poetry, drama and theater, American literature, Darwinism, and women, as well as a section on the century-long battle over the passage of an international copyright law. Every aspect of the literary world of late 19th-century America is represented, making this volume an indispensable reference work for scholars.

These essays are lectures, mostly revised or expanded, given to the Tennyson Society by leading Victorianists, including one of the doyens of Tennyson studies, Jerome H. Buckley. In Memoriam and Maud are central texts, but many other poems are discussed - lyrics, dramatic monologues, narratives, ballads - and such recurrent topics as loss, the numinous and distance in space and time. The poems are related to their intellectual context and to other poets such as Wordsworth and Edward Fitzgerald. The author also wrote Dickens and Crime.

Due toa series of historical conflicts, coincidences and discoveries, the ancient civilizations and contemporary dilemmas posed by the 'Middle East' were much on the minds of authors and ordinary citizens in the English-speaking world of the late nineteenth and early twentieth centuries. In the wake of the First World War, the European powers sought to redraw the boundaries of many Near Eastern countries, a dubious favour that has had many repercussions. But what did contemporary writers and thinkers think that their images of the Middle East and the so-called 'Arab Other' might do for them in return? This text provides some answers to these questions. It examines the imaginative uses to which representative Anglo-American modernist writers put their images of the Near East and its inhabitants. These Orientalist fantasies became entangled in desires to reshape both the Western character and Western literature - renovating both seemed essential to the larger project of saving Western civilization from decadence. Unfortunately for these authors, or perhaps fortunately, these dreams of identification with an Other and with a region viewed as hard, granitic, noble and strange increasingly fall victim to their own popularity. Authors like Wyndham Lewis, who remained obsessed with kitsch even as he railed against it, record the increasing difficulty of keeping their fantasy pure and untouched. The final chapter of the text traces the fantasy's willed destruction in the works of gleefully perverse authors such as Paul Bowles, and that fantasy's rich and equally perverse persistence.

This is the first full-length psychoanalytic study of Shelley's poetry, approaching it from the viewpoint of contemporary Jungian analytical psychology that incorporates the theories of Melanie Klein and D.W.Winnicott. The author uses materials that relate to the earliest stages of the ego's development, going back beyond the Oedipal to pre-Oedipal situation. The book is designed to be of interest to lovers of Shelley as well as feminist readers who want to know how pre-Oedipal images of the mother can profoundly affect literature. Christine Gallant is editor of "Coleridge's Theory of Imagination Today" (AMS Press 1988) and "Blake and the Assimilation of Chaos" (Princeton UP, 1978).

Fairy Tales, Natural History and Victorian Culture examines how literary fairy tales were informed by natural historical knowledge in the Victorian period, as well as how popular science books used fairies to explain natural history at a time when 'nature' became a much debated word.

This book situates John Clare's long, prolific but often badly neglected literary life within the wider cultural histories of the Regency and earlier Victorian periods. The first half considers the construction of the Regency peasant-poet and how Clare performed this role on stages such as the London Magazine. It also looks at the way in which it went out of fashion as Regency mentalities were replaced by early Victorian ones. The second half recreates asylum culture and places Clare's performances as Regency boxers and Lord Byron within this bleak new world.

Drawing on research into the book-production records of twelve publishers-including George Bell & Son, Richard Bentley, William Blackwood, Chatto & Windus, Oliver & Boyd, Macmillan, and the book printers William Clowes and T&A Constable - taken at ten-year intervals from 1836 to 1916, this book interprets broad trends in the growth and diversity of book publishing in Victorian Britain. Chapters explore the significance of the export trade to the colonies and the rising importance of towns outside London as centres of publishing; the influence of technological change in increasing the variety and quantity of books; and how the business practice of literary publishing developed to expand the market for British and American authors. The book takes examples from the purchase and sale of popular fiction by Ouida, Mrs. Wood, Mrs. Ewing, and canonical authors such as George Eliot, Wilkie Collins, and Mark Twain. Consideration of the unique demands of the educational market complements the focus on fiction, as readers, arithmetic books, music, geography, science textbooks, and Greek and Latin classics became a staple for an increasing number of publishing houses wishing to spread the risk of novel publication.

Behind every mother lurks The Great Mother with her awesome power over life and death. Numerous fairy tales deal with women's and men's fear of this power and its threat to their individuality. This fascinating study discusses the psychology of this fear and patriarchal attempts to control it by impeding female bonding. The dynamics involved in the psychology of the birth episodes is especially intriguing. The study exhibits solid scholarship and a keen sense for the relevance of the fairy tale tradition to women of today.

In an innovative and wide-ranging collection of essays, The Performing Century looks at modes of performance and forms of theatre in Nineteenth-century Britain and Ireland. From the vogue for fairy plays to the acting styles of melodrama, from the work of a single impresario to the nature of a genre, from ship-launches in Belfast to royal weddings in England, from the representation of economics to the work of a parliamentary committee in regulating theatres, the authors bring new perspectives on familiar material and radically redefine what theatre and performance in the Nineteenth century might be.

Written by literary scholars, historians of science, and cultural historians, the twenty-two original essays in this collection explore the intriguing and multifaceted interrelationships between science and culture through the periodical press in nineteenth-century Britain. Ranging across the spectrum of periodical titles, the six sections comprise: 'Women, Children, and Gender', 'Religious Audiences', 'Naturalizing the Supernatural', 'Contesting New Technologies', 'Professionalization and Journalism', and 'Evolution, Psychology, and Culture'. The essays offer some of the first 'samplings and soundings' from the emergent and richly interdisciplinary field of scholarship on the relations between science and the nineteenth-century media.

Charlotte Bronte: legacies and afterlives is a timely reflection on the persistent fascination and creative engagement with Charlotte Bronte's life and work. The new essays in this volume, which cover the period from Bronte's first publication to the twenty-first century, explain why her work has endured in so many different forms and contexts. This book brings the story of Charlotte Bronte's legacy up to date, analysing the intriguing afterlives of characters such as Jane Eyre and Rochester in neo-Victorian fiction, cinema, television, the stage and, more recently, on the web. Taking a fresh look at 150 years of engagement with one of the best-loved novelists of the Victorian period, from obituaries to vlogs, from stage to screen, from novels to erotic makeovers, this book reveals the author's diverse and intriguing legacy. Engagingly written and illustrated, the book will appeal to both scholars and general readers. -- .

There have been several biographies of George Eliot but this is the first study to focus on her intellectual development. The book provides an analysis of the biographical and intellectual factors which encouraged George Eliot to decide upon fiction as her chosen mode of expression, and demonstrates how that decision was influenced by, and an echoing of, J.S.Mill's and Carlyle's critiques of philosophy.

"Romantic Dharma maps the emergence of Buddhism into European consciousness during the first half of the nineteenth century, probes the shared ethical and intellectual commitments embedded in Buddhist and Romantic thought, and proposes potential ways by which those insights translate into contemporary critical and pedagogical practices"--

What is the Gothic? Few literary genres have attracted so much praise and critical disdain simultaneously. This Guide returns to the Gothic novel's first wave of popularity, between 1764 and 1820, to explore and analyse the full range of contradictory responses that the Gothic evoked. Angela Wright appraises the key criticism surrounding the Gothic fiction of this period, from eighteenth-century accounts to present-day commentaries. Adopting an easy-to-follow thematic approach, the Guide examines: - contemporary criticism of the Gothic - the aesthetics of terror and horror - the influence of the French Revolution - religion, nationalism and the Gothic - the relationship between psychoanalysis and the Gothic - the relationship between gender and the Gothic. Concise and authoritative, this indispensable Guide provides an overview of Gothic criticism and covers the work of a variety of well-known Gothic writers, such as Horace Walpole, Ann Radcliffe, Matthew Lewis and many others.

Lady Caroline Lamb was described by her lover, Lord Byron, as having a heart like a "little volcano" and as "the cleverest most agreeable, absurd, amiable, perplexing, dangerous fascinating little being that lives now or ought to have lived 2000 years ago." She wrote witty and revealing letters to fellow writers like Lady Morgan, William Godwin, Robert Malthus, and Amelia Opie, and to her publishers John Murray and Henry Colburn, to her cousins Hart, Georgiana, and Harrio, as well as to her mother, husband, son, and lovers. In those letters, she told her correspondents "the whole disgraceful truth" of her drug and alcohol addictions, her affairs with Sir Godfrey Vassal Webster, Lord Byron, and Michael Bruce, and her jealousy of her cousin Georgiana (whom William Lamb had "adored" before proposing to Caroline). She also revealed her efforts to make a happy life for her mentally retarded, epileptic son, Augustus, and her determination to become a respected writer of fiction and poetry.

This interdisciplinary collection explores the divergence or convergence of freedom and terror in a range of Byron's works. Challenging the binary opposition of historicism and critical theory, it combines topical debates in a manner that is sensitive both to the circumstances of their emergence and to their relevance for the twenty-first century.

This book argues that Romantic-era writers used the figure of the minstrel to imagine authorship as a social, responsive enterprise unlike the solitary process portrayed by Romantic myths of the lone genius. Simpson highlights the centrality of the minstrel to many important literary developments from the Romantic era through to the 1840s.

A must-read for scholars of visuality, gender and sexuality. Denisoff's study explores the ways in which gothic, sensation and "noir" literature and cinema manipulated common notions of the visual in order to challenge sex- and gender-based assumptions that marginalized certain people and desires. Addressing authors and directors such as Mary Braddon, Wilkie Collins, Oscar Wilde, Vernon Lee, Virigina Woolf, Daphne du Maurier, Alfred Hitchcock, Otto Preminger and Fritz Lang, this study shows that what a society gets is often what it tries hardest not to see.

"Thomas Hardy, Sensationalism, and the Melodramatic Mode" provides the first full-length study of sensationalist and melodramatic elements in Hardy's novels. Through a discussion of six of Hardy's texts, this book demonstrates the ways in which he uses the melodramatic mode to advance his critique of established Victorian cultural beliefs through the employment of non-realistic plot devices and sensational "excess."

Showalter's thoughtful, detailed introductory essay is a comprehensive analysis between Rosetti's novella and Craik's essays...the biographical portrait of Christina Rossetti's conflicts makes her a vivid example of the psychological and social barriers to the development of the female poets...her description of Dinah Mulock Craik stressed this woman's common-sense approach to ameliorating the position of the working-class woman in society...useful to students of feminist theory and of Victorian literature.
--"Academic Library Book Review"

Cristina Rossetti was nineteen years old when she wrote Maude: Prose and Verse in 1850. Clearly autobiographical, the novel examines the heroine's endeavor to resist the notion that modesty, virtue and domesticity constitute the sole duties of womanhood.

For the precocious young poet, the work was only one of several projects of her teens. Growing up in London as the youngest child in a gifted and unusual family of artists and writers, Rossetti had early developed a poetic vocation. But by the time she wrote "Maude," the lively, passionate, and adventurous little girl who had hated needlework, delighted in fiercely competitive games of chess, and explored the country with her brothers became a painfully constrained, sickly, and over-scrupulous teenager. "Maude" makes clear that at least some of Rossetti's affliction came from anxieties about poetic achievement, her wishes both to be admired for her genius and to renounce it as unfeminine. Often overshadowed by her brother Dante Gabriel Rossetti, Christina struggled to express her own independent authorial voice, and to resist a life bound by the constraints and demands of the traditional female role.

Other late Victorian attitudes towards Anglican women's communities are brought out in "On Sisterhoods" by Dinah Mulock Craik which appeared in Longman's magazine in 1883. Craik herself worked on the literary border between feminine gentility and feminist rebellion. In 1850, when Christina Rossetti was writing "Maude" within the confines of her family, Dinah Mulock was supporting herself and her two younger brothers by her pen. "On Sisterhoods" confronts head-on the woman question.' Asserting that women's role is to find beauty in their lives through altruism and good works--to be more or less good women'--Craik provides a radical solution to the woman question' by advocating the encouragement of Anglican sisterhoods, effectively women's co-operatives. For her, the strongest argument for such a sisterhood is the alternative life it offers to single women, with no outlets for their maternal emotions.

The third text presented here, Craik's "A Woman's Thoughts About Women," was a widely circulated manual of advice on female self-sufficiency for unmarried women, based on her own experience in a family left destitute by an eccentric father when she was nineteen. It addressed a pressing contemporary problem: the large number of urban single women who were well educated and qualified but for whom traditional employment offered no place. Craik understood that independence would come hard to middle-class women, yet she was optimistic about the ways women might re-educate themselves, abandoning false pride and learning to manage small businesses or conduct trades.

Throughout her career, Craik masked her private feminist views with disdain for women's rights and criticism of women's public activism. Unmarried and self-supporting until the age of forty, she wrote about the problems of single and working women in over fifty popular novels, children's stories and collections of essays.

Focusing on narrative structure, irony, satire and allusion, The Hidden Hardy offers a radical new perspective on Thomas Hardy's novels. Hardy's own accounts of himself and his work have long been seen as calculated impostures; it is argued here that the same qualities are not only present in his novels, but are critical factors in the way they are made. The respectable and acceptable surfaces are the impostures, masking hidden texts which are extremely hostile to established social, economic and cultural structures.

Exiled Royalties is a literary/biographical study of the course of Melville's career from his experience in Polynesia through his retirement from the New York Custom House and his composition of three late volumes of poetry and Billy Budd, Sailor. Conceived separately but narratively and thematically intertwined, the ten essays in the book are rooted in a belief that "Melville's work," as Charles Olson said, "must be left in his own 'life, '" which for Milder means primarily his spiritual, psychological, and vocational life. Four of the ten essays deal with Melville's life and work after his novelistic career ended with the The Confidence-Man in 1857. The range of issues addressed in the essays includes Melville's attitudes toward society, history, and politics, from broad ideas about democracy and the course of Western civilization to responses to particular events like the Astor Place Riots and the Civil War; his feeling about sexuality and, throughout the book, about religion; his relationship to past and present writers, especially to the phases of Euro-American Romanticism, post-Romanticism, and nascent Modernism; his relationship to his wife, Lizzie, to Hawthorne, and to his father, all of whom figured in the crisis that made for Pierre. The title essay, "Exiled Royalties," takes its origin from Ishmael's account of "the larger, darker, deeper part of Ahab"--Melville's mythic projection of a "larger, darker, deeper part" of himself. How to live nobly in spiritual exile--to be godlike in the perceptible absence of God--was a lifelong preoccupation for Melville, who, in lieu of positive belief, transposed the drama of his spiritual life to literature. The ways in which this impulseexpressed itself through Melville's forty-five year career, interweaving itself with his personal life and the life of the nation and shaping both the matter and manner of his work, is the unifying subject of Exiled Royalties.

Now in paperback, this book considers crime fighting from the perspective of the civilian city-goer, from the mid-Victorian garotting panics to 1914. It charts the shift from the use of body armour to the adoption of exotic martial arts through the works of popular playwrights and novelists, examining changing ideals of urban, middle-class heroism.

"The Gothic and the Rule of Law" is the first full-length theoretical and historical study of the relation between early Gothic fiction and an emerging modern rule of law. The work identifies not only a political and cultural, but also an ontological relation between what critics have conceptualized as 'Gothic' and the nature and function of modern juridical power. It represents a highly significant contribution to Gothic criticism and to law and literature scholarship.