Providing a ready access to the main facts of Poe's life and career, this Chronology will be of service to the student, scholar or general reader who wishes to check a point quickly without referring to the detailed narratives offered by the standard biographies. The Chronology includes details of Poe's works, both those published in his lifetime and those which appeared posthumously. There is a full index of persons, places and works referred to.

J.L. Bradley's chronology captures much of the drama and excitement of Shelley's life. This is an informative, often witty account which will be extremely valuable to all Shelley students, scholars and enthusiasts. A section on the Shelley circle is a particularly helpful supplement to the main body of the book.

The practice of poetry in the Victorian period was characterised by an extreme diversity of styles, preoccupations and subject-matter. This anthology attempts to draw out some of the main focuses of interest in the Victorian poet. No Victorian poet produced an overall theory of poetry, yet all accepted it as a natural vehicle of expression, and for some subjects, in particular sexuality, the only literary mode. Indeed, the sexual question was made even more acute by the sudden phenomenon of the 'poetess', and the relation of poetry to gender raised interesting new critical questions. At the same time, the cultural role of the poet came under increasing debate: Victorian poetry was the first contemporary poetry to be studied. This selection of central texts illustrates these pressures on the Victorian practice of poetry, and the introductory remarks suggest ways in which theory can be related to the understanding key poems themselves.

The 1990s have witnessed a major reassessment of Blake initiated by a new and more rigorous comprehension of his modes of production, which in turn has led to re-evaluation of other literary and cultural contexts for his work. Blake in the Nineties grapples with the implications of the new bibliography for Blake studies, in its editorial, interpretative, and historical dimensions. As well as providing an international overview of recent Blake criticism, the collection contributes to current debates in a variety of disciplines dealing with the Romantic period, including art history, counter-Enlightenment-scholarship, theology and hermeneutic theory.

Virginia Woolf's Influential Forebears reveals under-acknowledged nineteenth-century legacies which shaped Woolf as a writing woman. Marion Dell identifies significant lines of descent from the lives and works of Woolf's great-aunt Julia Margaret Cameron, the writer she called aunt, Anny Thackeray Ritchie, and her mother, Julia Prinsep Stephen.

Tess O'Toole uncovers Hardy's career-long fascination with the points of intersection between genealogy and fiction and argues that this relationship fuels much of his writing. Hereditary patterns are the product of narrative compulsion; the circulation of the family story is necessary to reproduce the history it records. As well as analyzing Hardy's characteristic treatment of family history, this volume revises existing accounts of genealogical narrative, and in its conclusion considers the presence in other nineteenth- and twentieth-century novels of motifs foregrounded in Hardy's work.

This book focuses on an exciting moment in the history of Anglo-German literary exchange in the Romantic period, the moment of George Gordon Byron's and Percy Bysshe Shelley's interrelated encounters with Johann Wolfgang von Goethe's seminal dramatic poem, Faust.

This study is an examination of Baudelaire's art criticism and its relationship with his creative writing. It is the first book in English to treat in one volume the diverse aspects of the subject: the principal aesthetic ideas, the importance of Delacroix, Boudin, Meryon, Guys, and Manet, the essays on laughter and caricature, and the language and rhetoric of the Salons and other critical writings. The title reflects Baudelaire's conviction, which emphasizes in relation to Delacroix, Daumier, Guys, and Wagner, that all art, whether it is painting, poetry or music, springs from the memory of the artist and speaks to the memory of the consumer of that art. This idea, exemplified in his own creative writing, extends to criticism itself, which is seen primarily as a phenomenon of recognition, and it is that sense of recognition that the author has sought to emphasize throughout.

Analyzing novels by women writers from the 1850s to the 1930s, this book argues that representations of mobility offer a fruitful way to explore the location of women within modernity and, specifically, the opportunities for (or limitations on) women's agency in this period, considering the mobility of the female subject in the city and beyond.

This book presents a unique sociological examination of British raciology, focusing on women's literary works of the late eighteenth and early nineteenth centuries. It uniquely offers a sociological perspective drawing from a range of academic disciplines, particularly literature, history and cultural studies. Wright traces the emergence of British modernity through the writings of a select group of women writers (including Jane Austen, Hannah More, Fanny Burney, Mary Wollstonecraft, Mary Shelley and Marla Edgeworth) of diverse political and philosophical affiliations, and fills a gap in scholarship on feminist accounts of late eighteenth- and early nineteenth-century women's writing.

We celebrate Jane Austen as the mother of the English realist novel, but have you ever wondered why she insists on giving her mature heroines the 'perfect happiness' that can only be realized in the romance? Romancing Jane Austen asks the reader to consider Austen's happy endings as a 'prophetic' rather than merely 'illusory' answer to the contradiction that feminine subjectivity represents for history. It has a happy ending for the feminine subject. But that would be against all the empirical odds...

Ruskin, the great Victorian critics of art and society, had an enormous influence on his age and our own. A highly successful propagandist for the arts, he did much both to popularize high art and to bring it to the masses. A brilliant theorist and practical critics of realism, he also produced the finest nineteenth-century discussions of fantasy, the grotesque, and pictorial symbolism. Most who have written about this outstanding Victorian polymath have approached him either as literary critics or as art historians. In this book, which was first published in 1985, George P. Landow provides a more balanced view and offers a strikingly new approach which reveals that Ruskin wrote throughout his career as an interpreter, an exegete. His interpretations covered many fields of human experience and endeavour, not only paintings, poems, and buildings but also contemporary social issues, such as the discontent of the working classes.

Why are material objects so prominent in European Romantic literature, both as symbol and organizing device? This collection of essays maintains that European Romantic culture and its aesthetic artifacts were fundamentally shaped by "object aesthetics," an artistic idiom of acknowledging, through a profound and often disruptive use of objects, the movement of Western aesthetic practice into Romantic self-projection and imagination. Of course Romanticism, in all its dissonance and anxiety, is marked by a number of new artistic practices, all of which make up a new aesthetics, accounting for the dialectical and symbolistic view of literature that began in the late eighteenth century. "Romanticism and the Object" adds to our understanding of that aesthetics by reexamining a wide range of texts in order to discover how the use of objects works in the literature of the time.

This work takes a new approach to the evolution of the modern English lyric, emphasizing the way in which several generations of poets, reacting to post-Reformation readers' dislike for invented poetic narratives, competed for the right to commemorate important public occasions and slowly expanded the range of acceptable occasions. The book demonstrates that many fundamental features of a typical modern lyric actually evolved as responses to the limitations of occasional poetry.

The scholars who have contributed to this book were asked to take part in a collaborative act of demystification, a reconsideration of the eschatological ideas of the 1890s in the light of the critical thought of the 1990s. Their essays draw upon a range of approaches, and are broadly interdisciplinary. All are characterized by the realization that, with a century's hindsight, the late 1800s should be seen not so much as a period of decadence as of discovery and growth.

Orientalist research has most often been characterised as an integral element of the European will-to-power over the Asian world. This study seeks to nuance this view, and asserts that British Orientalism in India was also an inherently complex and unstable enterprise, predicated upon the cultural authority of the Sanskrit pandits.

The Open Book is a provocative study of literary influence at work in English writing from Hardy to Woolf. Jensen reimagines the links between text and context as she endeavors to historicize literary influence, by taking Bloomian "anxiety" and Kristevan "intertextuality" into fields of actual history and biography. Jensen both borrows from and deconstructs the ideas of thesetheorists as she reads the texts of Hardy, Stephen, Woolf, Mansfield, andMiddleton Murry. By doing so, The Open Book offers a fresh and pragmatic opening onto the relation between personal, cultural and institutional history on the one hand, and literary history on the other.

'Internationalism in Children's Series' investigates 'internationalism' through various cultural, historical and theoretical lenses in series created for a child readership. Using the familiarity of the series character and format to form a bridge to the wider world, authors from the 19th century to contemporary times have expanded the definition of internationalism. This volume examines these definitions as they vary from series to series and even book to book in a rapidly changing, ever-shrinking world.

Even if Bentham and Coleridge] had had no great influence they would still have been the classical examples they are of two great opposing types of mind. . . . And as we follow Mill's analysis, exposition and evaluation of this pair of opposites we are at the same time, we realize, forming a close acquaintance with a mind different from either. From the introduction

Who owns, who buys, who gives, and who notices objects is always significant in Austen's writing, placing characters socially and characterizing them symbolically. Jane Austen's Possessions and Dispossessions looks at the significance of objects in Austen's major novels, fragments, and juvenilia.

Gothic Science Fiction explores the fascinating world of gothic influenced science fiction. From Frankenstein to Doctor Who and from H. G Wells to Stephen King, the book charts the rise of a genre and follows the descent into darkness that consumes it.

In his study of Romantic naturalists and early environmentalists, Dewey W. Hall asserts that William Wordsworth and Ralph Waldo Emerson were transatlantic literary figures who were both influenced by the English naturalist Gilbert White. In Part 1, Hall examines evidence that as Romantic naturalists interested in meteorology, Wordsworth and Emerson engaged in proto-environmental activity that drew attention to the potential consequences of the locomotive's incursion into Windermere and Concord. In Part 2, Hall suggests that Wordsworth and Emerson shaped the early environmental movement through their work as poets-turned-naturalists, arguing that Wordsworth influenced Octavia Hill's contribution to the founding of the United Kingdom's National Trust in 1895, while Emerson inspired John Muir to spearhead the United States' National Parks movement in 1890. Hall's book traces the connection from White as a naturalist-turned-poet to Muir as the quintessential early environmental activist who camped in Yosemite with President Theodore Roosevelt. Throughout, Hall raises concerns about the growth of industrialization to make a persuasive case for literature's importance to the rise of environmentalism.

A History of English Romanticism in the Nineteenth Century, first published in 1926, presents the great artistic and literary innovations of the Romantic movement according to an often overlooked and unacknowledged definition of 'Romanticism', which is of particular relevance in the consideration of the English Romantic spirit: pertaining to the style of the Christian and popular literature of the Middle Ages. The author recapitulates the key contributions of English poets - including Scott, Coleridge and Keats - in light of their recovery of certain themes and leitmotifs that clearly distinguish the Romantic style. In addition, the development of the Romantic movement in France and Germany is given some attention, and the specific tendencies of their respective approaches is considered in relation to England. The emergence of the Pre-Raphaelites is investigated, and a tentative evaluation of the progress of English Romanticism in the nineteenth century is offered.

First published in 1984, this biography gives an account of Jonathan Swift s political ideas and provides a critical commentary on his major works. With its emphasis on Swift as a political writer, the title offers a revision of the prevailing view of Swift s politics and its application in the study of his works. Alan Downie argues that in terms of the party politics of the day Swift is neither a Whig nor Tory. Swift thought of himself as an Old Whig, and said he was of the old Whig principles, without the modern articles and refinements . Downie shows how Swift s writings consistently make political points about society s deviation from an ideal. As Swift s views on morality, religion and politics are so closely linked, an understanding of his political ideas is vital; this reissue provides a detailed analysis of this aspect of Swift s writings and views, and as such will be of great interest to any students researching his satire. "