Tuvia Rubner, winner of Israel Prize for Poetry (2008), is a Hebrew poet who lost his family in the Holocaust. He turned his personal trauma into a broad world view that engages with Western culture, his poetry highlighting correspondences with paintings by Chagall, Breughel, Holbein, Turner and Rembrandt. Death and loss are molding experiences in this poet's world. Paint and sculpture masterpieces are signalled as masks, as Ambassadors of Death. Rubner's poems enable us to examine the tradition of various forms of artistic representation, while addressing the experience of art in a century when God 'hid his face' from the fate of European Jewry. And as Shahar Bram discovers and elaborates, herein lies an exquisite example of the use of ekphrasis -- Rubner using his poetic language medium to explain and process the meaning and messages inherent in a select group of paintings and sculptures of cultural significance. This important book contributes to the interdisciplinary theory of "word and image", and the history of the relationships between "sister arts". The result is not only a unique perspective of traditional Western art form as reflected in the eyes of a Hebrew survivor of twentieth-century Holocaust atrocities, but, in the words of Ruskin, it is "the expression of one soul [one artistic form] talking to another". The result is a profound understanding of the central principles of word and image art forms. Konrad-Adenauer Prize for Literature 2012

Fuseli's Milton Gallery challenges the antipictorial theories and canons of Romantic period culture. Between 1791 and 1799 Swiss painter Henry Fuseli turned Milton's Paradise Lost into a series of 40 pictures. Fuseli's project and other literary galleries developed within an expanding market for illustrated books and a culture of anthologization used to reading British and other 'classics' in terms of the visualization of key moments in the text. Thus transformed into repositories of virtual pictures literary texts became ideal sources of subjects for painters. Illustrating British literature was a way of inventing a national 'grand style' to fit the needs of a consumer society. Cale calls into question the separation of reading and viewing as autonomous aesthetic practices. To 'turn readers into spectators' meant to place readers and reading within the dizzying world of associations offered by an emerging culture of exhibitions. Attending to the energized reading effects developed by Fuseli's Gallery we rediscover a new side of the Romantic imagination which is not the solitary mentalist experience preferred by Wordsworth and Coleridge, nor divorced from the senses, let alone a refuge from the crowded public spaces of the Revolutionary period. Rather, Fuseli's embodied aesthetic exemplifies the associationist psychology espoused by the radical circle convening around the publisher Joseph Johnson, including Joseph Priestley and Mary Wollstonecraft. This book analyses exhibitions as important sites of Romantic sociability and one of many interrelated mediums for the literature, debates and controversies of the Revolutionary period.

These volumes present the works of eleven poets writing in the 19th and early 20th centuries. Volume 1 contains work by Mary E. Tucker Lambert and the notorious Adah Isaacs Menken. The other three volumes contain works by nine other poets. Surprisingly, only one of them (Lizelia Moorer) protests at the treatment of her race during this period of social upheaval and injustice. The other poets treat the traditional themes - love, nature, death, Christian idealism and morality, family - in conventional forms and language. As interesting for the themes that they address as for those that they ignore, these selections offer a unique sampling of poetic voices that until now have gone largely unheard.

A Modern Coleridge shows the interrelatedness of the discourses of cultivation, addiction and habit in Coleridge's poetry and prose, and argues that these all revolve around the problematic nexus of a post-Kantian idea of free will, essential to Coleridge's eminently modern idea of the 'human'.

This book argues that Chaucer challenges his culture's mounting obsession with vision through his varied constructions of masculinity. Because medieval theories of vision relied upon distinctions between active and passive seers and viewers, optical discourse had social and moral implications for gender difference in late fourteenth-century England. By exploring ocularity's equal dependence on "invisibility," Chaucer offers men and women access to a vision of "manhed," one that fragments a traditional gender binary by blurring its division between agency and passivity.

William Blake and the Myths of Britain is the first full-length study of Blake's use of British mythology and history. From Atlantis to the Deists of the Napoleonic Wars, this book addresses why the eighteenth century saw a revival of interest in the legends of the British Isles and how Blake applied these in his extraordinary prophetic histories of the giant Albion, revitalising myths of the Druids and Joseph of Arimathea bringing Christ to Albion.

"At the heart of this 'Literary Life' are fresh interpretations of Keats's most loved poems, alongside other neglected but rich poems. The readings are placed in the contexts of his letters to family and friends, his medical training, radical politics of the time, his love for Fanny Brawne, his coterie of literary figures and his tragic early death" --

Probably the most famous of the Romantic poets, William Wordsworth worked with and influenced many of the leading poets of the age. This excellent introduction to his life and works sets his writing firmly in the context of his times. John Purkis provides an outline of Wordsworth's life and cultural background and their effect on his work, and examines his verse, from the earliest school poems to the final years.

'Longman Preface books are intended to give "modern and authoritative guidance" on the lives and works of the major writers ... Gamini Salgado's A Preface to Lawrence does just that.' Times Educational Supplement D. H. Lawrence, criticised, censored and dismissed in his lifetime, now stands as one of the major imaginative novelists of the early twentieth-century. Clear, vivid and convincing, Gamini Salgado's introduction to the life and works of D H Lawrence, sets the writer firmly in the context of his times and: * outlines his life and intellectual background, and their effect on his writing * looks in detail at many of Lawrence's works, including Sons and Lovers, The Rainbow, his shorter fiction, poetry and plays * examines Lawrence as a literary critic * covers important people and places in Lawrence's life and their effect on him Gamini Salgado was formerly Professor of English at Exeter University. His works include a book on Sons and Lovers (Arnold), an anthology of critisism of it (Macmillan) and a number of studies of drama and prose literature.

T. S. Eliot is arguably the most influential poet of the 20th century, and "The Waste Land" one of its most significant poems. This introduction to the life and works of T.S. Eliot sets his writing clearly in the context of his times. Outlining his life and cultural background and their effect on his work, Ronald Tamplin examines his poetry and focuses in detail on three major works: "The Waste Land," "Four Quartets "and the play, "Murder in the Cathedral."

A Preface to Hardy remains the best introduction to one of the most important and popular writers in English literature. The first section concentrates on Hardy the man and outlines the intellectual and cultural context in which he lived. The author then moves on to examine a wide range of Hardy's work, with particular reference to The Mayor of Casterbridge. There is new material on Hardy's short stories and their relation to the major novels, and on The Dynasts, which accompanies a study of a range of Hardy's other poetry.

OurCommonDwelling explores why America's first literary circle turned to nature in the 1830s and '40s. When the New England Transcendentalists spiritualized nature, they were reacting to intense class conflict in the region's industrializing cities. Their goal was to find a secular foundation for their social authority as an intellectual elite. New England Transcendentalism engages with works by William Wordsworth, Henry David Thoreau, Ralph Waldo Emerson, Margaret Fuller, Nathaniel Hawthorne, and others. The works of these great authors, interpreted in historical context, show that both environmental exploitation and conscious love of nature co-evolved as part of the historical development of American capitalism.

Chuvash-born poet Gennady Aygi (1934-2006) is considered the father of late-Soviet avant-garde Russian poetry. This first full-length critical study of his work and poetics in any language brings a new voice into the critical conversation of twentieth-century poetry of witness. It charts the development of Aygi's poetics from his Mayakovsky-inspired verses as a student under the tutelage of Boris Pasternak, to those of a full-fledged poet's poet, drawing equally on the Russian poetic and religious tradition, European literature and philosophy, and Chuvash literature, folk culture, and cosmology. Writing from 1955 until his death in 2006, Aygi bridges the Soviet and post-Soviet, lyrical and avant-garde, personal and political. The transcultural roots and global reach of his work bring together Chuvash, Russian, European, and Volga Tatar languages and traditions to form a truly unique transnational poetics and a model for a new category of Russophone literature.

These volumes present the works of eleven poets writing in the 19th and early 20th centuries. Volume 1 contains work by Mary E. Tucker Lambert and the notorious Adah Isaacs Menken. The other three volumes contain works by nine other poets. Surprisingly, only one of them (Lizelia Moorer) protests at the treatment of her race during this period of social upheaval and injustice. The other poets treat the traditional themes - love, nature, death, Christian idealism and morality, family - in conventional forms and language. As interesting for the themes that they address as for those that they ignore, these selections offer a unique sampling of poetic voices that until now have gone largely unheard.

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Why was Milton so important to the Romantics? How did 'Milton the Regicide', a man often regarded in his lifetime as a dangerous traitor and heretic, become 'the Sublime Milton'? The late eighteenth century saw a sudden and to date almost undocumented craze for all things Miltonic, the symptoms of which included the violation of his grave and the sale of his hair and bones as relics, the republication of all his works including his political tracts in unprecedented numbers, the appearance of the poet in the works, letters, dreams and visions of all the major British Romantic poets and even frequent reports of hauntings by his ghost. Drawing on the traditions of cultural, intellectual and bibliographic history as well as recent trends in literary scholarship on the romantic period, Joseph Crawford explores the dramatic shift in Milton's cultural status after 1790. He builds on a now significant literature on Milton's legacy to the Romantic poets, uncovering the cultural historical background against which the Romantics and their contemporaries encountered and interacted with Milton's reputation and works.

God and the Gothic: Romance and Reality in the English Literary Tradition provides a complete reimagining of the Gothic literary canon to examine its engagement with theological ideas, tracing its origins to the apocalyptic critique of the Reformation female martyrs, and to the Dissolution of the monasteries, now seen as usurping authorities. A double gesture of repudiation and regret is evident in the consequent search for political, aesthetic, and religious mediation, which characterizes the aftermath of the Glorious Revolution and Whig Providential discourse. Part one interprets eighteenth-century Gothic novels in terms of this Whig debate about the true heir, culminating in Ann Radcliffe's melancholic theology which uses distance and loss to enable a new mediation. Part two traces the origins of the doppelganger in Calvinist anthropology and establishes that its employment by a range of Scottish writers offers a productive mode of subjectivity, necessary in a culture equally concerned with historical continuity. In part three, Irish Gothic is shown to be seeking ways to mediate between Catholic and Protestant identities through models of sacrifice and ecumenism, while in part four nineteenth-century Gothic is read as increasingly theological, responding to materialism by a project of re-enchantment. Ghost story writers assert the metaphysical priority of the supernatural to establish the material world. Arthur Machen and other Order of the Golden Dawn members explore the double and other Gothic tropes as modes of mystical ascent, while raising the physical to the spiritual through magical control, and the M. R. James circle restore the sacramental and psychical efficacy of objects.

Presents all known poems by Shelley and offers significant new datings and contextual exposition of the major works and there are also comprehensive treatments of the best known shorter poems. All poems are fully annotated and arranged in chronological order and makes use of the Shelley manuscripts in the Bodlean Library and draws on the substantial new research which has appeared over the last 10 years. KEY TOPICS: Including Prometheus Unbound, Laon and Cythna, Julian and Maddalo, The Cenci, Shelley's translations from the Greek, including his highly original translation of Euripides' The Cyclops, as well as some of Shelley's best known shorter poems, such as 'Lines written among the Euganean Hills' and 'Ozymandias' MARKET: For readers or scholars interested in Shelley's poetry.

"Chaucerian Aesthetics" examines "The Canterbury Tale" and "Troilus and Criseyde" from both medieval and post-Kantian vantage points. These sometimes congruent, sometimes divergent perspectives illuminate both the immediate pleasure of encountering beauty and its haunting promise of intelligibility. Although aesthetic reflection has sometimes seemed out of sync with modern approaches to mind and language, Knapp defends its value in general and demonstrates its importance for the analysis of Chaucer's narrative art. Focusing on language games, persons, women, humor, and community, this book ponders what makes art beautiful.

Criticism has largely emphasized the private meaning of "Romantic Satanism", treating it as the celebration of subjectivity through allusions to Paradise Lost that voice Satan's solitary defiance. The first full-length treatment of its subject, Romantic Satanism explores this literary phenomenon as a socially produced myth exhibiting the response of writers to their milieu. Through contextualized readings of the major works of Blake, Shelley, and Byron, this book demonstrates that Satanism enabled Romantic writers to interpret their tempestuous age: it provided them a mythic medium for articulating the hopes and fears their age aroused, for prophesying and inducing change.

The Other Virgil tells the story of how a classic like the Aeneid can say different things to different people. As a school text it was generally taught to support the values and ideals of a succession of postclassical societies, but between 1500 and 1800 a number of unusually sensitive readers responded to cues in the text that call into question what the poem appears to be supporting. This book focuses on the literary works written by these readers, to show how they used the Aeneid as a model for poems that probed and challenged the dominant values of their society, just as Virgil had done centuries before. Some of these poems are not as well known today as they should be, but others, like Milton's Paradise Lost and Shakespeare's The Tempest, are; in the latter case, the poems can be understood in new ways once their relationship to the 'other Virgil' is made clear.

This is a reprint of the authoritative six-volume edition of the Collected Letters of Samuel Taylor Coleridge. Superbly edited by Earl Leslie Griggs, each volume contains illustrations, appendices, and an index.

Hardy was a poet of ghosts. In his poetry he describes himself as posthumous; as rekindling the cinders of passion; as the guardian of the dead forgotten by history; and as haunted by ghosts, particularly the specter of the lost child (as in the rumor that he fathered a child in the 1860s). Using Derrida, Abraham, and Torok and other theorists, and referring to Victorian debates on materialism, this book investigates ghostliness, historicity, and memory in Hardy's poetry.

'York Notes Advanced' offer an accessible approach to English Literature. This series has been completely updated to meet the needs of today's A-level and undergraduate students. Written by established literature experts, York Notes Advanced introduce students to more sophisticated analysis, a range of critical perspectives and wider contexts.

Joy Davidman is known, if she is known at all, as the wife of C. S. Lewis. Their marriage was immortalized in the film Shadowlands and Lewis's memoir, A Grief Observed. Now, through extraordinary new documents as well as years of research and interviews, Abigail Santamaria brings Joy Davidman Gresham Lewis to the page in the fullness and depth she deserves. A poet and radical, Davidman was a frequent contributor to the communist vehicle New Masses and an active member of New York literary circles in the 1930s and 40s. After growing up Jewish in the Bronx, she was an atheist, then a practitioner of Dianetics; she converted to Christianity after experiencing a moment of transcendent grace. A mother, a novelist, a vibrant and difficult and intelligent woman, she set off for England in 1952, determined to captivate the man whose work had changed her life. Davidman became the intellectual and spiritual partner Lewis never expected but cherished. She helped him refine his autobiography, Surprised by Joy, and to write his novel Till We Have Faces. Their relationship-begun when Joy wrote to Lewis as a religious guide-grew from a dialogue about faith, writing, and poetry into a deep friendship and a timeless love story.