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New editions and facsimiles of Percy Bysshe Shelley's works are
changing the landscape of Shelley studies by making complete
compositions and fragments that have received only limited critical
attention readily available to scholars. Building on the work begun
in Weinberg and Webb's 2009 volume, The Unfamiliar Shelley, The
Neglected Shelley sheds light on the breadth and depth of Shelley's
oeuvre, including the poet's earliest work, written when he was not
yet twenty and was experimenting with gothic romances, and other
striking forms of literary expression, such as two collections of
provocative verse. There are discussions of Shelley's collaboration
with Mary Shelley in the composition of Frankenstein, and his skill
as a translator of Greek poetry and drama, reflecting his urgent
concern with Greek culture. His contributions to prose are the
focus of essays on his letters, the subversive notes to Queen Mab,
and his complex engagement with Jewish culture. Shelley's
considerable corpus of fragments is well-represented in
contributions on the later narrative fiction, 'Athanase'/'Prince
Athanase', and the significant group of unfinished poems, including
'Mazenghi', 'Fiordispina', 'Ginevra' and 'The Boat on the Serchio',
that treat Italian topics. Finally, there are explorations of
subtle though neglected or underestimated works such as Rosalind
and Helen, The Sensitive-Plant, and the verse-drama Hellas. The
Neglected Shelley shows that even the poet's apparently slighter
works are important in their own right and are richly instructive
as expressions of Shelley's developing art of composition and the
diverse interests he pursued throughout his career.
Stimulated by new editions of Shelley's writings and the evidence
of notebooks, the editors have assembled an outstanding group of
international Shelley scholars to work through the implications of
recent advances in scholarship. With particular attention to texts
that have been neglected or underestimated, the contributors
consider many important aspects of Shelley's prolific and
remarkably diverse output, including the verse letter, plays, prose
essays, satire, pamphlets, political verse, romance, prefaces,
translations from the Greek, prose style, artistic representations,
fragments and early writings. Revaluations of Shelley's youthful
works, often criticized for their over-exuberance, pay dividends as
they reveal Shelley's early maturation as a writer and also shed
light on his later achievement. Taken as a whole, the collection
makes evident that Shelley's reputation has been based largely on
surprisingly imperfect and incomplete edited publications, driven
by Victorian taste and culture. A writer very different from the
one we thought we knew emerges from these essays, which are sure to
inspire more reappraisals of Shelley's work.
One of the secrets within the legal profession is that the stories
behind the cases matter more than the legal doctrines involved. A
full understanding of legal disputes requires knowing about the
cultural and historical context in which the cases arise. In
Backstories in the Law: Tales of Victors, Villains and Victims,
distinguished law professor Alan Weinberger examine some of the
most extraordinary cases of the past century with a focus not so
much on the winning and losing, but rather on the backstories
behind the disputes. The chapters provide insights and background
into the cases, and explain why the decisions continue to resonate
today. Most of all, these chapters remind us of the transcendent
importance of good stories: in disputes involving fundamental human
emotions and desires, there is usually a victor, villain and
victim. Ultimately it is the reader who gets to decide whether
justice was done or denied.
Stimulated by new editions of Shelley's writings and the evidence
of notebooks, the editors have assembled an outstanding group of
international Shelley scholars to work through the implications of
recent advances in scholarship. With particular attention to texts
that have been neglected or underestimated, the contributors
consider many important aspects of Shelley's prolific and
remarkably diverse output, including the verse letter, plays, prose
essays, satire, pamphlets, political verse, romance, prefaces,
translations from the Greek, prose style, artistic representations,
fragments and early writings. Revaluations of Shelley's youthful
works, often criticized for their over-exuberance, pay dividends as
they reveal Shelley's early maturation as a writer and also shed
light on his later achievement. Taken as a whole, the collection
makes evident that Shelley's reputation has been based largely on
surprisingly imperfect and incomplete edited publications, driven
by Victorian taste and culture. A writer very different from the
one we thought we knew emerges from these essays, which are sure to
inspire more reappraisals of Shelley's work.
New editions and facsimiles of Percy Bysshe Shelley's works are
changing the landscape of Shelley studies by making complete
compositions and fragments that have received only limited critical
attention readily available to scholars. Building on the work begun
in Weinberg and Webb's 2009 volume, The Unfamiliar Shelley, The
Neglected Shelley sheds light on the breadth and depth of Shelley's
oeuvre, including the poet's earliest work, written when he was not
yet twenty and was experimenting with gothic romances, and other
striking forms of literary expression, such as two collections of
provocative verse. There are discussions of Shelley's collaboration
with Mary Shelley in the composition of Frankenstein, and his skill
as a translator of Greek poetry and drama, reflecting his urgent
concern with Greek culture. His contributions to prose are the
focus of essays on his letters, the subversive notes to Queen Mab,
and his complex engagement with Jewish culture. Shelley's
considerable corpus of fragments is well-represented in
contributions on the later narrative fiction, 'Athanase'/'Prince
Athanase', and the significant group of unfinished poems, including
'Mazenghi', 'Fiordispina', 'Ginevra' and 'The Boat on the Serchio',
that treat Italian topics. Finally, there are explorations of
subtle though neglected or underestimated works such as Rosalind
and Helen, The Sensitive-Plant, and the verse-drama Hellas. The
Neglected Shelley shows that even the poet's apparently slighter
works are important in their own right and are richly instructive
as expressions of Shelley's developing art of composition and the
diverse interests he pursued throughout his career.
Focusing on Shelley's 'Italian experience', the present study both
addresses itself to the living context which nurtured Shelley's
creativity, and explores a neglected but essential component of his
work. The poet's four years of self-exile in Italy (1818-1822)
were, in fact, the most decisive of his career. As he responded to
Italy, his poetry acquired a new subtlety and complexity of vision.
Endowed with remarkably keen powers of absorption, the poet
imaginatively reshaped the rich cultural heritage of Italy and the
vital qualities of its landscape and climate.
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