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How is it that the age of Enlightenment gave rise to the genre of
the literary ghost story? What did the term 'Gothic' mean, when
Horace Walpole used it in the subtitle of his experimental novel
The Castle of Otranto? How did a type of writing which broke. Based
on intensive research, it demonstrates the importance of a
historical understanding of the genre, and will be influential in
the development of Gothic studies.. It is prestigious and timely:
Gothic is a highly active research area and has a growing presence
in the university syllabus.. Clery and Miles are well-respected and
much cited critics who have alredy published widely in this field..
This is a unique anthology filling an important gap in the market;
an indispensible resource for students, teachers and scholars. -- .
In 1811 England was on the brink of economic collapse and
revolution. The veteran poet and campaigner Anna Letitia Barbauld
published a prophecy of the British nation reduced to ruins by its
refusal to end the interminable war with France, titled Eighteen
Hundred and Eleven. Combining ground-breaking historical research
with incisive textual analysis, this new study dispels the myth
surrounding the hostile reception of the poem and takes a striking
episode in Romantic-era culture as the basis for exploring poetry
as a medium of political protest. Clery examines the issues at
stake, from the nature of patriotism to the threat to public
credit, and throws new light on the views and activities of a wide
range of writers, including radical, loyalist and dissenting
journalists, Coleridge, Wordsworth, Southey, and Barbauld herself.
Putting a woman writer at the centre of the enquiry opens up a
revised perspective on the politics of Romanticism.
In 1811 England was on the brink of economic collapse and
revolution. The veteran poet and campaigner Anna Letitia Barbauld
published a prophecy of the British nation reduced to ruins by its
refusal to end the interminable war with France, titled Eighteen
Hundred and Eleven. Combining ground-breaking historical research
with incisive textual analysis, this new study dispels the myth
surrounding the hostile reception of the poem and takes a striking
episode in Romantic-era culture as the basis for exploring poetry
as a medium of political protest. Clery examines the issues at
stake, from the nature of patriotism to the threat to public
credit, and throws new light on the views and activities of a wide
range of writers, including radical, loyalist and dissenting
journalists, Coleridge, Wordsworth, Southey, and Barbauld herself.
Putting a woman writer at the centre of the enquiry opens up a
revised perspective on the politics of Romanticism.
Anna Letitia Barbauld: New Perspectives is the first collection of
essays on poet and public intellectual Anna Letitia Barbauld
(1743-1825). By international scholars of eighteenth-century and
Romantic British literature, these new essays survey Barbauld's
writing from early to late: her versatility as a stylist, her
poetry, her books for children, her political writing, her
performance as editor and reviewer. They explore themes of
sociability, materiality, and affect in Barbauld's writing, and
trace her reception and influence. Rooted in enlightenment
philosophy and ethics and dissenting religion, Barbauld's work
exerted a huge impact on the generation of Wordsworth and
Coleridge, and on education and ideas about childhood far into the
nineteenth century. William McCarthy's introduction explores the
importance of Barbauld's work today, and co-editor Olivia Murphy
assesses the commentary on Barbauld that followed her rediscovery
in the early 1990s. Anna Letitia Barbauld: New Perspectives is the
indispensible introduction to Barbauld's work and current thinking
about it.
A genre of supernatural fiction was among the more improbable products of the Age of Enlightenment. This book questions the historical reasons for its growing popularity in the late eighteenth century. Beginning with the notorious case of the Cock Lane ghost, a performing poltergeist who became a major attraction in London in 1762, and with Garrick's spellbinding and paradigmatic performance as the ghost-seeing Hamlet, it moves on to look at the Gothic novels of Horace Walpole, Ann Radcliffe, M. G. Lewis, and others, in unexpected new lights, drawing out the connection between fictions of the supernatural and the growth of consumerism.
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