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This collection of new feminist essays represents the work of young
critics researching and teaching in British Universities. Aiming to
set the agenda for feminist criticism in the nineties, the essays
debate themes crucial to the development of feminist thought: among
them, the problems of gendered knowledge and the implications of
accounts of gendered language, cultural restraints on the
representation of sexuality, women's agency, cultural and political
change, a feminist aesthetics and new readings of race and class.
This variety is given coherence by a unity of aim - to forge new
feminist discourses by addressing conceptual and cultural questions
central to problems of gender and sexual difference. The topics of
discussion range from matrilinear thought to seventeenth-century
prophecy; the poetry of Amelia Lanyer to Julia Margaret Cameron's
photographs; from Dorothy Richardson and Virginia Woolf to
eighteenth-century colonial painting of the South Pacific; from
medieval romance to feminist epistemology. The essays utilise and
question the disciplines of literary criticism, art history,
photography, psychoanalysis, Marxist history and post-structuralist
theory.
First published in 1969, this edition collection brings together a
series of essays offering a re-evaluation of Victorian poetry in
the light of early 20th Century criticism. The essays in this
collection concentrate upon the poets whose reputations suffered
from the great redirection of energy in English criticism initiated
in this century by Eliot, Richards and Leavis. What theses poets
wrote about, the values they expressed, the form of the poems, the
language they used, all these were examined and found wanting in
some radical way. One of the results of this criticism was the
renewal of interest in metaphysical and eighteenth-century poetry
and corresponding ebb of enthusiasm for Romantic poetry and for
Victorian poetry in particular. Most of the essays in this book
take as their starting point questions raised by the debate on
Victorian poetry, both earlier in this century and in the more
recent past. There are essays on the poetry of Tennyson, Browning
and Arnold, on that of Clough, who until recently has been
neglected, and Hopkins, because of, rather than in spite of, the
fact that he is usually considered to be a modern poet. The volume
is especially valuable in that it will give a clearer understanding
of the nature of Victorian poetry, concentrating as it does on
those areas of a poet's work where critical discussion seems most
necessary.
In this 2nd edition of her classic work Victorian Poetry:
Poetry, Poetics and Politics, Isobel Armstrong provides:
- a new preface that notes key directions in Victorian poetry
criticism the turn to form, the turn to affect and the emotions,
cosmopolitan and global impulses, and the attention to optical
culture
- an afterword devoted to the Fin de Siecle, discussing Michael
Field and Vernon Lee, the late epics of Swinburne and Morris, and a
selection of Hardy lyrics
- a full bibliography for the last twenty years, taking into
account in particular the work of Herbert Tucker, Yopie Prins,
Cornelia Pearsall, Catherine Robson, Mike Sanders, Danny Karlin,
Ana Vadillo and Marion Thain.
"
In Victorian Poetry: Poetry, Poetics and Politics, Isobel Armstrong
rescued Victorian poetry from its longstanding sepia image as 'a
moralised form of romantic verse' and unearthed its often
subversive critique of nineteenth-century culture and politics. In
this uniquely comprehensive and theoretically astute new edition,
Armstrong provides an entirely new preface that notes the key
advances in the criticism of Victorian poetry since her classic
work was first published in 1993. A new chapter on the alternative
fin de siecle sees Armstrong discuss Michael Field, Rudyard
Kipling, Alice Meynell and a selection of Hardy lyrics. The
extensive bibliography acts as a key resource for students and
scholars alike.
First published in 1969, this edition collection brings together a
series of essays offering a re-evaluation of Victorian poetry in
the light of early 20th Century criticism. The essays in this
collection concentrate upon the poets whose reputations suffered
from the great redirection of energy in English criticism initiated
in this century by Eliot, Richards and Leavis. What theses poets
wrote about, the values they expressed, the form of the poems, the
language they used, all these were examined and found wanting in
some radical way. One of the results of this criticism was the
renewal of interest in metaphysical and eighteenth-century poetry
and corresponding ebb of enthusiasm for Romantic poetry and for
Victorian poetry in particular. Most of the essays in this book
take as their starting point questions raised by the debate on
Victorian poetry, both earlier in this century and in the more
recent past. There are essays on the poetry of Tennyson, Browning
and Arnold, on that of Clough, who until recently has been
neglected, and Hopkins, because of, rather than in spite of, the
fact that he is usually considered to be a modern poet. The volume
is especially valuable in that it will give a clearer understanding
of the nature of Victorian poetry, concentrating as it does on
those areas of a poet's work where critical discussion seems most
necessary.
Essays, short stories and poems by eminent creative writers,
critics and scholars from three continents celebrate the literary
achievements of Barbara Hardy, the foremost exponent of close
critical reading in the latter half of the twentieth century and
today. Her work, as the essays in the volume bear witness,
encompasses 19th and 20th century British fiction, poetry, and
Shakespeare. In addition to an introduction outlining and assessing
Hardy's career and writing, there is an extensive bibliography of
her work. Comparatively short, concise essays, stories and poems by
twenty distinguished hands express the eclectic nature of Barbara
Hardy's work and themselves form a many-faceted critical/creative
gathering. Form and Feeling moves away from the traditional
festschrift to create an innovative critical genre that reflects
the variety and nature of its subject's work. In addition to
Barbara Hardy's own writing, authors and subjects treated include
Anglo-Welsh poetry, nineteenth century fiction, Margaret Atwood,
Wilkie Collins, Ivy Compton Burnet, Charles Dickens, George Eliot,
Elizabeth Gaskell, G. M. Hopkins, Wyndham Lewis, George Meredith,
Alice Meynell, Harriet Beecher Stowe, Shakespeare, and W. B. Yeats,
amongst others.
Multimedia Histories: From the Magic Lantern to the Internet is the
first book to explore in detail the vital connections between
today's digital culture and an absorbing history of screen
entertainments and technologies. Its range of coverage moves from
the magic lantern, the stereoscope and early film to the DVD and
the internet. By reaching back into the innovative media practices
of the nineteenth century, Multimedia Histories outlines many of
the revealing continuities between nineteenth, twentieth, and
twenty-first century multimedia culture. Comprising some of the
most important new work on multimedia culture and history by key
writers in this growing field, Multimedia Histories will be an
indispensable new sourcebook for the discipline. It will be an
important intervention in rethinking the boundaries of
Anglo-American film and media history.
A unique collection of twelve critical essays on women's poetry of the eighteenth-century and late enlightenment, the first to range widely over individual poets and to undertake a comprehensive exploration of the formal experiments, aesthetics, and politics of their work. Experiment with genre and form, the poetics of the body, the politics of gender, revolutionary critique, and patronage are themes of the collection.
Douglas Dunn is one of the most widely-read and respected poets of
his generation. In a career spanning over 30 years, he has refined
lyric and elegiac poetry into an instrument with which to make
acute observations of English urban scenes, pastoral traditions,
class and education, and the past, present and future of his native
Scotland. In this lucid and wide-ranging critical study, poet and
critic David Kennedy charts Dunn’s career from his debut volume
Terry Street (1969) to his New Selected Poems 1964-2000 (2003). He
argues that Dunn’s poetry has developed through often highly
ambivalent relationships with form, culture and the public identity
and role of the poet. Subtle readings of Dunn’s most intimate
poetry are combined with careful analysis of Dunn’s exploration
of what form Scotland’s national consciousness might take. Dunn
emerges as a complex writer passionately concerned with both the
private and the political.
This collection of twelve critical essays on women's poetry of the
eighteenth century and enlightenment is the first to range widely
over individual poets and to undertake a comprehensive exploration
of their work. Experiment with genre and form, the poetics of the
body, the politics of gender, revolutionary critique, and
patronage, are themes of the collection, which includes discussions
of the distinctive projects of Mary Leapor, Ann Yearsley, Helen
Maria Williams, Joanna Baillie, Charlotte Smith, Anna Barbauld and
Lucy Aikin.
This collection of twelve critical essays on women's poetry of the
eighteenth century and enlightenment is the first to range widely
over individual poets and to undertake a comprehensive exploration
of their work. Experiment with genre and form, the poetics of the
body, the politics of gender, revolutionary critique, and
patronage, are themes of the collection, which includes discussions
of the distinctive projects of Mary Leapor, Ann Yearsley, Helen
Maria Williams, Joanna Baillie, Charlotte Smith, Anna Barbauld and
Lucy Aikin.
In the years covered by this volume high Victorian poetry reached
it's prolific peak and stimulated a corresponding abundance of
critical comment. As poets turned to new themes and new modes of
presenting them, critics sought to redifine the function of poetry
in their time and nowhere with greater immediacy and sense of the
cultural issues at stake than in the periodicals. Two occasions
when discussion was particularly lively - in relation to Tennyson's
early poems and Arnold's 1853 Preface - are here used by Dr.
Armstrong as focal points and with them in mind she has selected
and annotated thirteen substantial reviews, principally devoted to
the poetry of Tennyson, Browning, Arnold and Clough. Dr.
Armstrong's own long Introduction serves equally as an
indispensable preliminary guide to the fundamentals of Victorian
criticism and as an authoritative summing-up of the debate on
poetics conducted at large in the body of the book by the
Victorians themselves. Detailed bibliographies for further reading
are provided at the end of each main section.
This collection of new feminist essays represents the work of young
critics researching and teaching in British Universities. Aiming to
set the agenda for feminist criticism in the nineties, the essays
debate themes crucial to the development of feminist thought: among
them, the problems of gendered knowledge and the implications of
accounts of gendered language, cultural restraints on the
representation of sexuality, women's agency, cultural and political
change, a feminist aesthetics and new readings of race and class.
This variety is given coherence by a unity of aim - to forge new
feminist discourses by addressing conceptual and cultural questions
central to problems of gender and sexual difference. The topics of
discussion range from matrilinear thought to seventeenth-century
prophecy; the poetry of Amelia Lanyer to Julia Margaret Cameron's
photographs; from Dorothy Richardson and Virginia Woolf to
eighteenth-century colonial painting of the South Pacific; from
medieval romance to feminist epistemology. The essays utilise and
question the disciplines of literary criticism, art history,
photography, psychoanalysis, Marxist history and post-structuralist
theory.
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.
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