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What are we to make of the Victorians' fascination with collecting?
What effect did their encounters with the curious, exotic and
downright odd have on Victorian writers and their works? The essays
in this collection take up these questions by examining the
phenomenon of bric-A -brac in Victorian literature. The
contributors to Literary Bric-A -Brac and the Victorians: From
Commodities to Oddities explore sites of unusual concurrence
(including museums, the home, art galleries, private collections)
and the way in which bric-A -brac brought the alien into everyday
settings, the past into the present and the wild into the domestic.
Focusing on the representation of material culture in Victorian
literature, the essays in this volume seek out miscellaneous and
incongruous objects that take readers beyond the commonplace
paradigms associated with commodity culture. Individual chapters
analyse the work of writers as different as Edward Lear and John
Henry Newman, Robert Browning and George Eliot, Charles Dickens and
Lewis Carroll. In so doing they shed light on a dizzying array of
topics and objects that include class and capitalism, the occult
and the sacraments, Darwinism and dandyism, umbrellas, textiles,
the Philosopher's Stone and even the household nail.
The Romantic Legacy of Paradise Lost offers a new critical insight
into the relationship between Milton and the Romantic poets.
Beginning with a discussion of the role that seventeenth and
eighteenth-century writers like Dryden, Johnson and Burke played in
formulating the political and spiritual mythology that grew up
around Milton, Shears devotes a chapter to each of the major
Romantic poets, contextualizing their 'misreadings' of Milton
within a range of historical, aesthetic, and theoretical contexts
and discourses. By tackling the vexed issue of whether Paradise
Lost by its nature makes available and encourages alternate
readings or whether misreadings are imposed on the poem from
without, Shears argues that the Romantic inclination towards
fragmentation and a polysemous aesthetic leads to disrupted
readings of Paradise Lost that obscure the theme, or warp the
'grain', of the poem. Shears concludes by examining the ways in
which the legacy of Romantic misreading continues to shape critical
responses to Milton's epic.
What are we to make of the Victorians' fascination with collecting?
What effect did their encounters with the curious, exotic and
downright odd have on Victorian writers and their works? The essays
in this collection take up these questions by examining the
phenomenon of bric-A -brac in Victorian literature. The
contributors to Literary Bric-A -Brac and the Victorians: From
Commodities to Oddities explore sites of unusual concurrence
(including museums, the home, art galleries, private collections)
and the way in which bric-A -brac brought the alien into everyday
settings, the past into the present and the wild into the domestic.
Focusing on the representation of material culture in Victorian
literature, the essays in this volume seek out miscellaneous and
incongruous objects that take readers beyond the commonplace
paradigms associated with commodity culture. Individual chapters
analyse the work of writers as different as Edward Lear and John
Henry Newman, Robert Browning and George Eliot, Charles Dickens and
Lewis Carroll. In so doing they shed light on a dizzying array of
topics and objects that include class and capitalism, the occult
and the sacraments, Darwinism and dandyism, umbrellas, textiles,
the Philosopher's Stone and even the household nail.
The Romantic Legacy of Paradise Lost offers a new critical insight
into the relationship between Milton and the Romantic poets.
Beginning with a discussion of the role that seventeenth and
eighteenth-century writers like Dryden, Johnson and Burke played in
formulating the political and spiritual mythology that grew up
around Milton, Shears devotes a chapter to each of the major
Romantic poets, contextualizing their 'misreadings' of Milton
within a range of historical, aesthetic, and theoretical contexts
and discourses. By tackling the vexed issue of whether Paradise
Lost by its nature makes available and encourages alternate
readings or whether misreadings are imposed on the poem from
without, Shears argues that the Romantic inclination towards
fragmentation and a polysemous aesthetic leads to disrupted
readings of Paradise Lost that obscure the theme, or warp the
'grain', of the poem. Shears concludes by examining the ways in
which the legacy of Romantic misreading continues to shape critical
responses to Milton's epic.
The Great Exhibition, 1851 is the first anthology of its kind. It
presents a comprehensive array of carefully selected primary
documents, sourced from the period before, during and after the
Exhibition in Hyde Park in 1851. Drawing on contemporary newspapers
and periodicals, the archives of the Royal Commission, diaries,
journals, celebratory poems and essays, the book provides an
unparalleled resource for teachers and students of the Exhibition
and a starting point for researchers new to the subject. Subdivided
into six chapters - 'Origins and organisation', 'Display', 'Nation,
empire and ethnicity', 'Gender', 'Class' and 'Afterlives' - it
represents the current scholarly debates about the Exhibition,
orientating readers with helpful, critically informed
introductions. What was the Great Exhibition and what did it mean?
Readers of The Great Exhibition, 1851 will take great pleasure in
finding out. -- .
The Great Exhibition, 1851 is the first anthology of its kind. It
presents a comprehensive array of carefully selected primary
documents, sourced from the period before, during and after the
Exhibition in Hyde Park in 1851. Drawing on contemporary newspapers
and periodicals, the archives of the Royal Commission, diaries,
journals, celebratory poems and essays, the book provides an
unparalleled resource for teachers and students of the Exhibition
and a starting point for researchers new to the subject. Subdivided
into six chapters - 'Origins and organisation', 'Display', 'Nation,
empire and ethnicity', 'Gender', 'Class' and 'Afterlives' - it
represents the current scholarly debates about the Exhibition,
orientating readers with helpful, critically informed
introductions. What was the Great Exhibition and what did it mean?
Readers of The Great Exhibition, 1851 will take great pleasure in
finding out. -- .
Reading, writing and the influence of Harold Bloom takes the work
of the world's best-known living literary critic and discovers what
it is like to read 'with', 'against' and 'beyond' his ideas. The
editors, Alan Rawes and Jonathon Shears, introduce the collection
by assessing the impact of Bloom's brand of agonistic criticism on
literary critics and its ongoing relevance to a discipline
attempting to redefine and settle on its collective goals. Firmly
grounded in, though not confined to, Bloom's first specialism of
Romantic Studies, the volume contains essays that examine Bloom's
debts to high Romanticism, his quarrels with feminism, his
resistance to historicism, the tensions with the 'Yale School' and
his recent work on Shakespeare and genius. Crucially, chapters are
also devoted to putting Bloom's anxiety-themed ratios into practice
on the poetry of Wordsworth, Shelley, Keats and D. H. Lawrence,
amongst others. The Harold Bloom that emerges from this collection
is by turns divisive and unifying, marginalised and central,
radical and conservative. -- .
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