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This book considers indigenous-language translations of Romantic
texts in the British colonies. It argues that these translations
uncover a latent discourse around colonisation in the original
English texts. Focusing on poems by William Wordsworth, John Keats,
Felicia Hemans, and Robert Burns, and on Walter Scott's Ivanhoe, it
provides the first scholarly insight into the reception of major
Romantic authors in indigenous languages, and makes a major
contribution to the study of global Romanticism and its colonial
heritage. The book demonstrates the ways in which colonial
controversies around prayer, song, hospitality, naming, mapping,
architecture, and medicine are drawn out by translators to make
connections between Romantic literature, its preoccupations, and
debates in the nineteenth- and early twentieth-century colonial
worlds.
This book considers indigenous-language translations of Romantic
texts in the British colonies. It argues that these translations
uncover a latent discourse around colonisation in the original
English texts. Focusing on poems by William Wordsworth, John Keats,
Felicia Hemans, and Robert Burns, and on Walter Scott's Ivanhoe, it
provides the first scholarly insight into the reception of major
Romantic authors in indigenous languages, and makes a major
contribution to the study of global Romanticism and its colonial
heritage. The book demonstrates the ways in which colonial
controversies around prayer, song, hospitality, naming, mapping,
architecture, and medicine are drawn out by translators to make
connections between Romantic literature, its preoccupations, and
debates in the nineteenth- and early twentieth-century colonial
worlds.
Samuel Johnson, Samuel Taylor Coleridge, William Hazlitt and
Charles Dickens all worked as parliamentary reporters, but their
experiences in the press gallery have not received much scrutiny.
Nikki Hessell's study is the first work to consider all four of
these canonical writers as gallery reporters, providing a detailed
picture of this intriguing episode in their careers. Hessell
challenges preconceived notions about the role that emergent
literary genius played in their success as reporters, arguing
instead that they were consummate gallery professionals who adapted
themselves to the journalistic standards of their day. That
professional background fed in to their creative work in unexpected
ways. By drawing on a wealth of evidence in letters, diaries and
the press, this study provides fresh insights into the ways in
which four great writers learnt the craft of journalism and brought
those lessons to bear on their career as literary authors.
Samuel Johnson, Samuel Taylor Coleridge, William Hazlitt and
Charles Dickens all worked as parliamentary reporters, but their
experiences in the press gallery have not received much scrutiny.
Nikki Hessell's study is the first work to consider all four of
these canonical writers as gallery reporters, providing a detailed
picture of this intriguing episode in their careers. Hessell
challenges preconceived notions about the role that emergent
literary genius played in their success as reporters, arguing
instead that they were consummate gallery professionals who adapted
themselves to the journalistic standards of their day. That
professional background fed in to their creative work in unexpected
ways. By drawing on a wealth of evidence in letters, diaries and
the press, this study provides fresh insights into the ways in
which four great writers learnt the craft of journalism and brought
those lessons to bear on their career as literary authors.
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