Taking in works from writers as diverse as William Shakespeare, William Wordsworth, Charlotte Bronte, John Keats, James Joyce and D.H. Lawrence, this book spans approximately 300 years and unpacks how bodily liquidity, porosity and petrification recur as a pattern and underlie the chequered history of the body and genders in literature. Lennartz examines the precarious relationship between porosity and its opposite - closure, containment and stoniness - and explores literary history as a meandering narrative in which 'female' porosity and 'manly' stoniness clash, showing how different societies and epochs respond to and engage with bodily porosity. This book considers the ways that this relationship is constantly renegotiated and where effusive and 'feminine' genres, such as 'sloppy' letters and streams of consciousness, are pitted against stony and astringent forms of masculinity, like epitaphs, sonnets and the Bildungsroman.

This book features a collection of essays, shedding subversively new light on Romanticism and its canon of big-six, white, male Romantics by focusing on marginalised, forgotten and lost writers and their long-neglected works. Probing the realms of literary and cultural lostness, this book identifies different strata of oblivion and shows how densely the net of contacts and rivalries was woven around the ostensibly monolithic stars of the Romantic age. It reveals how the lost poets inspired the production of anthologised poetry, that they served as indispensable muses, sidekicks and interlocutors of the big six and that their relevance for the literary scene has been continuously underrated. This is also surprisingly true for some creators of famous one-hit wonders (Frankenstein, The Vampyre) who were suddenly rocketed to fame or notoriety, but could not help seeing their other works of fiction turning into abortive flops.

In the 17th century a profound change took place in the depiction of the body and the erotic. Whilst the metaphysics of Donne and Crashaw represented theology under the sign of the erotic and simultaneously theologized the corporeal, the Cavaliers had severed these alliances since the 1620a (TM)s. Influenced by the invention of the stage figure, Don Juan, poets such as Carew, Suckling and the Earl of Rochester cast the erotic as quantitative greatness, thereby laying the corner stone of the misogynist pornography of later centuries.

This book features a collection of essays, shedding subversively new light on Romanticism and its canon of big-six, white, male Romantics by focusing on marginalised, forgotten and lost writers and their long-neglected works. Probing the realms of literary and cultural lostness, this book identifies different strata of oblivion and shows how densely the net of contacts and rivalries was woven around the ostensibly monolithic stars of the Romantic age. It reveals how the lost poets inspired the production of anthologised poetry, that they served as indispensable muses, sidekicks and interlocutors of the big six and that their relevance for the literary scene has been continuously underrated. This is also surprisingly true for some creators of famous one-hit wonders (Frankenstein, The Vampyre) who were suddenly rocketed to fame or notoriety, but could not help seeing their other works of fiction turning into abortive flops.

Explores Byron as the figurehead of Romanticism and the writer of provocatively 'marginal' texts This book approaches Byron from a completely new angle: no longer seen in terms of his status as a celebrity and a star on the book-selling market, Byron is instead seen as an outsider both in Regency society and, even more so, for his iconoclastic views of life and literature. Pilgrims in pursuit of non-existing shrines, women as man-eating giants and viragos, cannibalism, suicide, black humour and other provocatively border-crossing topics leave scholars hopelessly at a loss as to where they should categorise Byron and what they should do with his penchant for marginal themes, genres and characters. Byron caters to numerous Romantic cliches (weltschmerz, melancholy, subjectivity), while simultaneously reverting to genres, themes and motifs that cast him as a pre- or even anti-Romantic. This collection will trigger new debates in Byron scholarship and show that terms such as canonicity and marginality tend to be blurry and stand in constant need of re-negotiation. Key Features: Re-reads Byron's heterogeneous texts Foregrounds Byron's marginal texts, the margins from which they were written and the thematic marginalities they deal with Re-evalutates Romanticism in the light of marginality Pinpoints the interface between Classicism, Romanticism and Modernity

Taking in works from writers as diverse as William Shakespeare, William Wordsworth, Charlotte Bronte, John Keats, James Joyce and D.H. Lawrence, this book spans approximately 300 years and unpacks how bodily liquidity, porosity and petrification recur as a pattern and underlie the chequered history of the body and genders in literature. Lennartz examines the precarious relationship between porosity and its opposite - closure, containment and stoniness - and explores literary history as a meandering narrative in which 'female' porosity and 'manly' stoniness clash, showing how different societies and epochs respond to and engage with bodily porosity. This book considers the ways that this relationship is constantly renegotiated and where effusive and 'feminine' genres, such as 'sloppy' letters and streams of consciousness, are pitted against stony and astringent forms of masculinity, like epitaphs, sonnets and the Bildungsroman.

Explores Byron as the figurehead of Romanticism and the writer of provocatively 'marginal' texts This book approaches Byron from a completely new angle: no longer seen in terms of his status as a celebrity and a star on the book-selling market, Byron is instead seen as an outsider both in Regency society and, even more so, for his iconoclastic views of life and literature. Pilgrims in pursuit of non-existing shrines, women as man-eating giants and viragos, cannibalism, suicide, black humour and other provocatively border-crossing topics leave scholars hopelessly at a loss as to where they should categorise Byron and what they should do with his penchant for marginal themes, genres and characters. Byron caters to numerous Romantic cliches (weltschmerz, melancholy, subjectivity), while simultaneously reverting to genres, themes and motifs that cast him as a pre- or even anti-Romantic. This collection will trigger new debates in Byron scholarship and show that terms such as canonicity and marginality tend to be blurry and stand in constant need of re-negotiation. Key Features: Re-reads Byron's heterogeneous texts Foregrounds Byron's marginal texts, the margins from which they were written and the thematic marginalities they deal with Re-evalutates Romanticism in the light of marginality Pinpoints the interface between Classicism, Romanticism and Modernity