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Beeg Valentina Nappi black cock ruins white pussies. Marie N. The two sections, each on one novel, each begin with an analysis of the novel in question. The second chapter is similarly attentive to irony, this time in relation to courtship pp. The section on Mansfield Park is similarly structured, with two chapters on the novel and four on screen versions.

The contexts for engagement with Austen relate to street culture, digitization, and the Austen craze, and the volume also contains a most helpful appendix consisting of the syllabi of the contributors ensuring their good practices can be incorporated and extended. Elsewhere, Matthew P.

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Kathleen E. Eric C. Susan Spencer provides a good account of the new online resource co-devised by Austen scholar Janine Barchas at http:www. The study itself is concise, economical, and has a density of thought that lends it an epigrammatic air at times. Elsewhere, James P. Jonas S. Anna E. There was an interesting collection of essays on Mary Wollstonecraft in Hypatia this year. Alan M. The three-volume novel dates from and was never published. The work of Ann Radcliffe receives several significant re-evaluations in an authoritative and compelling new collection of essays.

The collection is divided into three sections. While this perspective anticipates Romantic poetic vision in certain ways, ultimately it becomes Gothic rather than Romantic, and Milbank offers detailed analysis of the two novels and the double perspective achieved by their melancholic characters and condition. The next chapter presents Jerrold E. Scott J. Of relevance here are the following chapters.

These are the chapters on Mary Robinson and Mary Wollstonecraft. Kathryn S. Arguing that this period of literary history in Anglo-Indian culture is pre-colonial, not colonial or postcolonial, Freeman analyses a range of novels, plays, and poetry by women in the period to uncover their critique of Western dualism, and the binaries relating to reason and emotion, masculinity and femininity, authority and submission, within their encounters with Indian philosophy, culture, and language.

Elsewhere, a fascinating account of the development of a discourse surrounding vegetarianism in the midst of British imperial discourse in India is offered by Marguerite M. From this seemingly simple claim Davies constructs a detailed analysis of the shift from oral or transitory maternal advice to the written authority of educational writers in a variety of genres.

Six chapters take us through the writings and authorial development of influential writers: Sarah Fielding, Mary Wollstonecraft, Maria Edgeworth, Jane Austen, and the now obscure Ann Martin Taylor, with a selection of her works from to Through the following five chapters Davies traces the development of this written form of maternal authority and educational discipline in relation to Dissenting culture, empiricism and epistemology, radical politics, and the developing form of the eighteenth-century novel.

That said, after setting out the debate for history and authority in s political and philosophical writings in his first two chapters Richard Price, Edmund Burke, James Mackintosh, Mary Wollstonecraft, Thomas Paine Rooney goes on to devote a chapter to reformist and Jacobin novels, and another chapter to anti-Jacobin and conservative novels. Anne Frey provides an account of Agnes C. John B. Matthew J. Eleanor C. Jason S. George discusses a subgenre of Romantic fiction here, the fictional confession, drawing upon a range of obscure and often outrageous novels from to by authors such as Edmund Carrington, John Ainslie, and Thomas Little.

Nicholas M. The majority of works published on Romantic poetry in focused on individual authors. But there were several general studies in the field of Romanticism that included discussion of poetry. A number of these works are considered in more detail in the Section 1 of this chapter, and so are only briefly highlighted here. These studies are all discussed in detail above. Two further important studies were published by Cambridge University Press in The pervasiveness of conflict in the Romantic period is of central concern to Jeffrey N. Looking beyond the simple answer, namely that everyone else was doing it at the time too, this fascinating account of canonical poets argues that each writer criticizes the growing imperialism of Europe and the aesthetics as well as the politics of Western expansionism.

This year saw the publication of two large critical editions of two relatively non-canonical abolitionist poets. As well as an abolitionist, Rushton was an accomplished seaman, poet, and bookseller. The effect of this is to emphasize the Liverpool-based Rushton as a writer of merit who exceeds his marginal reputation in British Romanticism, and not simply as a figure of regional, historical, or academic interest. Indeed, this edition, containing all his known works, shows Rushton to be a far more prolific writer of poetry than of prose. In this light it is tempting to view Rushton as a transatlantic poet, not only for biographical reasons—his seamanship—but because of the transatlantic themes of much of his writing.

Although this may partly be due to the nineteenth-century distaste for his radical politics, and the peculiar nature of his posthumous publication, the Popean echoes of this opening passage suggest another reason. Could Rushton, therefore, simply have been seen as unfashionable? The other substantial critical edition appearing in was the three-volume Collected Works of Ann Yearsley , edited by Kerri Andrews. Elsewhere, Andrews does not allow her research to crowd the poetry and letters by keeping paratextual elements to a minimum.

Apart from a few sparse headnotes, Andrews confines details of textual variants, glosses, and contextual information largely to the back of the volume. Whereas Poems, on Several Occasions contained seventeen poems dedicated to one of her two patrons, Hannah More and Elizabeth Montagu, her final volume contained only two such poems to her then patron Frederick Hervey, fourth earl of Bristol. A poet of the late eighteenth-century so heavily influenced by the much earlier poetics of Milton, Young, Pope, and Gray, however, is always likely to appear stylistically at odds with her more Romantic contemporaries and, at worst, decidedly unfashionable.

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More and Yearsley are frequently considered as eventual antagonists. The once collaborative relationship that gave way to rivalry, Andrews argues, was in fact fruitful for both poets. Andrews does not necessarily dismiss these; rather, she considers the significance of the complex role played by patronage in the eighteenth century in relation to all the above. In particular, Andrews notes how it was expected that a patronized poet should show gratitude, not only in private, but in print.

Hannah More was also the subject of a short article in In particular, it reminds us of how the Christian conservative More engaged in similar publishing practices, including even using the same publishers, as radical writers. Turning to individual authors, the most important work on Blake from concerned his religious background. Blake and the Methodists , by Michael Farrell, considers this a very real possibility. But there was a large range of dissenting religious groups at this time, and whilst some adhered closely to one single sect, many others saw and appreciated a commonality witnessed between faiths, and held eclectic views.

Farrell reads Blake as such a seeker, with heterogeneous religious views and practices. Far from being the extreme radical that criticism has tended to paint him as, then, Farrell finds Blake to be much more typical of the syncretic theology of his time. Paul Miner published three essays broadly built around influence and allusion in Blake in Notes and Queries. I enjoyed the close attention to detail Miner offers throughout these three short essays. Collectively, they illustrate how Blakean allusion contributes to his powerfully compelling mythology.

In , Angus Whitehead offered three short pieces in Notes and Queries on the labouring-class poet that bring further details of his life and work to the surface. Whitehead reveals to us the political context in which Bloomfield operated or perhaps it would be fairer to say in which he tried to operate. He writes eager to secure both literary support and financial assistance from Brydges—who was a writer, patron of the arts, and founder member of the Roxburghe Club. In the past five years there have been a number of major editorial undertakings on the collected works of Scottish Romantic writers.

Edinburgh University Press will soon be publishing the Edinburgh edition of the poetry of Walter Scott, a project under the stewardship of Alison Lumsden at Aberdeen, and over the next decade or so we will have the fifteen-volume Oxford Edition of the Works of Robert Burns from the team at the centre for Burns studies at Glasgow, with Gerard Carruthers as its general editor.

Here, as editor, Leask brings all his vast knowledge to bear in a series of introductory essays for each item in the edition. In command of his sources and a range of scholarship, he neatly conveys the salient issues for modern readers of Burns, especially useful in the context of these less well-known works. Leask provides an uncluttered working text, with the accompanying notes given at the back of the volume.

At a little over pages, the notes take up a quarter of the volume. But they are a delight, and both inviting and illuminating. To read them in isolation is to find it confirmed just how knowledgeable Burns was about the history, politics, and literature of the British nation, and to see illuminated his deep love of Shakespeare and Pope in particular.

Unlike the work of some of those scribblers Burns enjoyed ridiculing, Commonplace Books, Tour Journals, and Miscellaneous Prose is a major piece of scholarship, offering ample new material for Romanticists.

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It is a highly accomplished opening to what promises to be a seminal edition of Burns. From the beginning, his verse and song were situated within issues of national identity, celebrated for drawing out and demarcating various cultural memories. Burns initially gained traction on the Continent by way of the German states during the Napoleonic era. As Jahn Thon shows in chapter 13, though, these issues were of central importance in Norway as Burns contributed to its growing national fervour.

As she explains, nineteenth-century Austrian responses to Burns took various forms, and included translations, adaptations, and reviews. Scholars of the German-language reception of Burns have generally overlooked his significance in Austria, however, and Bodammer is effective in explaining the way Austro-German reaction to Burns differs from the better-understood German reception. Rounding off the German-language reception, Silvia Mergenthal considers the impact of Burns in the context of multilingual Switzerland.

Eastern Europe is pleasingly well represented in this collection by a number of insightful essays. This feels a fitting end to a book that details so well the rich migration of Burns. But his songs were also amongst the earliest recorded music at the beginning of the twentieth century. Focusing on specific historical periods, McCue and Rycroft highlight how European composers and musicians have consistently found Burns to be a personal, political, and musical stimulus.

This valuable volume, which combines depth with breadth, illustrates the mixed reputation and continuing importance of Burns in European nations, and is an excellent example of the way reception studies draws attention to the complex interweaving of peoples, periods, and ideas. McGuirk is keen to re-engage with the elusive and ambiguous elements of his writing. Throughout she saves biographical matters, and political and social contexts, for when she feels they most influence the writing. Frequently in poetic conversation with others, Burns has also regularly been a poet towards whom others have gravitated for inspiration.

A chapter on Burns and other Scots poets, meanwhile, highlights the significance of drinking in Scottish verse, from the eighteenth century to the modernist vernacular of Hugh MacDiarmid. In recent years, however, there has been a gradual formalist turn, with critics engaging with Byron at the level of the reading experience. He thus subtly extends the study of Byronic forms beyond their significance to the Romantic period into questions of the value of literary criticism in modern universities and the wider culture in which they operate.

Howe divides his book into six essays, and ends with a coda. These essays perhaps necessarily privilege the later works such as Cain , but most especially Don Juan. Part II addresses Byron as literary critic, as he reflects on what poetry might offer ahead of any other compositional practice.

He is excellent on Byronic nuance, not least those richly suggestive moments performed by punctuation. Eighteenth- and nineteenth-century authors and critics regularly derided publishers as a distasteful feature of literary life. Charles Lamb was not alone in feeling that writers were slaves to the marketization of books propagated by publishers for their own profit.

Much less notice has been given to the influence of a single publishing figure as an arbiter of taste, or as shaper of a literary text, or as facilitator of the complex relationship between writer and reader. As the most significant publisher in the Romantic period, he was also an essential patron of the literary world. His reach extended far beyond Byron to include publishing the Quarterly Review and Jane Austen amongst numerous other achievements. No wonder Wordsworth was eager to be taken on, and even Keats flirted with the idea, so successful was Murray in turning a profit for poets as well as for himself.

Sensitive yet piercing in its observations, Byron and John Murray opens up new pathways in the fields of book-trade history and Byron studies. An independent scholar, Cochran was a leading authority on Byron for decades, and many of these essays have not been published before or even heard in public. Cochran died in May last year. Taylor focuses on a number of speeches by Sheridan from —8, and suggests that Byron self-consciously problematizes any attempt at rendering what was spoken in the past. This is a skilful essay that combines context with intertextuality. Instead of raking over familiar ground, however, the essay delves into the now little known Fantasmagoriana , the French volume of ghost stories, which, according to Mary Shelley later, had been one of the inspirations behind the contest.

Gayle, which reconsiders the comic creative vista that opened up for Byron in once he was more familiar with ottava rima. Byron already knew the form in the shape of works by Pulci, Ariosto, and Tasso. A number of critics addressed Byronic travel, broadly conceived, in Via a series of close readings, Plygawko considers the creative agency at play whenever Byron brings into tension the imagined and the real.

Manfred dramatizes the failure of a Wordsworthian faith in nature for Byron, as Hubbell notes. The brooding Byronic hero is the subject of an article by Gregory Olsen, though with a telling difference. Using the theory of Pierre Bourdieu and others, Shears provides a fresh approach to that typical Byronic paradox: that the poet is most in control when seemingly surrendering to the loss of it. But Kuduk Weiner also has the capacity of drawing out onto a broader canvas. The second part of the book is concerned with the inspiration poets derive from other poets.

The wonderful John Clare Society Journal kept up its high standard with a number of admirable essays. For Salutsky, a time will soon be upon us when we will be able to read more accurately what occurs in the brain during an aesthetic experience, and not only gain a fuller appreciation of what art means for individual pleasure, but also its therapeutic benefits for our wider community.

The poetry of George Crabbe was given a special issue in Romanticism this year. In a fascinating account, Edwards takes us through the various relations and divergences between the Tales and various frame narratives like A Thousand and One Nights , the Canterbury Tales , and the Decameron. Rossington reads this sensibility as subtle, with the tales reflecting several narrative and historical perspectives that rarely take priority over each other and so establish tensions between the time of the Napoleonic Wars, when Tales was first published, and the periods which the narratives inhabit.

For Rossington, the tales therefore invite the reader to identify any political and religious tensions in an English past, while understanding present divisions within that past experience. And while this may provide remedies for repairing social tensions, Rossington argues that it also undermines the very enterprise by suggesting their embedded and repetitive inevitability through history. It brings into view the specialness of common everyday things so prevalent in much Romantic writing, and in its descriptions anticipates the detail and richness of Victorian novels.

Formally, however, it capitalizes on the refinement associated with the heroic couplets of the eighteenth century. This special issue of Romanticism reserves a number of its pages for this vital work. For Hazlitt, after all, Crabbe was incurably conservative, rarely sympathizing with those he depicted, and seemingly unable or unwilling to question the state of the nation.

Lacey is right to point out the curiosity of this critical position, since most of the mature work was published after the seminal date for Romanticists at least of Perhaps the most crucial contribution these essays make to literary criticism is in giving Crabbe an equal footing with more established writers. But for Murray its philosophical argument, ahead of any detailed engagement with Aeschylus, suggests that by this stage Coleridge was unwilling to engage with tragedy p.

He suggests that Coleridge would have been more than capable of advancing tragedy on the stage if there had been more of an opportunity for him to do so. It will be interesting to see how these two strands of Coleridge criticism are taken up further in the years ahead. In his introduction, Jones notes that focusing on poetic form flies in the face of the current state of Coleridge scholarship. Throughout, Jones is attentive to verse form, both in his perceptive and original close readings of its constituent parts, and as a broader category that might tell us something significant about artistic thought.

This is a revisionary account of Coleridgean poetics and philosophy. What Jones brings to this notion, however, is the idea that Coleridge philosophized through verse because its form frequently afforded him a particular means of playing with his thoughts. Thomson locates this work partly in the personal context in which Coleridge found himself.

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As she explains, in the winter of Coleridge was starting to publicly express his unhappiness over his marriage, and his more insecure feelings over the long-term prospects of fruitful relations with the Wordsworths. Other pieces on Coleridge appeared in Notes and Queries.


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But Roberts seems to have meticulously traced almost all of those either not glossed or not able to be traced in the Princeton edition of , edited by James Engel and W. Jackson Bate. Despite learning German, Coleridge struggled with Kurrentschrift not least because its representation of a number of vowels and consonants is illegible for anyone more used to Latin script. Coleridge portrays his difficulties comically. Thomas Owens produced two very different yet equally compelling essays on Coleridge. Mays has said quoted p. A number of scholars, perhaps most especially Peter Swaab, have offered us a portrait of her as polymath: a talented poet and prose writer, and a thinker who engaged with politics, philosophy, and theology.

Because of this we are slowly appreciating her as one of the leading scholars and artists of the late Romantic and Victorian eras. Underpinning this book is a belief in the interrelation between parents and their children. But at its heart this is a biography of, and critical introduction to, Sara, one that deepens our knowledge of its subject in admirable ways. Barbeau reveals her engagement with the key religious and philosophical debates of her time. Much good scholarship continues to be published on the evocative verse of Felicia Hemans.

Two essays appeared in Studies in Romanticism that show the almost limitless ways in which we might read and interpret her poetry. Image of Dionysian inspiration and Christian sacrifice, of physical pleasure and spiritual healing, the motif of the drinking cup has been ebullient inspiration for numerous Romantic writers. These two articles and the works on Yearsley discussed above aside, however, there was on the whole too little published on individual female poets, as is further indicated below.

Michael Edson offers us a new way of approaching the retirement poem in the Cockney School of poetry.

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Leslie A. Marchand, HarvardUP, 7: