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First Published in 1966. This volume is selected collection of what can be constituted as ‘Victorian Temper’ with parallel motifs in Victorian painting and in the plastic arts, The author draws most freely upon literary sources, including a good many minor writers whose work, whatever its subsequent fate, was in its day broadly representative. He has sought an interpretation of what might be called the Victorian temper rather than a reappraisal of Victorian talents.
Offering provocative readings of Tennyson's Idylls of the King, Barrett Browning's Aurora Leigh, Clough's Amours de Voyage, and Browning's The Ring and the Book, Clinton Machann brings to bear the ideas and methods of literary Darwinism to shed light on the central issue of masculinity in the Victorian epic. This critical approach enables Machann to take advantage of important research in evolutionary psychology, cognitive science, anthropology, among other scientific fields, and to bring the concept of human nature into his discussions of the poems. The importance of the Victorian long poem as a literary genre is reviewed in the introduction, followed by transformative close readings of the poems that engage with questions of gender, particularly representations of masculinity and the prevalence of male violence. Machann contextualizes his reading within the poets' views on social, philosophical, and religious issues, arguing that the impulses, drives, and tendencies of human nature, as well as the historical and cultural context, influenced the writing and thus must inform the interpretation of the Victorian epic.
Robert Herrick (1591-1674) achieved fame only in the nineteenth century. The book features approximately fifty reproductions of illustrations of Hesperides.
Few stories capture the unique interplay of critical theory, mass media and public taste better than the story of the Spasmodics. These earnest, youthful and largely self-educated neo-Romantics hoped to become prophets who would influence literary society on a grand scale. From about 1850 to 1860, the Spasmodics successfully cast a long shadow over virtually every serious discussion of Victorian poetry. Many mid-nineteenth-century writers, including Tennyson, both Brownings and Matthew Arnold, were either adherents or outspoken detractors of the Spasmodic School. This work documents, in appropriate social contexts, the trajectory of the Spasmodic School in both its original incarnation and subsequent appraisals. Examining the various personalities and aesthetic principles that fashioned the movement, the author does not champion any particular critical stance or verdict. The scholarly apparatus cites a number of competing Victorianist interpretations, approaches and judgments with varying degrees of expertise.
'White sets himself a most ambitious task, and he goes remarkably far to achieving his goals. Very few books tell so much about Australia, with elegance and concision, as does his' - Professor Michael Roe 'Stimulating and informative. an antidote to the cultural cringe' - Canberra Times 'To be Australian': what can that mean? Inventing Australia sets out to find the answers by tracing the images we have used to describe our land and our people - the convict hell, the workingman's paradise, the Bush legend, the 'typical' Australian from the shearer to the Bondi lifesaver, the land of opportunity, the small rich industrial country, the multicultural society. The book argues that these images, rather than describing an especially Australian reality, grow out of assumptions about nature, race, class, democracy, sex and empire, and are 'invented' to serve the interests of particular groups. There have been many books about Australia's national identity; this is the first to place the discussion within an historical context to explain how Australians' views of themselves change and why these views change in the way they do.
Much has been written about the Victorian novel, and for good reason. The cultural power it exerted (and, to some extent, still exerts) is beyond question. The Oxford Handbook of the Victorian Novel contributes substantially to this thriving scholarly field by offering new approaches to familiar topics (the novel and science, the Victorian Bildungroman) as well as essays on topics often overlooked (the novel and classics, the novel and the OED, the novel, and allusion). Manifesting the increasing interdisciplinarity of Victorian studies, its essays situate the novel within a complex network of relations (among, for instance, readers, editors, reviewers, and the novelists themselves; or among different cultural pressures - the religious, the commercial, the legal). The handbook's essays also build on recent bibliographic work of remarkable scope and detail, responding to the growing attention to print culture. With a detailed introduction and 36 newly commissioned chapters by leading and emerging scholars -- beginning with Peter Garside's examination of the early nineteenth-century novel and ending with two essays proposing the 'last Victorian novel' -- the handbook attends to the major themes in Victorian scholarship while at the same time creating new possibilities for further research. Balancing breadth and depth, the clearly-written, nonjargon -laden essays provide readers with overviews as well as original scholarship, an approach which will serve advanced undergraduates, graduate students, and established scholars. As the Victorians get further away from us, our versions of their culture and its novel inevitably change; this Handbook offers fresh explorations of the novel that teach us about this genre, its culture, and, by extension, our own.
"Professor Adams seems to have read the whole library and yet. . .retained his pith, vigor, suppleness, and good cheer. In addition, he knows how to tell a story. . . .One of the pleasure. . .lies in [the book's] rich texture of cross-references between history and literature. . . .Exhilarating." --Daniel Albright, New York Review of Books