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Seminar paper from the year 2015 in the subject English Language and Literature Studies - Literature, grade: 1.0, University of Constance, language: English, abstract: When George Gordon Byron, better known as Lord Byron, sails from Dover to Ostend on 25 April 1816, he leaves his homeland forever. When he departed England for the first time in his youth, he was an unknown young poet seeking adventures in Albania, Turkey and Greece. Now, he is – after Wellington and Prince Regent – the best- known man in England and flees the outraged British public and into exile. In the time between his first return and final departure from England, he achieved previously unheard levels of poetic fame and an interest in one ́s personality, which is why many critics regard him as “the first truly modern literary celebrity”. The question that arises is, what it means to be a celebrity and why Byron nevertheless needs to leave England. The phenomenon of celebrity has become a defining and omnipresent characteristic of our mediatized societies, but only for the last years scholars have begun to see celebrity ́s roots in 19th century Romanticism. This paper will focus on the time between 1812 and 1816 and will investigate the early beginnings of celebrity based on the life of Lord Byron: How far is celebrity different from fame? How does Byron become a celebrity and what effects does it have on his life? Claiming that Byron himself purposefully supports the interest in him as a person, I will furthermore show that slowly celebrity becomes a prison for him and forces him leave England.
This collection of essays by leading Byronists explores the development of the myth of Byron and the Byronic from the poet's self-representations to his various appearances in nineteenth- and twentieth-century literature and in drama, film and portraiture. Byromania (as Annabella Milbanke named the frenzied reaction to Byron's poetry and personality) looks at the phenomena of Byronism through a variety of critical perspectives, and it is designed to appeal to both an academic and a popular readership alike.
This book offers a new history and theory of modern celebrity. It argues that celebrity is a cultural apparatus that emerged in response to the Romantic industrialization of print and culture. It investigates the often strained interactions of artistic endeavour and commercial enterprise, and the place of celebrity culture in history of the self.
Frequently perceived as a characteristic of modern culture, the phenomenon of celebrity has much older roots. In this book Antoine Lilti shows that the mechanisms of celebrity were developed in Europe during the Enlightenment, well before films, yellow journalism, and television, and then flourished during the Romantic period on both sides of the Atlantic. Figures from across the arts like Voltaire, Garrick, and Liszt were all veritable celebrities in their time, arousing curiosity and passionate loyalty from their “fans.” The rise of the press, new advertising techniques, and the marketing of leisure brought a profound transformation in the visibility of celebrities: private lives were now very much on public show. Nor was politics spared this cultural upheaval: Marie-Antoinette, George Washington, and Napoleon all experienced a political world transformed by the new demands of celebrity. And when the people suddenly appeared on the revolutionary scene, it was no longer enough to be legitimate; it was crucial to be popular too. Lilti retraces the profound social upheaval precipitated by the rise of celebrity and explores the ambivalence felt toward this new phenomenon. Both sought after and denounced, celebrity evolved as the modern form of personal prestige, assuming the role that glory played in the aristocratic world in a new age of democracy and evolving forms of media. While uncovering the birth of celebrity in the eighteenth century, Lilti's perceptive history at the same time shines light on the continuing importance of this phenomenon in today’s world.
Mesmerism, Medusa, and the Muse: The Romantic Discourse of Spontaneous Creativity explores the connections among the Romantic discourse of spontaneous literary creativity, the nineteenth-century cultural practice of mesmerism, and the mythical Medusa as an icon of the gendered gaze. An analysis of Medusan mesmerism in the poetry of Mary Robinson, Samuel Taylor Coleridge, Percy Bysshe Shelley and Letitia Elizabeth Landon (L.E.L.) and the prose of Mary Shelley reveals that these Romantic-era writers equate the enraptured state that produces spontaneous literary creation with the mesmeric trance. These writers employ Medusan imagery to portray both the mesmerist and the mesmerized subject, a conflation of subject/object positions that complicates issues of agency, subjectivity, and gender. Images of Medusan mesmerism ultimately work to deconstruct Romantic ideological dichotomies of self/other, female/male, muse/artist, and sublime/beautiful. In contrast to a traditional, masculinized Romantic discourse that emphasizes self-possession, this study uncovers a feminized, improvisational, Romantic discourse, characterized “Other-possession,” an assumption of the mesmerized subject position that enhances subjective fluidity. This study interrogates the Romantic discourse of spontaneous literary creativity through an examination of Romantic poetry, prose, and theory that utilizes mesmeric and Medusan metaphors to suggest creative inspiration.Building on recent scholarship about improvisational poetics, the subversive potential of mesmerism, and Medusa as a feminist icon, this work suggests that the mesmeric Medusan muse not only enables creativity for women writers but also provides a mirror in which they view (and through which they give voice to) their own societal oppression. The mesmeric Medusan muse in Romantic-era literature—from the Ancient Mariner and the Frankenstein monster to the tragic, abandoned Sapphic poetess—often represents the face of oppression, an unwelcome and monstrous truth in nineteenth-century British society. For women writers in particular, braving the stare of the Medusan muse enhances empathy, and therefore inspiration and literary productivity.
This book explores Della Cruscan poetry in the late eighteenth-century literary scene. A sociable, ornate, and deeply theatrical type of poetry, Della Cruscanism was associated with writers like Robert Merry, Mary Robinson, and Hannah Cowley. While Merry is the poet most commonly associated with the Della Cruscan school, this book argues that Della Cruscanism was a movement dominated by female poets and that this was one of the key reasons for the later disavowal and downgrading of its poetic accomplishments. It offers a close examination of these women writers and their role in shaping the poetic culture of the fashionable newspaper. In doing so, this study offers the first account of the feminization of the fashionable newspaper and of popular literary culture in the final years of the eighteenth century.
In the spring of 1816, Lord Byron was the greatest poet of his generation and the most famous man in Britain, but his personal life was about to erupt. Fleeing his celebrity, notoriety, and debts, he sought refuge in Europe, taking his young doctor with him. As an inexperienced medic with literary aspirations of his own, Doctor John Polidori could not believe his luck.That summer another literary star also arrived in Geneva. With Percy Bysshe Shelley came his lover, Mary, and her step-sister, Claire Clairmont. For the next three months, this party of young bohemians shared their lives, charged with sexual and artistic tensions. It was a period of extraordinary creativity: Mary Shelley started writing Frankenstein, the gothic masterpiece of Romantic fiction; Byron completed Childe Harold’s Pilgrimage, his epic poem; and Polidori would begin The Vampyre, the first great vampire novel.It was also a time of remarkable drama and emotional turmoil. For Byron and the Shelleys, their stay by the lake would serve to immortalize them in the annals of literary history. But for Claire and Polidori, the Swiss sojourn would scar them forever.
In the spring of 1816, Lord Byron was the greatest poet of his generation and the most famous man in Britain, but his personal life was about to erupt. Fleeing his celebrity, notoriety and debts, he sought refuge in Europe, taking his young doctor with him. As an inexperienced medic with literary aspirations of his own, Dr Polidori could not believe his luck. That summer another literary star also arrived in Geneva. With Percy Bysshe Shelley came his lover, Mary and her step-sister Claire Clairmont. For the next three months, this party of young bohemians shared their lives, charged with sexual and artistic tensions. It was a period of extraordinary creativity from which would emerge Frankenstein, the gothic masterpiece of Romantic fiction, Byron's Childe Harold, Shelley's Mont Blanc, and The Vampyre by John Polidori, the first great vampire novel. It was also a time of remarkable drama and emotional turmoil. For Byron and the Shelleys, their stay by the lake would serve to immortalise them in the annals of literary history. But for Claire and Polidori, the Swiss sojourn would scar them forever.
This fresh, informative account of key writers, important texts, and complex cultural currents promises keen interest for students and scholars, literary critics, and cultural historians.--Catherine Redford "BARS Bulletin and Review"
What did Wordsworth wear, and where did he walk? Who was Byron’s new mistress, and how did his marriage fare? Answers—sometimes accurate, sometimes not—were tantalizingly at the ready in the Romantic era, when confessional poetry, romans à clef, personal essays, and gossip columns offered readers exceptional access to well-known authors. But at what point did familiarity become overfamiliarity? Widely recognized as a social virtue, familiarity—a feeling of emotional closeness or comforting predictability—could also be dangerous, vulgar, or boring. In The Limits of Familiarity, Eckert persuasively argues that such concerns shaped literary production in the Romantic period. Bringing together reception studies, celebrity studies, and literary history to reveal how anxieties about familiarity shaped both Romanticism and conceptions of authorship, this book encourages us to reflect in our own fraught historical moment on the distinction between telling all and telling all too much.