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A selection of representative writings in literary criticism and aesthetics by 40 critics.
The Cambridge Companion to Eighteenth-Century Poetry analyzes major premises, preoccupations, and practices of English poets writing from 1700 to the 1790s. These specially-commissioned essays avoid familiar categories and single-author approaches to look at the century afresh. Chapters consider such large poetic themes as nature, the city, political passions, the relation of death to desire and dreams, appeals to an imagined future, and the meanings of 'sensibility'. Other chapters explore historical developments such as the connection between poetic couplets and conversation, the conditions of publication, changing theories of poetry and imagination, growing numbers of women poets and readers, the rise of a self-consciously national tradition, and the place of lyric poetry in thought and practice. The essays are well supported by supplementary material including a chronology of the period and detailed guides to further reading. Altogether the volume provides an invaluable resource for scholars and students.
This study tries, through a systematic and historical analysis of the concept of critical authority, to write a history of literary criticism from the end of the 17th to the end of the 18th century that not only takes the discursive construction of its (self)representation into account, but also the social and economic conditions of its practice. It tries to consider the whole of the critical discourse on literature and criticism in the time period covered. Thus, it is distinctive through its methodology (there is no systematic account of the historical development of critical authority and no discussion of the institutionalization of criticism of such a scope), its material of analysis (most of the many hundred texts self-reflexively commenting on criticism that are discussed here have been so far virtually ignored) and through its results, a complex history of criticism in the 18th century that is neither reductive nor the accumulation of isolated aspects or author figures, but that probes into the very nature of the activity of criticism. The aim of this study is both to provide a thorough historical understanding of the emergence of criticism and as a consequence an understanding of the inner workings and power relations that structure criticism to this day.
Arguably the first play in a Shakespearean tetralogy, Richard II is a unique and compelling political drama whose themes still resonate today. It is one of the few Shakespeare plays written entirely in verse and its format presents unique theatrical challenges. Politically engaged and controversial, it raises crucial debates about the relationship between early modern art, audience response and state power. This collection provides a comprehensive and up-to-date survey of the critical and theatrical history of the play. The substantial introduction surveys the history of critical interpretations of Richard II since the eighteenth century. The eleven newly written critical essays by leading and emerging scholars in the field then adopt an eclectic range of critical approaches that encourage scholars and students to pursue new and imaginative directions with the text.
This is a comprehensive 1997 account of the history of literary criticism in Britain and Europe between 1660 and 1800. Unlike previous histories, it is not just a chronological survey of critical writing, but a multidisciplinary investigation of how the understanding of literature and its various genres was transformed, at the start of the modern era, by developments in philosophy, psychology, the natural sciences, linguistics, and other disciplines, as well as in society at large. In the process, modern literary theory - at first often implicit in literary texts themselves - emancipated itself from classical poetics and rhetoric, and literary criticism emerged as a full-time professional activity catering for an expanding literate public. The volume is international both in coverage and in authorship. Extensive bibliographies provide guidance for further specialised study.
This project overall attempts to recast Appalachian literature in terms of a ‘lost tradition’ of texts that are generally out-of-print though of central importance to understanding the history of the region and its current environmental and cultural challenges. The epilogue will also consider the way that ecological-based literary criticism offers a vital language for how antebellum travel writers sought to frame the region from a 19th-century environmental point of view. The book aims to resituate the field of Appalachian Studies to an earlier historic genesis in the 19th-century and bring to light several books which have received scant scholarly attention in the canon of Appalachian and American literature, respectively. The book centers on the argument that mid-19th-century travel writers going through or from the Appalachian region drew on familiar versions of 18th-century European, mainly British, landscape aesthetics that would help make the readerly experience less alien to their erudite regional and Northern audiences. These travel writers, such as Philip Pendleton Kennedy and David Hunter Strother, consciously appropriated such aesthetic tropes as the pastoral as a way to further dramatic the effect in their nonfiction accounts of Appalachia, while the reader could find such references comforting as they considered whether to domesticate or tour the Appalachian region.
This collection enriches and complicates the history of prose fiction between Richardson and Fielding at mid-century and Austen at the turn of the century by focusing on it-narratives, a once popular form largely forgotten by readers and critics alike. The volume also advances important work on eighteenth-century consumer culture and the theory of things. The essays that comprise The Secret Life of Things thus bring new texts, and new ways of thinking about familiar ones, to our notice. Those essays range from the role of it-narratives in period debates about copyright to their complex relationship with object-riddled sentimental fictions, from anti-semitism in Chrysal to jingoistic imperialism in The Adventures of a Rupee, from the it-narrative as a variety of whore's biography to a consideration of its contributions to an emergent middle-class ideology.
The eighteenth century is renowned for the publication of Samuel Johnson's A Dictionary of the English Language, which reference sources still call the first English dictionary. This collection demonstrates the inaccuracy of that claim, but its tenacity in the public mind testifies to how decisively Johnson formed our sense of what a dictionary is. The essays and articles in this volume examine the already flourishing tradition of English lexicography from which Johnson drew, as represented by Kersey, Bailey, and Martin, as well as the flourishing contemporary trade in encyclopedic, technical, pronunciation, and bilingual lexicons.