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This is the first volume in a three-volume collection of primary sources which examines philosophy and literature in nineteenth-century Britain.
This is the first volume in a three-volume collection of primary sources which examines philosophy and literature in nineteenth-century Britain. Accompanied by extensive editorial commentary, this collection will be of great interest to students and scholars of British Literature and Philosophy.
This three-volume collection of primary sources examines philosophy and literature in the nineteenth-century Britain. Accompanied by extensive editorial commentary, this collection will be of great interest to students and scholars of British Literature and Philosophy.
This is the second volume in a three-volume collection of primary sources which examines philosophy and literature in nineteenth-century Britain. Accompanied by extensive editorial commentary, this collection will be of great interest to students and scholars of British Literature and Philosophy.
Nineteenth-century life and literature are full of strange accounts that describe the act of one person thinking about another as an ethically problematic, sometimes even a dangerously powerful thing to do. In this book, Adela Pinch explains why, when, and under what conditions it is possible, or desirable, to believe that thinking about another person could affect them. She explains why nineteenth-century British writers - poets, novelists, philosophers, psychologists, devotees of the occult - were both attracted to and repulsed by radical or substantial notions of purely mental relations between persons, and why they moralized about the practice of thinking about other people in interesting ways. Working at the intersection of literary studies and philosophy, this book both sheds new light on a neglected aspect of Victorian literature and thought, and explores the consequences of, and the value placed on, this strand of thinking about thinking.
This is the first book to provide comprehensive coverage of the full range of philosophical writing in Britain in the nineteenth century. A team of experts provide new accounts of both major and lesser-known thinkers, and explores the diverse approaches in the period to logic and metaphysics, the passions, morality, criticism, and politics.--
Charting an 'aesthetic', post-realist tradition of writing, this book considers the significant role played by John Ruskin's art criticism in later writing which dealt with the new kinds of spaces encountered in the nineteenth-century.
In arguing for the crucial importance of song for poets in the long nineteenth century, Elizabeth Helsinger focuses on both the effects of song on lyric forms and the mythopoetics through which poets explored the affinities of poetry with song. Looking in particular at individual poets and poems, Helsinger puts extensive close readings into productive conversation with nineteenth-century German philosophic and British scientific aesthetics. While she considers poets long described as "musical"--Alfred, Lord Tennyson, Gerard Manly Hopkins, Emily Brontë, and Algernon Charles Swinburne--Helsinger also examines the more surprising importance of song for those poets who rethought poetry through the medium of visual art: Dante Gabriel Rossetti, William Morris, and Christina Rossetti. In imitating song's forms and sound textures through lyric's rhythm, rhyme, and repetition, these poets were pursuing song's "thought" in a double sense. They not only asked readers to think of particular kinds of song as musical sound in social performance (ballads, national airs, political songs, plainchant) but also invited readers to think like song: to listen to the sounds of a poem as it moves minds in a different way from philosophy or science. By attending to the formal practices of these poets, the music to which the poets were listening, and the stories and myths out of which each forged a poetics that aspired to the condition of music, Helsinger suggests new ways to think about the nature and form of the lyric in the nineteenth century.
Literary criticism has, in recent decades, rather fled from discussions of moral psychology, and for good reasons, too. Who would not want to flee the hectoring moralism with which it is so easily associated-portentous, pious, humorless? But in protecting us from such fates, our flight has had its costs, as we have lost the concepts needed to recognize and assess much of what distinguished nineteenth-century British literature. That literature was inescapably ethical in orientation, and to proceed as if it were not ignores a large part of what these texts have to offer, and to that degree makes less reasonable the desire to study them, rather than other documents from the period, or from other periods. Such are the intuitions that drive The Burdens of Perfection, a study of moral perfectionism in nineteenth-century British culture. Reading the period's essayists (Mill, Arnold, Carlyle), poets (Browning and Tennyson), and especially its novelists (Austen, Dickens, Eliot, and James), Andrew H. Miller provides an extensive response to Stanley Cavell's contribution to ethics and philosophy of mind. In the process, Miller offers a fresh way to perceive the Victorians and the lingering traces their quests for improvement have left on readers.
This wide-ranging and innovative collection of essays addresses important issues in cultural studies and the history of the book. Multidisciplinary in approach, the essays consider different aspects of the production, circulation, and consumption of printed texts throughout the nineteenth century. Topics studied include market trends, modes of publication, the use of pseudonyms by women writers, readerships and reading ideologies, and copyright law; and the book examines a wide range of printed materials, from valentines, advertisements, illustrations, and fashionable annuals, to the more traditional literary genres of poetry, fiction and periodical essays. The authors under discussion include Dickens, the Brontës, George Eliot, Meredith, and Walter Pater. Contributors draw on speech-act, reader-response, and gender theory in addition to various historical, narratological, materialist, and bibliographical perspectives.