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Addressing a gap in Shelley studies, Jessica K. Quillin explores the poet's lifelong interest in music. Quillin connects the trope of music with Shelley's larger formal aesthetic, political, and philosophical concerns, showing that music offers a new critical lens through which to view such familiar Shelleyan concerns as the status of the poetic, figural language, and the philosophical problem posed by idealism versus skepticism. Quillin's book uncovers the implications of Shelley's use of music by means of four musico-poetic concerns: the inherently interdisciplinary nature of musical imagery and figurative language; the rhythmic and sonoric dimensions of poetry; the extension of poetry into the performative realms of the theatre and drawing room through close links between most poetic genres and music; and the transformation of poetry into music through the setting and adaptation of poetic lyrics to music. Ultimately, Quillin argues, Shelley exhibits a fundamental recognition of an interdependence between music and poetry which is expressed in the form and content of his highly sonorous works. Equating music with love allows him to create a radical model in which poetry is the highest form of imaginative expression, one that can affect the mind and the senses at once and potentially bring about the perfectibility of mankind through a unique mode of visionary experience.
Two centuries after Percy Shelley's death, his writings continue to resonate in remarkable ways. Shelley addressed climate change, women's liberation, nonbinary gender, and political protest, while speaking to Indigenous, queer/trans, disabled, displaced, and working-class communities. He still inspires artists and social justice movements around the world today. Yet Percy Shelley for Our Times reveals an even more farsighted writer, one whose poetic methodology went beyond the didactic powers of prophetic art. Not historicist, presentist, or transhistorical, Shelley 'for our times' conceives worlds outside himself, his poetry, and his era, envisioning how audiences connect and collaborate across space and time. This collection revitalizes a writer once considered an adolescent of idealist protest, showing how his interwoven poetics of relationality continually revisits the meaning of community and the contemporary. This title is part of the Flip it Open programme and may also be available Open Access. Check our website Cambridge Core for details.
The Oxford Handbook of British Romanticism offers a comprehensive guide to the literature and thought of the Romantic period, and an overview of the latest research on this topic. Written by a team of international experts, the Handbook analyses all aspects of the Romantic movement, pinpointing its different historical phases and analysing the intellectual and political currents which shaped them. It gives particular attention to devolutionary trends, exploring the English, Scottish, Welsh, and Irish strands in 'British' Romanticism and assessing the impact of the constitutional changes that brought into being the 'United Kingdom' at a time of revolutionary turbulence and international conflict. It also gives extensive coverage to the publishing and reception history of Romantic writing, highlighting the role of readers, reviewers, publishers, and institutions in shaping Romantic literary culture and transmitting its ideas and values. Divided into ten sections, each containing four or five chapters, the Handbook covers key themes and concepts in Romantic studies as well as less chartered topics such as freedom of speech, literature and drugs, Romantic oratory, and literary uses of dialect. All the major male and female Romantic authors are included along with numerous lesser-known writers, the emphasis throughout being on the diversity of Romantic writing and the complexities and internal divisions of the culture that sustained it. The volume strikes a balance between familiarity and novelty to provide an accessible guide to current thinking and a conceptual reorganization of this fast-moving field.
This book addresses the function of the classical world in the cultural imaginations of the second generation of romantic writers: Percy Shelley, Mary Shelley, Thomas Love Peacock, John Keats, Leigh Hunt, and the rest of their diverse circle. The younger romantics inherited impressions of the ancient world colored by the previous century, in which classical studies experienced a resurgence, the emerging field of comparative mythography investigated the relationship between Christianity and its predecessors, and scientific and archaeological discoveries began to shed unprecedented light on the ancient world. The Shelley circle embraced a specifically pagan ancient world of excess, joy, and ecstatic experiences that test the boundaries between self and other. Though dubbed the “Satanic School” by Robert Southey, this circle instead thought of itself as “Athenian” and frequently employed mythology and imagery from the classical world that was characterized not by philosophy and reason but by wildness, excess, and ecstatic experiences.
The book is an authoritative and up-to-date collection of original essays on one of the greatest of all English poets, Percy Bysshe Shelley. It covers a wide range of topics, exploring Shelley's life and work from various angles.
New editions and facsimiles of Percy Bysshe Shelley's works are changing the landscape of Shelley studies by making complete compositions and fragments that have received only limited critical attention readily available to scholars. Building on the work begun in Weinberg and Webb's 2009 volume, The Unfamiliar Shelley, The Neglected Shelley sheds light on the breadth and depth of Shelley's oeuvre, including the poet's earliest work, written when he was not yet twenty and was experimenting with gothic romances, and other striking forms of literary expression, such as two collections of provocative verse. There are discussions of Shelley's collaboration with Mary Shelley in the composition of Frankenstein, and his skill as a translator of Greek poetry and drama, reflecting his urgent concern with Greek culture. His contributions to prose are the focus of essays on his letters, the subversive notes to Queen Mab, and his complex engagement with Jewish culture. Shelley's considerable corpus of fragments is well-represented in contributions on the later narrative fiction, 'Athanase'/'Prince Athanase', and the significant group of unfinished poems, including 'Mazenghi', 'Fiordispina', 'Ginevra' and 'The Boat on the Serchio', that treat Italian topics. Finally, there are explorations of subtle though neglected or underestimated works such as Rosalind and Helen, The Sensitive-Plant, and the verse-drama Hellas. The Neglected Shelley shows that even the poet's apparently slighter works are important in their own right and are richly instructive as expressions of Shelley's developing art of composition and the diverse interests he pursued throughout his career.
Examines the concept of a poetics of vacancy in Romantic-era literature. Romantic Vacancy argues that, at the cult of sensibility’s height, Romantic writers found alternative tropes of affect to express movement beyond sensation and the body. Grappling with sensibility’s claims that sensation could be translated into ideas and emotions, poets of vacancy rewrote core empiricist philosophies that trapped women and men in sensitive bodies and, more detrimentally, in ideological narratives about emotional response that gendered subjects’ bodies and minds. Kate Singer contends that affect’s genesis occurs instead through a series of figurative responses and movements that loop together human and nonhuman movements of mind, body, and nature into a posthuman affect. This book discovers a new form of Romantic affect that is dynamically linguistic and material. It seeks to end the long tradition of holding women and men writers of the Romantic period as separate and largely unequal. It places women writers at the forefront of speculative thinking, repositions questions of gender at the vanguard of Romantic-era thought, revises how we have long thought of gender in the period, and rewrites our notions of Romantic affect. Finally, it answers pivotal questions facing both affect studies and Romanticism about interrelations among language, affect, and materiality. Readers will learn more about the deep history of how poetic language can help us move beyond binary gender and its limiting intellectual and affective ideologies. “Romantic Vacancy is a formidable text for our time. Providing a nuanced and original account of Romanticism’s reconfiguration of affect, Singer not only opens up new ways of thinking about literature of the past; her detailed argument for complex poetic explorations of what it means to be a self, create challenges for the present, especially through the intimate relation between text and affect. This book is essential for anyone working in literary Romanticism, but will also be valuable for those interested in the complex literary history of affect.” — Claire Colebrook, Pennsylvania State University Praise for Romantic Vacancy “For some time now there has been what we might call a movement that attends in Romantic writing to affects and states of being we had previously neglected or simply missed altogether. A generation of scholars, junior and senior, is mapping out this uncharted territory in the most original manner, along the way teaching us how to be with Romanticism, and how Romanticism has always been with us, in ways that are teaching all of us in turn how to be with the present. We can put Kate Singer’s Romantic Vacancy—smart, insightful, beautifully argued—at the vanguard of this movement, proof of the fact that any rumours of the death of our field are not only highly exaggerated but just plain wrong.” — Joel Faflak, author of Romantic Psychoanalysis: The Burden of the Mystery “Romantic Vacancy offers compelling close readings of Romantic women poets and two canonical male poets (Shelley and Wordsworth). After reading this book, Romantic-era scholars will no longer be able to read these poets in the same way again—I think this book will be a game changer for scholars working on women poets. This is a very fine work that should have a significant influence on the field.” — Daniela Garofalo, author of Women, Love, and Commodity Culture in British Romanticism
Yet what surprises me most of all at this time is that what I have written consists, as it were, almost entirely of quotations. – Compositions so produced are to poetry what mosaic is to painting. – It is the craziest mosaic technique you can imagine – and the very mind which directs the hands in formation is incapable of accounting to itself for the origin, the gradations, or the media of the process. Shelley with Benjamin: A critical mosaic is an experiment in comparative reading. Born a century apart, Percy Bysshe Shelley and Walter Benjamin are separated by time, language, temperament and genre – one a Romantic poet known for his revolutionary politics and delicate lyricism, the other a melancholy intellectual who pioneered a dialectical method of thinking in constellations. Yet, as the above montage of citations from their works demonstrates, their ideas are mutually illuminating: the mosaic is but one of several images that both use to describe how literature lives on through practices of citation, translation and critical commentary. In a series of close readings that are by turns playful, erotic and violent, Mathelinda Nabugodi unveils affinities between two writers whose works are simultaneously interventions in literary history and blueprints for an emancipated future. In addition to offering fresh interpretations of both major and minor writings, she elucidates the personal and ethical stakes of literary criticism. Throughout the book, marginal annotations and interlinear interruptions disrupt the faux-objective and colourblind stance of standard academic prose in an attempt to reckon with the barbarism of our past and its legacy in the present. The book will appeal to readers of Shelley and Benjamin as well as those with an interest in comparative literature, literary theory, romantic poetics, and creative critical writing.
In his Essay of 1815, Wordsworth asserts that ‘a pure and refined scheme of harmony’ must prevail in all ‘higher poetry’. This idea of a structured and complex form of ‘harmony’ was similarly noted earlier in The Prelude (1805), where Wordsworth famously claimed that the human mind is ‘framed even like the breath / And harmony of music’. Musical Wordsworth presents an original understanding of Wordsworthian harmony by examining an organised but dynamic sense of musicality that shapes his poetic theory and practice. This book is the first study to draw on music psychology and aesthetics to interpret the function and mechanism of Wordsworth’s aural structure and movement. Engaging with scholarship from the fields of literature and music, it defines Wordsworth’s poetry and the imagination through musical conceptions, and establishes various modes and forms of poetic listening as experiences of musical performance and appreciation. Each chapter explores a pair of musical abstractions – Lyricism and Musicality; Breath and Harmony; Repetition and Resonance; Expectation and Surprise; Rhythm and Dynamics; Rest and Silence. Musical Wordsworth will be of interest to students and researchers of Romantic poetry, long nineteenth-century literature, and music.