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First published 1984. In a provocative study, this book argues that the problems posed by Shelley’s notoriously difficult style must be understood in relation to his ambivalence towards language itself as an artistic medium — the tension between the potential of language to mirror emotional experience and the recognition of it’s inevitable limitations. Through an exposition of Shelley’s idea of language, as reflected in his theoretical writings and individual poems, this book makes a strong case for his artistic worth. A definitive introduction to Shelley, useful for both scholars and newcomers, this book will be interest to students of literature.
First published in 2009. This book argues that the images of and allusions to music in Shelley’s writing demonstrate his attempt to infuse the traditionally masculine word with the traditionally feminine voice and music. This further extends to his even more fundamental desire to integrate the "object voice" with his own subjectivity. For Shelley, what plagues this integration is the prospect of losing both the poet’s authority and the subjectivity upon which it relies. This book asserts that the resultant deadlock and instability paradoxically becomes Shelley’s ultimate goal — creating a steady state of suspension that finally preserves both his authority and his humanity.
Women in Rock, Women in Romanticism is the first book-length work to explore the interrelationships between contemporary female musicians and eighteenth- and nineteenth-century art, music, and literature by women and men. The music and videos of contemporary musicians including Erykah Badu, Beyoncé, The Carters, Hélène Cixous, Missy Elliot, the Indigo Girls, Janet Jackson, Janis Joplin (and Big Brother and the Holding Company), Natalie Merchant, Joni Mitchell, Janelle Monáe, Alanis Morrisette, Siouxsie Sioux, Patti Smith, St. Vincent (Annie Clark), and Alice Walker are explored through the lenses of pastoral and Afropresentism, Gothic, female Gothic, and the literature of William Blake, Beethoven, Arthur Schopenhauer, Samuel Taylor Coleridge, Charlotte Dacre, Ralph Waldo Emerson, E.T.A. Hoffmann, Ann Radcliffe, William Shakespeare, Mary Shelley, her husband Percy Shelley, Henry David Thoreau, Horace Walpole, Jane Williams, Mary Wollstonecraft, and William Wordsworth to explore how each sheds light on the other, and how women have appropriated, responded to, and been inspired by the work of authors from previous centuries.
"Basking in the twilight of Late Romanticism, Meier . . . finds the rays seductive but damaging . . . Meier's sophisticated debut promises further developments."-Publishers Weekly on Terrain VagueDomesticity, nature, and heartbreak inhabit this seriously playful second collection. Through precise description and inventive vocabulary, Meier's poems are relentless in their efforts to sincerely address contemporary uncertainty and love. A great book for readers looking to rediscover Romantic poetry: "Embrace was a word first used of forts, / until the one body fell down inside the other body, and was lost."
In this set of thorough and revisionary readings of Percy Bysshe Shelley's best-known writings in verse and prose, Hogle argues that the logic and style in all these works are governed by a movement in every thought, memory, image, or word-pattern whereby each is seen and sees itself in terms of a radically different form. For any specified entity or figure to be known for "what it is," it must be reconfigured by and in terms of another one at another level (which must then be dislocated itself). In so delineating Shelley's "process," Hogle reveals the revisionary procedure in the poet's various texts and demonstrates the powerful effects of "radical transference" in Shelley's visions of human possibility.
How was music depicted in and mediated through Romantic and Victorian poetry? This is the central question that this specially commissioned volume of essays sets out to explore in order to understand better music's place and its significance in nineteenth-century British culture. Analysing how music took part in and commented on a wide range of scientific, literary, and cultural discourses, the book expands our knowledge of how music was central to the nineteenth-century imagination. Like its companion volume, The Idea of Music in Victorian Fiction (Ashgate, 2004) edited by Sophie Fuller and Nicky Losseff, this book provides a meeting place for literary studies and musicology, with contributions by scholars situated in each field. Areas investigated in these essays include the Romantic interest in national musical traditions; the figure of the Eolian harp in the poetry of Coleridge and Shelley; the recurring theme of music in Blake's verse; settings of Tennyson by Parry and Elgar that demonstrate how literary representations of musical ideas are refigured in music; George Eliot's use of music in her poetry to explore literary and philosophical themes; music in the verse of Christina and Dante Gabriel Rossetti; the personification of lyric (Sappho) in a song cycle by Granville and Helen Bantock; and music and sexual identity in the poetry of Wilde, Symons, Michael Field, Beardsley, Gray and Davidson.
Exploring the rhetorical and phenomenological links between shame and reticence, this book examines the psychology of Shelley’s anguished poet-Subject. Shelley’s struggles with the fragility of the ‘self’ have largely been seen as the result of thinking which connects emotional hyperstimulation to moral and political undermining of the individual ‘will’. This work takes a different approach, suggesting that Shelley’s insecurities stemmed from anxieties about the nature of aesthetic self-representation. Shame is an appropriate affective marker of such anxiety because it occurs at the cusp between internal and external self-evaluation. Shelley’s reticent poetics transfers an affective sense of shame to the reader and provokes interpretive responsibility. Paying attention to the affective contours of texts, this book presents new readings of Shelley’s major works. These interpretations show that awakening the reader’s ethical discretion creates a constructive dynamic which challenges influential deconstructive readings of the unfinished nature of Shelley’s work and thought.
In this forceful study, Helen C. Scott situates The Tempest within Marxist analyses of the ‘primitive accumulation’ of capital, which she suggests help explain the play’s continued and particular resonance. The ‘storm’ of the title refers both to Shakespeare’s Tempest hurtling through time, and to Walter Benjamin’s concept of history as a succession of violent catastrophes. Scott begins with an account of the global processes of dispossession—of the peasantry and indigenous populations—accompanying the emergence of capitalism, which generated new class relationships, new understandings of human subjectivity, and new forms of oppression around race, gender, and disability. Developing a detailed reading of the play at its moment of production in the business of theatre in 1611, Scott then moves gracefully through the global reception history, showing how its central thematic concerns and figurative patterns bespeak the upheavals and dispossessions of successive stages of capitalist development. Paying particular attention to moments of social crisis, and unearthing a radical political tradition, Scott follows the play from its hostile takeover in the Restoration, through its revival by the Romantics, and consolidation and contestation in the nineteenth century. In the twentieth century transatlantic modernism generated an acutely dystopic Tempest, then during the global transformations of the 1960s postcolonial writers permanently associated it with decolonization. At century’s end the play became a vehicle for exploring intersectional oppression, and the remarkable ‘Sycorax school’ featured iconoclastic readings by writers such as Abena Busia, May Joseph, and Sylvia Wynter. Turning to both popular culture and high-profile stage productions in the twenty-first century, Scott explores the ramifications and figurative potential of Shakespeare's Tempest for global social and ecological crises today. Sensitive to the play’s original concerns and informed by recent scholarship on performance and reception history as well as disability studies, Scott’s moving analysis impels readers towards a fresh understanding of sea-change and metamorphosis as potent symbols for the literal and figurative tempests of capitalism’s old age now threatening ‘the great globe itself.’