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In The Reception of Myth in English Romanticism, Harding deals with those questions by examining how Romantic writers understood and received myth and what they understood "the mythic" to be. He shows how the Romantics' own mythmaking drew its meaning from the contemporary political scene and contemporary ideological conflicts, rather than from a concept of myth as a timeless, unchanging source of value. Harding analyzes the uses of myth in selected texts of the period, covering the work of Wordsworth, Coleridge, Keats, and Shelley, among others.
This Handbook provides a comprehensive overview of British Romantic literature and an authoritative guide to all aspects of the movement including its historical, cultural, and intellectual contexts, and its connections with the literature and thought of other countries. All the major Romantic writers are covered alongside lesser known writers.
The Oxford History of Classical Reception (OHCREL) is designed to offer a comprehensive investigation of the numerous and diverse ways in which literary texts of the classical world have stimulated responses and refashioning by English writers. Covering the full range of English literature from the early Middle Ages to the present day, OHCREL both synthesizes existing scholarship and presents cutting-edge new research, employing an international team of expert contributors for each of the five volumes. OHCREL endeavours to interrogate, rather than inertly reiterate, conventional assumptions about literary 'periods', the processes of canon-formation, and the relations between literary and non-literary discourse. It conceives of 'reception' as a complex process of dialogic exchange and, rather than offering large cultural generalizations, it engages in close critical analysis of literary texts. It explores in detail the ways in which English writers' engagement with classical literature casts as much light on the classical originals as it does on the English writers' own cultural context. This fourth volume, and second to appear in the series, covers the years 1790-1880 and explores romantic and Victorian receptions of the classics. Noting the changing fortunes of particular classical authors and the influence of developments in archaeology, aesthetics and education, it traces the interplay between classical and nineteenth-century perceptions of gender, class, religion, and the politics of republic and empire in chapters engaging with many of the major writers of this period.
Romantic writers responded to the challenges of reform and revolution by rethinking the scope of political reason. What role should reason play in the creation of a free and just society? Can we claim to know anything in a field as complex as politics? And how can the cause of political rationalism be advanced when it is seen as having blood on its hands? These are the questions that occupied a group of British poets, philosophers, and polemicists in the years following the French Revolution. Timothy Michael argues that much literature of the period is a trial, or a critique, of reason in its political capacities and a test of the kinds of knowledge available to it. For Wordsworth, Coleridge, Shelley, Burke, Wollstonecraft, and Godwin, the historical sequence of revolution, counter-revolution, and terror in France—and radicalism and repression in Britain—occasioned a dramatic reassessment of how best to advance the project of enlightenment. The political thought of these figures must be understood, Michael contends, in the context of their philosophical thought. Major poems of the period, including The Prelude, The Excursion, and Prometheus Unbound, are in this reading an adjudication of competing political and epistemological claims. This book bridges for the first time two traditional pillars of Romantic studies: the period’s politics and its theories of the mind and knowledge. Combining literary and intellectual history, it provides an account of British Romanticism in which high rhetoric, political prose, poetry, and poetics converge in a discourse of enlightenment and emancipation.
In 850 analytical articles, this two-volume set explores the developments that influenced the profound changes in thought and sensibility during the second half of the eighteenth century and the first half of the nineteenth century. The Encyclopedia provides readers with a clear, detailed, and accurate reference source on the literature, thought, music, and art of the period, demonstrating the rich interplay of international influences and cross-currents at work; and to explore the many issues raised by the very concepts of Romantic and Romanticism.
A Handbook to the Reception of Classical Mythology presents a collection of essays that explore a wide variety of aspects of Greek and Roman myths and their critical reception from antiquity to the present day. Reveals the importance of mythography to the survival, dissemination, and popularization of classical myth from the ancient world to the present day Features chronologically organized essays that address different sets of myths that were important in each historical era, along with their thematic relevance Features chronologically organized essays that address different sets of myths that were important in each historical era, along with their thematic relevance Offers a series of carefully selected in-depth readings, including both popular and less well-known examples
Thresholds of Western Culture explores identity, postcoloniality and transnationalism--three closely related issues which redefine contemporary cultural identity. The book opens with an analysis of subjectivity and the cultural meltdown that accompanied fascism in the West. The situation in Africa is then explored which, while recalling modernity's dark side, highlights the intricacy of postcolonial identity. Post-Soviet Eastern Europe presents a separate case of neglected postcoloniality which emphasizes how ethnocentrism and cultural tensions have exposed the fragility of transnationalism. The book concludes with an examination of East Asia, a region which offers transnational options potentially much more fruitful than Balkanization.
The past few years have witnessed a resurgence in the study of British literary modernism. With recent publications on modernist American poetry and increasingly appreciative attitudes toward modern British novelists like Joseph Conrad and E. M. Forster, many scholars are experiencing a renewed interest in modernism. In The Modernist as Pragmatist, Brian May investigates modernist works that have been, until recently, regarded largely as mere exercises in stale Victorian liberal ideology. Breaking from one current interpretation of Forster as an innovative and perhaps objectionable representative of modernist fictional audacity, May keenly argues that Forster is neither a traditional liberal nor an imperial modernist stylist. He is, rather, a pragmatic liberal critic of both unreconstructed Victorian liberalism and unreckoning modernist aestheticism. May also looks at the debate between two contemporary progressive pragmatists, Richard Rorty and Cornel West, who have turned to the liberalism of the past as an avenue toward the future. First clarifying the terms of the debate, May then tries to resolve it using the writings of E. M. Forster to discuss some of the major political and philosophical statements of Rorty and West. In turn, the works of these two philosophers are used as tools to gain insight into Forster's literary texts and cultural contexts. By bringing British literary history to American neopragmatist philosophy, May allows the reader to understand both more concretely, historically, and imaginatively. Persuasive new readings of A Passage to India, Howards End, and The Longest Journey are used to illustrate how Rorty and West offer a choice between pragmatisms. May's well-argued study offers an exploration of how literature and philososphy can lead to a fruitful dialogue that can complement formalism as well as traditional types of contextualism. It also persuasively connects Forster to the contemporary debates between liberalism and pragmatism, making this an important contribution to all scholars of modernism.
The Prometheus myth, for several reasons became a crucial site for conceptualizing human liberation in the immanent space of a finite globe structured by white domination and black slavery. The titan's defiant theft of fire from the regnant gods was translated through a high-stakes racial coding either as an 'African' revolt against the cosmic status quo that augured a pure autonomy, a black revolutionary immanence against which idealist philosophers like Hegel defined their projects and slaveholders defended their lives and positions. Or as a 'Caucasian' reflection of the divine power evidently working in favor of Euro-Christian civilization that transmuted the naked egoism of conquest into a righteous heteronomy-Euro-Christian civilization's mobilization by the Absolute or its internalization of a transcendent principle of universal Reason.
The great nineteenth-century English poet Alfred, Lord Tennyson received an unusually thorough education in the classical languages, and he remained an active classical scholar throughout his lifetime. His intimate knowledge of both Greek and Latin literature left an indelible stamp on his poetry, both in terms of the sound and rhythm of his verses and in the themes that inspired him. Stateliest Measures, the first full-length study of Tennyson's thematic and metrical uses of classical material, examines the profoundly important role that his classical background played as he fashioned himself into a poet in the 1820s and 30s, and as he defined himself as poet laureate as of 1850. A.A. Markley examines Tennyson's objectives in developing the classical dramatic monologue, which, together with In Memoriam and his experiments with classical meters, indicate the degree to which he patterned himself after the Roman poet Virgil in attempting to provide modern Britain with a literature worthy of a new and rapidly expanding world empire. Stateliest Measures demonstrates that Tennyson's engagement with the long-running and complex nineteenth-century debates concerning Hellenism, Imperialism, and modern British culture was much more profound than his critics have recognized.