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The Artistry of Exile is a new reading of one of the most important themes of nineteenth-century literature. Exile represents a crisis in the always present tension between self and culture, the disturbance of memory, the quest for home, and the survival or not of life's heart quakes — all of which became identifying features of canonical Romanticism. Focusing on two interlinked groups of writers who, for various reasons, felt cast out of England and sought refuge in Italy, this book traces the material and metaphoric dynamics of distance in poems, novels and epistolary conversations. The book brings into dialogue the self-alienation and existential antagonism of the Cain figure with the contingencies of real travel: conversations about writing desks, lost parcels of books, missing pans and stray camels. Domestic and cosmic perspectives mingle as the book reveals how writers realize the full resonance of Dante's vivid summation of exile in the taste of different bread and the difficulty of another man's stairs. As a country that only exists in the early nineteenth-century as a memory, Italy both embodies and energises formal attempts to bridge the distance created by exile in the work of the Byron-Shelley circle and the later Barrett-Browning- Browning collaboration. Examining these writers in relation to Italian art, sound, religion, narrative art and history, the book presents a new perspective on Romantic canonicity and relocates contemporary ideas of cosmopolitanism in the aesthetic, ethical and political debates of the late Romantic and early Victorian world.
Quarterly accession lists; beginning with Apr. 1893, the bulletin is limited to "subject lists, special bibliographies, and reprints or facsimiles of original documents, prints and manuscripts in the Library," the accessions being recorded in a separate classified list, Jan.-Apr. 1893, a weekly bulletin Apr. 1893-Apr. 1894, as well as a classified list of later accessions in the last number published of the bulletin itself (Jan. 1896)
1790 saw the publication of Edmund Burke's Reflections on the Revolution in France -- the definitive tract of modern conservatism as a political philosophy. Though women of the period wrote texts that clearly responded to and reacted against Burke's conception of English history and to the contemporary political events that continued to shape it, this conversation was largely ignored or dismissed, and much of it remains to be reconsidered today. Examining the works of women writers from Jane Austen and Mary Wollstonecraft to the Strickland sisters and Mary Anne Everett Green, this book begins to recuperate that conversation and in doing so uncovers a more complete and nuanced picture of women's participation in the writing of history. Professor Mary Spongberg puts forward an alternate, feminized historiography of Britain that demonstrates how women writers' recourse to history caused them to become generically innovative and allowed them to participate in the political debates that framed the emergence of modern British historiography, and to push back against the Whig interpretation of history that predominated from 1790-1860.
Reprint of the original, first published in 1883.