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This 2002 collection of essays represents twenty-five years of work by one of the most important critics of Romanticism and Byron studies, Jerome McGann. The collection demonstrates McGann's evolution as a scholar, editor, critic, theorist, and historian. His 'General Analytic and Historical Introduction' to the collection presents a meditation on the history of his own research on Byron, in particular how scholarly editing interacted with the theoretical innovations in literary criticism over the last quarter of the twentieth century. McGann's receptiveness to dialogic forms of criticism is also illustrated in this collection, which contains an interview and concludes with a dialogue between McGann and the editor. Many of these essays have previously been available only in specialist scholarly journals. Now McGann's influential work on Byron can be appreciated more widely by new generations of students and scholars.
"Romanticism - and Byron" is a book in two parts. In the first part, Dr Cochran examines "Romanticism" and shows that it is a word meaning anything, and therefore nothing. It is an academic construct created by academics, and has no basis in the writings of the early nineteenth century. Its continued use, argues Dr Cochran, is a modern marketing phenomenon solely. In the second part, Dr Cochran examines the life and work of Byron in the non-"romantic" context of his contemporaries. He shows how Byron's antithetical nature created problems when he was forced into compromising situations with friends who were close to parts of his mind, yet irreconcilable with one another. This "mobility", argues Cochran, was often an embarrassment for Byron's social life, but of great benefit to his creativity. This part of the book features chapters on Shelley, Scott, Blake, Keats, Coleridge and Wordsworth, and is notable for the amount of original archive documentation with which Cochran illustrates his theme.
Expanded and diversified, this companion makes vivid Byron's ongoing relevance to myriad issues of politics, literature and life today.
Often seen as the exception to generalisations about Romanticism, Byron's poetry - and its intricate relationship with a brilliant, scandalous life - has remained a source of controversy throughout the twentieth century. This book brings together recent work on Byron by leading British and American scholars and critics, guiding undergraduate students and sixth-form pupils through the different ways in which new literary theory has enriched readings of Byron's work, and showing how his poetry offers a rewarding focus for questions about the relationship between historical contexts and literary form in the Romantic period. Diverse and fresh perspectives on canonical texts such as Don Juan, Childe Harold's Pilgrimage and Manfred are included together with stimulating analyses of less well-known narrative poems, lyrics and dramas. A clearly structured introduction traces key developments in Byron criticism and locates the essays within wider debates in Romantic studies. Detailed headnotes to each essay and a guide to further reading help to orientate the reader and offer pointers for further discussion. The collection will enable students of English literature, Romantic studies and nineteenth-century cultural studies to assess the contribution that different critical methodologies have made to our understanding of individual poems by Byron, as well as concepts like the Byronic hero and evolving definitions of Romanticism.
This collection presents twelve outstanding new essays on Byron by leading critics from the USA, Canada and the UK including Steven Bruhm, Peter Cochran, Paul Curtis, Caroline Franklin, Peter Kitson, Ghislaine McDayter, Tim Morton, David Punter and Pamela Kao, Michael Simpson, Philip Shaw, Nanora Sweet and Susan Wolfson.
Aspects of Byron’s Don Juan is, in part, a proceedings volume from the 2012 conference held by the Newstead Byron Society at Nottingham Trent University. Speakers represented in the book include Malcolm Kelsall, Peter Cochran, Diego Saglia and Itsuyo Higashinaka. Topics range from the politics of Don Juan, and its treatment of women, to its comic rhymes. One section is devoted to the poem’s importance in the literatures of Spain and Russia, another to the vast catalogue of Byron’s prose sources (from cannibalism to cookery books), and a final section to the important role played by Mary Shelley in copying most of the poem for the printer. The editor’s introduction describes the enormous literary tradition of which Don Juan forms a vital continuation, from Pulci’s Morgante Maggiore, via Rabelais, Cervantes, and Montaigne, to the novelists Sterne, Smollett and Fielding, all of whom Byron adored. Another chapter concerns the differing ways in which Don Juan has been treated by other artists, from Tirso de Molina, via E. T. A. Hoffman, to Johnny Depp.
This new study of Byron explores the 'geo-historical' - places where historically significant events have occurred. Cheeke examines the ways in which the notion of being there becomes the central claim and shaping force in Byron's poetry up to 1818. He goes on to explore the concept of being in-between which characterises Byron's 1818-21 poetry. Finally, Byron's complex nostalgia for England, his sense of having been there , is read in relation to a broader critique of memory, home-sickness and place-attachment.
Jane Stabler offers the first full-scale examination of Byron's poetic form in relation to historical debates of his time. Responding to recent studies of publishing and audiences in the Romantic period, Stabler argues that Byron's poetics developed in response to contemporary cultural history and his reception by the English reading public. Drawing on extensive new archive research into Byron's correspondence and reading, Stabler traces the complexity of the intertextual dialogues that run through his work. For example, Stabler analyses Don Juan alongside Galignani's Messenger - Byron's principal source of news about British politics while in Italy - and refers to hitherto unpublished letters between Byron's publishers and his friends to reveal a powerful impulse among his contemporaries to direct his controversial poetic style to their own conflicting political ends. This fascinating study will be of interest to Byronists and, more broadly, to scholars of Romanticism in general.
An Open Access edition of this book is available on the Liverpool University Press website and the OAPEN library. Byron and the Forms of Thought is a major new study of Byron as a poet and thinker. While informed by recent work on Byron’s philosophical contexts, the book questions attempts to describe Byron as a philosopher of a particular kind. It approaches Byron, rather, as a writer fascinated by the different ways of thinking philosophy and poetry are taken to represent. After an Introduction that explores Byron’s reception as a thinker, the book moves to a new reading of Byron’s scepticism, arguing for a close proximity, in Byron’s thought, between epistemology and poetics. This is explored through readings of Byron’s efforts both as a philosophical poet and writer of critical prose. The conclusions reached form the basis of an extended reading of Don Juan as a critical narrative that investigates connections between visionary and political consciousness. What emerges is a deeply thoughtful poet intrigued and exercised by the possibilities of literary form.