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The field of literature changed dramatically at the end of the eighteenth century, as under the shadow of Romanticism the novel became the most important literary genre of its day. Often neglected, the novels of the Romantic era puzzle critics yet are much more concerned with the unexpected, the unconventional, and the uncanny than their immediate predecessors or successors, and their authors include some of the most important novelists of British literary history—Jane Austen, Fanny Burney, James Hogg, Mary Shelley, and Sir Walter Scott among them. Featuring contributions from distinguished scholars in the field, Recognizing the Romantic Novel evaluates the vibrancy and centrality of the Romantic novel, showcasing the important new voices and directions in the field and showing it can hold its own in the canon of literary scholarship. “These essays offer us a lens through which we may recognize the Romantic novel as it has never been recognized before.”—Times Literary Supplement
First published in 2008 as a hardback by Liverpool University Press.
What did Romantic writers mean when they wrote about progress and perfection? This book shows how Romantic writers inventively responded to familiar ideas about political progress which they inherited from the eighteenth century. Whereas earlier writers such as Voltaire and John Millar likened improvements in political institutions to the progress of the sciences or refinement of manners, the novelists, poets, and political theorists examined in this book reimagined politically progressive thinking in multiple genres. While embracing a commitment to optimistic improvement--increasing freedom, equality, and protection from injury--they also cultivated increasingly visible and volatile energies of religious and political dissent. Earlier narratives of progress tended not only to edit and fictionalize history but also to agglomerate different modes of knowledge and practice in their quest to describe and prescribe uniform cultural improvement. But romantic writers seize on internal division and take it less as an occasion for anxiety, exclusion, or erasure, and more as an impetus to rethink the groundwork of progress itself. Political entities, from Percy Shelley's plans for political reform to Charlotte Smith's motley associations of strangers in The Banished Man, are progressive because they advance some version of collective utility or common good. But they simultaneously stake a claim to progress only insofar as they paradoxically solicit contending vantage points on the criteria for the very public benefit which they passionately pursue. The majestic edifices of Wordsworth's imagined university in The Prelude embrace members who are republican or pious, not to mention the recalcitrant enthusiast who is the poet himself.
This groundbreaking collection provides students with a timely and accessible overview of current trends within contemporary popular fiction.
Few literary phenomena are as elusive and yet as persistent as realism. While it responds to the perennial impulse to use literature to reflect on experience, it also designates a specific set of literary and artistic practices that emerged in response to Western modernity. Landscapes of Realism is a two-volume collaborative interdisciplinary exploration of this vast territory, bringing together leading-edge new criticism on the realist paradigms that were first articulated in nineteenth-century Europe but have since gone on globally to transform the literary landscape. Tracing the manifold ways in which these paradigms are developed, discussed and contested across time, space, cultures and media, this first volume tackles in its five core essays and twenty-five case studies such questions as why realism emerged when it did, why and how it developed such a transformative dynamic across languages, to what extent realist poetics remain central to art and popular culture after 1900, and how generally to reassess realism from a twenty-first-century comparative perspective.
'the most romantic parts of this narrative are precisely those which have a foundation in fact' Edward Waverley, a young English soldier in the Hanoverian army, is sent to Scotland where he finds himself caught up in events that quickly transform from the stuff of romance into nightmare. His character is fashioned through his experience of the Jacobite rising of 1745-6, the last civil war fought on British soil and the unsuccessful attempt to reinstate the Stuart monarchy, represented by Prince Charles Edward. Waverley's love for the spirited Flora MacIvor and his romantic nature increasingly pull him towards the Jacobite cause, and test his loyalty to the utmost. With Waverley, Scott invented the historical novel in its modern form and profoundly influenced the development of the European and American novel for a century at least. Waverley asks the reader to consider how history is shaped, who owns it, and what it means to live in it - questions as vital at the beginning of the twenty-first century as the nineteenth. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
A one-stop resource containing introductory material through to practical case studies in reading primary and secondary texts to introducing criticism and new directions in research.
A counter-intuitive history of literary caricature, exploring how caricature helped make the realist novel in the Romantic period.
Despite the prejudices of critics, popular romance fiction remains a complex, dynamic genre. It consistently maintains the largest market share in the American publishing industry, even as it welcomes new subgenres like queer and BDSM romance. Digital publishing originated in erotic romance, and savvy online communities have exploded myths about the genre's readership. Romance scholarship now reflects this diversity, transformed by interdisciplinary scrutiny, new critical approaches, and an unprecedented international dialogue between authors, scholars, and fans. These eighteen essays investigate individual romance novels, authors, and websites, rethink the genre's history, and explore its interplay of convention and originality. By offering new twists in enduring debates, this collection inspires further inquiry into the emerging field of popular romance studies.