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This book studies and articulates the emergence from the poetical subtext of six major English romantics of "the androgynous sublime", a mode that conflates the motif of psychic androgyny (traceable as far back as the Book of Genesis and Plato's Symposium) with the mode of sublimity, first discussed by Longinus and much debated from the eighteenth century onward. Frequently echoed by the romantic poets, Milton's description of the Holy Spirit's role in the creation of the world is androgynous. Since humane creativity mirrors divine creativity, it follows that the artist qua artist muct also be androgynous - that is, endowed with what Lyrical Ballads, calls "a more comprehensive soul" than is "supposed to be common among mankind". Characterized by a flexuous, limber style and an association with androgynous subject matter, the androgynous sublime subverts conventional notions of sublimity while offering a more comprehensive model with which to supplement, of non supplant, them. The methodology of this study is to present a "counter-deconstructive" reading of the text and, where applicable, designs of Blake, as well as the poetry of Wordsworth, Coleridge, Byron, Shelley, and Keats, seen from this somewhat novel but not ignoble perspective.
Romantic Androgyny is the first study to systematically apply the currents of French and Anglo-American feminist literary criticism to an analysis of the major poetry of the Romantic period. Diane Hoeveler argues that Romantic male poets self-consciously employed the feminine as "Other" and as an alternative source of value in order to engage in a fictional completion of their own psyches. Furthermore, a large proportion of the "women" in the poetry of the major Romantics cannot be understood apart from this radical metaphoric tradition of literary absorption. Because of the power of the feminine as "Other," women in English Romantic poetry have been on the one hand idealized and on the other denigrated by critics in the field. Hoeveler attempts to correct the flaws of both views by placing the various images of women into a psychoanalytical and historical framework. All six canonical poets participated in one of their culture's dominant ideological fantasies that imaginative creativity was possible for males only if they absorbed the feminine principle and thus became androgynous. Romantic Androgyny argues that the images of the symbolic woman were determined by the poets' adherence to the ideologies of both androgyny and the Eternal Feminine that permeated late eighteenth- and early nineteenth-century England.
Full of psychological and spiritual insights that speak to today's sexual confusion. Singer shows how a person can at once embrace complementary and contradictory attitudes toward sex and gender. Finally, she proposes a range of choices by which people can identify themselves, secure that the masculine/feminine interaction within each individual is not only normal, but the dynamic factor in their wholeness.
Androgyny in Modern Literature engages with the ways in which the trope of androgyny has shifted during the late nineteenth and twentieth-centuries. Alchemical, platonic, sexological, psychological and decadent representations of androgyny have provided writers with an icon which has been appropriated in diverse ways. This fascinating new study traces different revisions of the psycho-sexual, embodied, cultural and feminist fantasies and repudiations of this unstable but enduring trope across a broad range of writers from the fin de siècle to the present.
During the nineteenth century, words like 'intersex' and 'trans' had not yet been invented to describe individuals whose bodies, or senses of self, conflicted with binary sex. But that does not mean that such people did not exist. In nineteenth-century France, case studies filled medical journals, high-profile trials captured headlines, and doctors staked their reputations on sex determinations only to have them later reversed by colleagues. While medical experts fought over what separated a man from a woman, novelists began to explore debates about binary sex and describe the experiences of gender-ambiguous characters. Anne Linton discusses over 200 newly-uncovered case studies while offering fresh readings of literature by several famous writers of the period, as well as long-overlooked popular fiction. This landmark contribution to the history of sexuality is the first book to examine intersex in both medicine and literature, sensitively relating historical 'hermaphrodism' to contemporary intersex activism and scholarship.
Romantic Encounters focuses on literary periodicals of the 1830s to describe the destabilization of readerly and writerly identities which occurs when Romantic irony meets an apparently rising literary marketplace.
Focusing on Samuel Taylor Coleridge, Mary Robinson and Mary Shelley, this book uses key concepts of androgyny, subjectivity and the re-creative as a productive framework to trace the fascinating textual interactions and dialogues among these authors. It crosses the boundary between male and female writers of the Romantic period by linking representations of gender with late Enlightenment upheavals regarding creativity and subjectivity, demonstrating how these interrelated concerns dismantle traditional binaries separating the canonical and the noncanonical; male and female; poetry and prose; good and evil; subject and object. Through the convergences among the writings of Coleridge, Mary Robinson, and Mary Shelley, the book argues that each dismantles and reconfigures subjectivity as androgynous and amoral, subverting the centrality of the male gaze associated with canonical Romanticism. In doing so, it examines key works from each author's oeuvre, from Coleridge's “canonical” poems such as Rime of the Ancient Mariner, through Robinson's lyrical poetry and novels such as Walsingham, to Mary Shelley's fiction, including Frankenstein, Mathilda, and The Last Man.
Embodying Ambiguity traces the shifts in the representation of the androgyny myth in the literature and aesthetics of the late eighteenth century and nineteenth century. Catriona MacLeod examines important pedagogic implications of the androgyny ideal for Classical, Romantic, and Realist texts, beginning with Aristophane's narrative of the origin of human sexuality in Plato's Symposium and including the hermaphroditic androgyny proposed by Winckelmann and the heterosexual complementary model found in Schiller and Schlegel.
In this two-volume work, hundreds of alphabetically arranged entries survey contemporary lesbian, gay, bisexual, transgendered, and queer American literature and its social contexts. Comprehensive in scope and accessible to students and general readers, Encyclopedia of Contemporary LGBTQ Literature of the United States explores contemporary American LGBTQ literature and its social, political, cultural, and historical contexts. Included are several hundred alphabetically arranged entries written by expert contributors. Students of literature and popular culture will appreciate the encyclopedia's insightful survey and discussion of LGBTQ authors and their works, while students of history and social issues will value the encyclopedia's use of literature to explore LGBTQ American society. Each entry is written by an expert contributor and lists additional sources of information. To further enhance study and understanding, the encyclopedia closes with a selected general bibliography of print and electronic resources for student research.
David Bowie and Romanticism evaluates Bowie’s music, film, drama, and personae alongside eighteenth- and nineteenth-century poets, novelists, and artists. These chapters expand our understanding of both the literature studied as well as Bowie’s music, exploring the boundaries of reason and imagination, and of identity, gender, and genre. This collection uses the conceptual apparata and historical insights provided by the study of Romanticism to provide insight into identity formation, drawing from Romantic theories of self to understand Bowie’s oeuvre and periods of his career. The chapters discuss key themes in Bowie’s work and analyze what Bowie has to teach us about Romantic art and literature as well.