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This book traces the transformation of history from a Romantic literary pursuit into a modern academic discipline during the second half of the nineteenth century, and shows how this change inspired Victorians to reconsider what it meant to be a historian. This reconceptualization of the ‘historian’ lies at the heart of this book as it explores how historians strove to forge themselves a collective scholarly persona that reflected and legitimised their new disciplinary status and gave them authority to speak on behalf of the past. The author argues that historians used the persona as a replacement for missing institutional structures, and converted book parts to a sphere where they could mould and perform their persona. By ascribing agency to titles, footnotes, running heads, typography, cover design, size, and other paratexts, the book makes an important shift in the way we perceive the formation of modern disciplines. By combining the persona and paratexts, it offers a novel approach to themes that have enjoyed great interest in the history of science. It examines, for example, the role which epistemic and moral virtues held in the Victorian society and scholarly culture, the social organization and hierarchies of scholarly communities, the management of scholarly reputations, the commercialization of knowledge, and the relationship between the persona and the underpinning social, political, economic, and cultural structures and hierarchies. Making a significant contribution to persona studies, it provides new insights for scholars interested in the history of humanities, science, and knowledge; book history; and Victorian culture.
Reprint of the original, first published in 1881.
Edward Thomas can be seen as the most important poetry critic in the early twentieth century. Thomas was a prose-writer before he was a poet. The Selected Edition of his prose, and especially this volume, shows that he was also a critic before he was a poet. His unusual literary career opens up key questions about the relation between poetry and criticism, as well as between poetry and prose. Thomas wrote books about poetry, but his criticism mainly took the form of reviews. He reviewed collections, editions, and studies of poetry, most regularly, for the Daily Chronicle and the Morning Post. These reviews amount to a unique commentary on the state of poetry and of poetry criticism after 1900. Since reviewing provided Thomas's main income, he also reviewed other kinds of book. Hence the sheer mass of his reviews, the stress he suffered as a literary journalist. Yet his criticism maintains an astonishingly high standard. Thomas's response to contemporary poetry intersects with his readings of older poetry. No critic or poet of the time was so deeply acquainted with the traditions of English-language poetry or so alert to new poetic movements in Ireland and America. Edward Thomas's writings on poetry have a double importance. Besides suggesting the hidden evolution of his own aesthetic, they constitute a lost history and critique of poetry before the Great War. They change our assumptions about that period. Thomas's perspectives on poets such as Yeats, Hardy, Frost, Lawrence, and Pound illuminate the making of modern poetry.
Edward Thomas can be seen as the most important poetry critic in the early twentieth century. Thomas was a prose-writer before he was a poet. The Selected Edition of his prose, and especially this volume, shows that he was also a critic before he was a poet. His unusual literary career opens up key questions about the relation between poetry and criticism, as well as between poetry and prose. Thomas wrote books about poetry, but his criticism mainly took the form of reviews. He reviewed collections, editions, and studies of poetry, most regularly, for the Daily Chronicle and the Morning Post. These reviews amount to a unique commentary on the state of poetry and of poetry criticism after 1900. Since reviewing provided Thomas's main income, he also reviewed other kinds of book. Hence the sheer mass of his reviews, the stress he suffered as a literary journalist. Yet his criticism maintains an astonishingly high standard. Thomas's response to contemporary poetry intersects with his readings of older poetry. No critic or poet of the time was so deeply acquainted with the traditions of English-language poetry or so alert to new poetic movements in Ireland and America. Edward Thomas's writings on poetry have a double importance. Besides suggesting the hidden evolution of his own aesthetic, they constitute a lost history and critique of poetry before the Great War. They change our assumptions about that period. Thomas's perspectives on poets such as Yeats, Hardy, Frost, Lawrence, and Pound illuminate the making of modern poetry.
Reprint of the original, first published in 1883.