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A study of how the instinctive behaviour of crowds was understood by literary writers of the Romantic period.
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Populism, Gender, and Sympathy in the Romantic Novel is a richly historicized account that explores anxieties about crowds, fiction and disguise, women authors, and unstable gender roles. James P. Carson argues that the Romantic novel is a form individualizing in its address, which exploits popular materials and stretches formal boundaries in an attempt to come to terms with the masses. Informed by Bakhtin, Foucault, and Freud, this book offers fresh new readings of works by Sir Walter Scott, William Godwin, Matthew Lewis, Charles Robert Maturin, and Mary Shelley.
Electric Literature 25 Best Novels of 2014 Largehearted Boy Favorite Novels of 2014 "An extraordinary new literary talent."--The Daily Telegraph "In part a portrait of the artist as a young woman, this deceptively modest-seeming, astonishingly inventive novel creates an extraordinary intimacy, a sensibility so alive it quietly takes over all your senses, quivering through your nerve endings, opening your eyes and heart. Youth, from unruly student years to early motherhood and a loving marriage--and then, in the book's second half, wilder and something else altogether, the fearless, half-mad imagination of youth, I might as well call it—has rarely been so freshly, charmingly, and unforgettably portrayed. Valeria Luiselli is a masterful, entirely original writer."--Francisco Goldman In Mexico City, a young mother is writing a novel of her days as a translator living in New York. In Harlem, a translator is desperate to publish the works of Gilberto Owen, an obscure Mexican poet. And in Philadelphia, Gilberto Owen recalls his friendship with Lorca, and the young woman he saw in the windows of passing trains. Valeria Luiselli's debut signals the arrival of a major international writer and an unexpected and necessary voice in contemporary fiction. "Luiselli's haunting debut novel, about a young mother living in Mexico City who writes a novel looking back on her time spent working as a translator of obscure works at a small independent press in Harlem, erodes the concrete borders of everyday life with a beautiful, melancholy contemplation of disappearance. . . . Luiselli plays with the idea of time and identity with grace and intuition." —Publishers Weekly
At the beginning of the nineteenth century, the literary lecture arrived on London's cultural scene as an influential critical medium and popular social event. It flourished for two decades in the hands of the period's most prominent lecturers: Samuel Taylor Coleridge, John Thelwall, Thomas Campbell, and William Hazlitt. Lecturers aimed to shape auditors' reading habits, burnish their own professional profiles, and establish a literary canon. Auditors wielded their own considerable influence, since their sustained approbation was necessary to a lecturer's success, and independent series could collapse midway if attendance waned. Two chapters are therefore devoted to the auditors, whose creative responses to what they heard often constituted cultural works in their own right. Auditors wrote poems and letters about lecture performances, acted as patrons to lecturers, and hosted dinners and conversation parties that followed these events. Prominent auditors included John Keats, Mary Russell Mitford, Henry Crabb Robinson, Catherine Maria Fanshawe, and Lady Charlotte Bury. The Romantic public literary lecture is a fascinating cultural phenomenon in its own right, but understanding the medium has significant implications for some of the period's most important literary criticism, such as Coleridge's readings of Shakespeare and Hazlitt's Lectures on the English Poets (1818). The book's two main aims are to chart the emergence of the literary lecture as a popular medium and to develop a critical approach to these events by drawing on an interdisciplinary discussion about how to treat historical speaking performances.
This book provides insight into how musical performances contributed to emerging ideas about class and national identity. Offering a fresh reading of bestselling fictional works, drawing upon crowd theory, climate theory, ethnology, science, music reviews and books by musicians to demonstrate how these discourses were mutually constitutive.
He told me to go away. I did. I followed his instructions. I left with the new family. They were from the right side of the tracks and I tried to become one of them. I really did, but I failed. When someone died, someone that I loved, I couldn't keep pretending everything was fine. It wasn't. This privileged world he gave me wasn't privileged. There were problems. He just never told me that he created them, that he had sent me into a world he set up for me. It was all a lie, but it was lie that I was going to expose. Or I would die trying. **This is a standalone.
Giacomo Puccini, composer of some of the world's most popular operas, including La Boheme, Tosca, and Madama Butterfly, was also a highly literary person who based his librettos on existing works of literature. This work explores that literary inheritance in an effort to enhance the listener's appreciation of the operatic experience. The author argues that the majority of Puccini's operas compose a grand cycle that finds its roots in the romance genre of 12th century France, serving to celebrate the strong, independent heroine. Via a close examination of the source works, the librettos, and the scores, this book offers fresh perspective on Puccini's legacy.
An examination of taverns in the Romantic period, with a particular focus on architecture and the culture of conviviality.