Bøger i Anthem Nineteenth-Century Series serien

Hawthorne's Literary History picks up Hawthorne where The Province of Piety left him, extending the historical and theological reading there developed of the early Puritan and revolutionary tales Hawthorne wrote in birthplace Salem on to the contemporary tales, sketches, essays, and finally four published romances based on his stays in Brook Farm, Boston, Concord, Lenox, Salem, Liverpool, and Rome.A collection of essays rather than a single, continuously argued monograph, Hawthorne's Literary History collects together the essays Professor Colacurcio has written on Hawthorne since the publication of his ground-breaking Province of Piety, elaborating and refining his analyses of how Hawthorne's most memorable early tales "e;do history,"e; but proceeding then to explore the later productions of that author's distinguished career. The result, in Colacurcio's patient analysis, is something like Hawthorne's history of his own times.

Julia Wedgwood (1833-1913) was a leading Victorian female non-fiction writer who ventured fearlessly into the reserved territory of the Victorian "e;man of letters"e;, writing about the Classical world, Darwinism, German Biblical criticism, moral philosophy, theology and science as well as literature and history. Her successful debut as a novelist was halted by her father's objections. Non-fiction proved a more congenial metier and she was a regular contributor to the Spectator, Contemporary Review and other upmarket periodicals. Her books include The Moral Ideal and The Message of Israel and biographies of John Wesley and her great grandfather, Josiah Wedgwood. Based on her extensive correspondence this biography also considers the tensions in her family life, the challenges she faced in establishing an unconventional, independent household and the impact of her deafness. Her wide, eclectic circle of friends included Harriet Martineau, Mrs Gaskell, her uncle Charles Darwin and his family, Browning who might have married her, F.D. Maurice, George Eliot, Frances Power Cobbe, Arthur Munby, Mary Everest Boole, Richard Hutton and the young E.M. Forster. She also played a significant role in Victorian feminism.Amongst the many themes explored are the pioneering days of women's higher education and first wave feminism, feminist theology and the significance of female friendships, Christian Socialism, Darwinism, idealism and Victorian agnosticism, spiritualism, antivivisectionism, periodical writing, perceptions of the Classical world, the impact of German Biblical criticism and the Wedgwood family's sense of itself and its history.

This first interdisciplinary appraisal of the pioneering perspectives on the natural history of Sarah Bowdich Lee (1791-1856) pivotally highlights their intercultural and multi-genre dynamics. It thereby challenges approaches to women, gender and national nineteenth-century scientific endeavour by overturning 'secondary' or 'leaky pipeline' narratives for women in early STEM(M).

Captain Philip Beaver's journal, originally published in 1805, recounts his attempt to establish a colony in West Africa with British settlers to demonstrate that cooperation between Africans and Europeans could supply the tropical produce provided by West Indian plantations, so proving the unhumanitarian transatlantic slave trade to be unnecessary.

This edited collection deals with dream as a literary trope and as a source of creativity in women¿s writings. It gathers essays spanning a time period from the end of the seventeenth century to the mid-nineteenth century with a strong focus on the Romantic period and particularly on Mary Shelley¿s Frankenstein.

There are many factors that contributed to the proliferation of visual codes, metaphors and references to the gaze in women's fiction of the late-eighteenth and early-nineteenth centuries. 'Visuality in the Novels of Austen, Radcliffe, Edgeworth and Burney' argues that the visual details in women's novels published between 1778 and 1815 are more significant than scholars have previously acknowledged. Its innovative study of the oeuvres of Jane Austen, Ann Radcliffe, Maria Edgeworth and Frances Burney shows that visuality - the continuum linking visual and verbal communication - provided women writers with a methodology capable of circumventing the cultural strictures on female expression in a way that allowed for concealed resistance. Visuality empowered them to convey the actual ways in which women 'should' see and appear in a society in which the reputation was image-based.The discussion moves from self-referential coordinates exterior to the self in the novels of Austen and Radcliffe to the drama of reflections, fashion and the minutiae of coded self-display in the novels of Edgeworth and Burney. The analysis engages with scholarly critiques drawn from literature, art history, optics, psychology, philosophy and anthropology to assert visuality's multidisciplinary influences and diplomatic potential. The non-chronological structure embraces overlapping themes rather than the illusion of a conclusive departure from the reciprocity between the appearance and the essence.'Visuality in the Novels of Austen, Radcliffe, Edgeworth and Burney' explores how in fiction and in actuality, women negotiated four scopic forces that determined their 'looks' and manners of looking: the impartial spectator, the male gaze, the public eye and the disenfranchised female gaze. In a society dominated by 'frustrated utterance', penetrating gazes and the perpetual threat of misinterpretation, women novelists used references to the visible and the invisible to comment on emotions, socioeconomic conditions and patriarchal abuses. Austen, Radcliffe, Edgeworth and Burney provide ideal case studies in this regard because they were culturally representative figures who also experimented with and contributed to different approaches to the novel. This book thus offers new insights into verbal economy and the gender politics of the era spanning the Anglo-French War and the Battle of Waterloo by reassessing expression and perception from a uniquely telling yet largely overlooked point of view.

'Before Einstein' examines the discourse of hyperspace philosophy and its position within the network of 'new' ideas at the end of the nineteenth century. Hyperspace philosophy grew out of the concept of a fourth spatial dimension, an idea that became increasingly debated amongst mathematicians, physicists and philosophers during the 1870s and 80s. English mathematician and hyperspace philosopher Charles Howard Hinton was the chief populariser of the fourth dimension in Europe and North America. The influence of his writings, many of which were published as a series under the title of 'Scientific Romances', ranged surprisingly wide.'Before Einstein' offers, for the first time, an extended examination of Hinton's work and - crucially - the influence of his ideas on contemporary writers and thinkers. Increasingly over the past three decades, critical attention has been given to the relevance of pre-Einsteinian theories of the fourth dimension within the shifting aesthetic and cultural values at the turn of the twentieth century. For the first time in a full-length literary study, 'Before Einstein' addresses the cultural life of the fourth dimension at the turn of the century. 'Before Einstein' begins by tracing the development of spatial theories of the fourth dimension out of the 'new', non-Euclidean geometries of the mid-nineteenth century, and proceeds to analyse Hinton's role as four-dimensional theorist and populariser of hyperspace philosophy. Hinton's 'Scientific Romances' are examined in detail, not simply as documents of interest for historians of science and ideas, but for their intrinsic literary value as well. Additionally, 'Before Einstein' captures the work of H. G. Wells, Henry James and William James through the lens of Hinton's writing, identifying what can be described as a four-dimensional literary aesthetic. The book addresses the existing gap in literary studies of the fourth dimension, while also providing scholars of the James brothers and Wells with new ways of approaching their subject matter.

This book explores the importance of sympathy as a central idea behind Victorian fiction, and an animating principle of novel reading generally. Sympathy, Brigid Lowe argues, deserves a much more important role as both a subject and a guiding principle for literary criticism.Over the past thirty years, much literary theory has approached literature in general, and Victorian fiction in particular, in a spirit of suspicion. It has tried to purge criticism of the human subject, and of that distinctively human faculty, sympathy. Reading in a contrary, sympathetic mode, Lowe turns the tables on theoretical orthodoxy by submitting some of its central premises to the sympathetic suggestions of novels by Dickens, Gaskell, Eliot, Charlotte Bronte, Charlotte Yonge and Dinah Craik. Their explorations of such diverse issues as history, imagination, individual rights, family, and social responsibility, highlight sympathy as a cornerstone of human nature and humane conduct. Lowe argues that not only literary theory, but our culture more generally, would greatly profit by opening itself up to a sympathetic exchange of ideas with another age, and giving Victorian intimations of sympathy a sympathetic hearing.Lowes exploration of sympathy as part of the dynamics of reading will be of interest to academics and students working on fiction in all periods, and especially to those concerned with aesthetic and critical theory. Her investigation of the role of sympathy in a range of nineteenth-century cultural debates, in particular in relation to gender and the family, should also interest cultural historians. The engaging argumentative momentum of Victorian Fiction and the Insights of Sympathy will appeal to anyone interested in why we do, and should, go on reading Victorian fiction.

In this collection of essays on Hamlin Garland, Donald Pizer attempts to re-establish the wealth and importance of the early work and activities of the radical, Pulitzer Prize-winning writer from the Midwest. Essays in the opening half of the book are devoted to Garland's radical economic and artistic beliefs and activities, while those in the second part concentrate on his most permanent, well-known work of this period: 'Main-Travelled Roads, Rose of Dutcher's Coolly', and 'A Son of the Middle Border'.In the preface to this volume, Pizer traces the overall coherence of Garland's early ideas and fiction. Garland, Pizer demonstrates, found in his reading of radical writers of the period an explanation of the hardships and limitations of prairie life that he had personally experienced; he then translated this union of concept and actuality into a powerful expressive tool in his acclaimed prairie fictions.Pizer includes several of his late essays on Garland in this book, in which he suggests, on the basis of his own critical development, that Garland's finest writing dealing with late nineteenth-century Midwestern life also contains sexual and Edenic themes which transcend the immediate social and economic conditions of this period and help to explain the significance and lastingness of his early body of work.

The Collected Works of Ann Hawkshaw brings together Hawkshaws four volumes of poetry and republishes them together for the first time. Some two hundred years after her birth into a large family of Dissenters in the West Riding of Yorkshire, the publication of The Collected Works reflects the growing interest in Hawkshaws poetry and life. As the span of three decades between the first and last examples of Hawkshaws writing suggests, her poetry offers an exceptional insight into the changing political and religious landscape of the mid-nineteenth century. The themes of death, religion, science, history and nation that run through Hawkshaws poetry demonstrate her capacity for extended critical thought, as she engages with subjects at the heart of nineteenth-century cultural and religious debates whilst challenging the work of established scholars and writers.Writing in a strong, independent and perceptive voice, Hawkshaw makes a valuable contribution to the Manchester poetic revival of 1830s and 1840s, and to political debates over abolitionism and the Poor Law Amendment. Her defence of natural theology in light of scientific progress and her skilful use of the sonnet sequence to engage with nineteenth-century historiographies of the Anglo-Saxon period are also notable. Elsewhere, Hawkshaw draws on her experience as a mother to write tender and poignant elegies on childhood death, addressing several poems to her own children and grandchild.As well as providing a biography of Hawkshaw, who was married to the leading Victorian engineer Sir John Hawkshaw and related by marriage to the Darwin-Wedgwood family, the editors introduction and notes draw attention to several of Hawkshaws most significant poems and their critical reception, making connections between her poetry and the work of Felicia Hemans, Elizabeth Barrett Browning, Wordsworth, Gaskell and Pater.

The French Second Empire (1852-70) was a time of exceptionally rapid social, industrial and technological change. Guidebooks and manuals were produced in large numbers to help readers negotiate new cultural phenomena, and their concerns including image-making, diet, stress, lack of time, and the frustrations of public transport betray contemporary political tensions and social anxieties alongside the practical advice offered. French literature also underwent fundamental changes during this period, as writers such as Baudelaire, Flaubert, Gautier, Hugo and Zola embraced modernity and incorporated new technologies, fashions and inventions into their work. Focusing on cultural areas such as exhibitions, transport, food, dress and photography, Changing France shows how apparently trivial aspects of modern life provided Second Empire writers with a versatile means of thinking about deeper issues. This volume brings literature and material culture together to reveal how writing itself changed as writers recognised the extraordinarily rich possibilities of expression opened up to them by the changing material world.

'Jane Austen and her Readers, 1786-1945' is a study of readers' interactions with the works of one of England's most enduringly popular novelists. Employing an innovative approach made possible by new research in the field of the history of reading, the volume discusses Austen's own ideas about books and readers, the uses she makes of her reading, and the relationship of her style to her readers' responses. It considers the role of editions and criticism in directing readers' responses, and presents and analyses a variety of source material related to readers who read Austen's works between 1786 and 1945.Previous studies of Austen's influence on her readers and literary successors have either presupposed a hypothetical reader, or focused on the texts of the critical tradition, ignoring the views, reactions and thoughts of the common reader. This volume discusses the responses of ordinary readers to Austen's novels, responses that offer insights into both Jane Austen's particular appeal, and the nature of the act of reading itself.

Love is often called a leap of faith. But can faith be described as a leap of love? In 'Touching God: Hopkins and Love', Duc Dau argues that the conversion of Gerard Manley Hopkins to Roman Catholicism was one of his most romantic acts.'Touching God' is the first book devoted to love in the writings of Hopkins, illuminating our understanding of him as a romantic poet. Discussions of desire in Hopkins' poetry have focused on his tortured and unrequited attraction to men. In contrast, Dau builds on existing queer and conventional readings of the poet's work by turning to theories of mutual touch propounded by Luce Irigaray and Maurice Merleau-Ponty. In the process, she uncovers the desire Hopkins actively cultivated and celebrated: his love for Christ. By analysing Hopkins' writings alongside his literary, philosophical and theological influences, she demonstrates that this love is what he called 'eros' or 'amor'.Dau argues that descriptions of the body and its acts of tenderness - notably touching - played a vital role in the poet's depictions of spiritual eroticism. By forging a new way of reading desire and the body in Hopkins' writings, this work offers fresh interpretations of his poetry, and contributes to contemporary interest surrounding the relationship between love, sexuality and spirituality.

This study offers a literary analysis and theological evaluation of the Christian themes in the five great novels of Dostoevsky - 'Crime and Punishment', 'The Idiot', 'The Adolescent', 'The Devils' and 'The Brothers Karamazov'. Dostoevsky's ambiguous treatment of religious issues in his literary works strongly differs from the slavophile Orthodoxy of his journalistic writings. In the novels Dostoevsky deals with Christian basic values, which are presented via a unique tension between the fictionality of the Christian characters and the readers' experience of the existential reality of their religious problems.This study is based on a balanced method of literary analysis and theological evaluation of the texts, avoiding free theological association as well as hermeneutical mixing with the non-literary writings of Dostoevsky. The study starts by discussing the main recent studies of Dostoevsky's religion. It then describes Dostoevsky's original literary method in dealing with religious issues - his use of paradoxes, contradictions and irony. 'Christian Fiction and Religious Realism in the Novels of Dostoevsky' ultimately deconstructs Dostoevsky as an Orthodox writer, and reveals that the Christian themes in his novels are not ecclesiastical or confessionally theological ones, but instead are expressions of a fundamentally Christian anthropology and biblical ethics.

'Dickens and the Sentimental Tradition' is a timely study of the 'sentimental' in Dickens's novels, which places them in the context of the tradition of Fielding, Richardson, Sterne, Goldsmith, Sheridan and Lamb. This study re-evaluates Dickens's presentation of emotion - first within the eighteenth-century tradition and then within the dissimilar nineteenth-century tradition - as part of a complex literary heritage that enables him to critique nineteenth-century society.The book sheds light on the construction of feelings and of the 'good heart', ideas which resonate with current critical debates about literary 'affect'. As the text argues, such an analysis reveals sentimentalism to be a crucial element in fully understanding the achievement of Dickens and his contemporaries.The first chapter of the book outlines the sentimentalist tradition in English literature from the Middle Ages onwards. The second and third chapters then examine Dickens's eighteenth-century inheritance in the works of Sterne, Fielding, Goldsmith and Sheridan, whilst Chapter Four explores Dickens's inheritance from Charles Lamb and his acting in sentimental plays by Bulwer Lytton and Wilkie Collins. Chapter Five analyses three early novels, including 'Nicholas Nickleby', revealing the extremism of post-Romantic sentimentalism. In Chapter Six, three later novels including 'Dombey and Son' are reread in terms of Dickens's changing use of sentimentalist rhetoric to achieve remarkably subversive effects. The final chapter then looks at other examples of nineteenth-century sentimental writing, and at the 'afterlife' of the mode in the past two centuries.

The Constitution of Shelleys Poetry is a close philosophical reading of Prometheus Unbound from the perspective of the argument or drama of language played out in its pages. At its heart a four-chapter reading of Prometheus Unbound, the book is punctuated with readings of other Shelley works and prefaced with two earlier chapters: one on 'Mont Blanc' and 'Hymn to Intellectual Beauty', the companion poems inaugurating Shelleys poetic maturity; the other on 'Ode to the West Wind' originally published with Prometheus Unbound and here represented as 'signature' Shelley. The books one most distinguishing feature, from which several others derive, is its bringing the power and pertinence of Stanley Cavells thought to Shelleys poetry and to his explicitly articulated philosophical interest in language. The book urges and practises close reading, but it provides philosophical grounds for this ostensibly old-fashioned approach, and it implicitly proposes an understanding of language very different from those now most generally assumed in literary studies. The books bringing of Cavells thought to Shelleys poetry would make two related but distinguishable contributions. There is, first of all, the reading of Shelleys poetry, which is new and persuasive both in many of its local moments and in its overall thrust. Second, there is the practical demonstration of the relevance and yield of Cavells thought for literary studies.