Bøger i Literature in History serien

Investigates the regicide's pivotal role in French intellectual history and political mythology. This book examines how thinkers on the right and left repudiated regicide and terror, while articulating a compassionate, humanitarian vision, which became the moral basis for the modern French nation. It focuses on the fluidity of political myths.

Links the literary and intellectual history of England, Scotland, Ireland, and Britain's overseas colonies during the late eighteenth and early nineteenth centuries to redraw our picture of the origins of cultural nationalism, the lineages of the novel, and the literary history of the English-speaking world.

Explores the political context and meanings of key works in Western literature. This book covers Virgilian epics of conquest and empire that take the victors' side (the "Aeneid" itself, Camoes's "Lusiadas", Tasso's "Gerusalemme liberata") and the countervailing epic of the defeated and of republican liberty.

Scott's Shadow is the first comprehensive account of the flowering of Scottish fiction between 1802 and 1832, when post-Enlightenment Edinburgh rivaled London as a center for literary and cultural innovation. Ian Duncan shows how Walter Scott became the central figure in these developments, and how he helped redefine the novel as the principal modern genre for the representation of national historical life. Duncan traces the rise of a cultural nationalist ideology and the ascendancy of Scott's Waverley novels in the years after Waterloo. He argues that the key to Scott's achievement and its unprecedented impact was the actualization of a realist aesthetic of fiction, one that offered a socializing model of the imagination as first theorized by Scottish philosopher and historian David Hume. This aesthetic, Duncan contends, provides a powerful novelistic alternative to the Kantian-Coleridgean account of the imagination that has been taken as normative for British Romanticism since the early twentieth century. Duncan goes on to examine in detail how other Scottish writers inspired by Scott's innovations--James Hogg and John Galt in particular--produced in their own novels and tales rival accounts of regional, national, and imperial history. Scott's Shadow illuminates a major but neglected episode of British Romanticism as well as a pivotal moment in the history and development of the novel.

This book explores previously unexamined links between the arbitrary as articulated in linguistic theories on the one hand, and in political discourse about power on the other. In particular, Willam Keach shows how Enlightenment conceptions of the arbitrary were contested and extended in British Romantic writing. In doing so, he offers a new paradigm for understanding the recurrent problem of verbal representation in Romantic writing and the disputes over stylistic performance during this period. With clarity and force, Keach reads these phenomena in relation to a rapidly shifting literary marketplace and to the social pressures in Britain generated by the French Revolution, the Napoleonic Wars, and the class antagonisms that culminated in the Peterloo Massacre. The question of what it means to think of language or politics as arbitrary persists through postmodern thinking, and this book advances an unfinished dialogue between Romantic culture and the critical techniques we currently use to analyze it. Keach's intertwined linguistic and political account of arbitrary power culminates in a detailed textual analysis of the language of revolutionary violence. Including substantial sections on Blake, Wollstonecraft, Wordsworth, Coleridge, Byron, P. B. Shelley, Keats, and Anna Jameson, Arbitrary Power will engage not only students and scholars of eighteenth- and nineteenth-century literature but also those interested in critical and linguistic theory and in social and political history.

Love of home life, the intimate moments a family peacefully enjoyed in seclusion, had long been considered a hallmark of English character even before the Victorian era. But the Victorians attached unprecedented importance to domesticity, romanticizing the family in every medium from novels to government reports, to the point where actual families felt anxious and the public developed a fierce appetite for scandal. Here Karen Chase and Michael Levenson explore how intimacy became a spectacle and how this paradox energized Victorian culture between 1835 and 1865. They tell a story of a society continually perfecting the forms of private pleasure and yet forever finding its secrets exposed to view. The friction between the two conditions sparks insightful discussions of authority and sentiment, empire and middle-class politics. The book recovers neglected episodes of this mid-century drama: the adultery trial of Caroline Norton and the Prime Minister, Lord Melbourne; the Bedchamber Crisis of the young Queen Victoria; the Bloomer craze of the 1850s; and Robert Kerr's influential treatise, celebrating the ideal of the English Gentleman's House. The literary representation of household life--in Dickens, Tennyson, Ellis, and Oliphant, among others--is placed in relation to such public spectacles as the Deceased Wife's Sister Bill of 1848, the controversy over divorce in the years 1854-1857, and the triumphant return of Florence Nightingale from the Crimea. These colorful incidents create a telling new portrait of Victorian family life, one that demands a fundamental rethinking of the relation between public and private spheres.

Vital Signs offers both a compelling reinterpretation of the nineteenth-century novel and a methodological challenge to literary historians. Rejecting theories that equate realism with representation, Lawrence Rothfield argues that literary history forms a subset of the history of discourses and their attendant practices. He shows how clinical medicine provided Balzac, Flaubert, Eliot, and others with narrative strategies, epistemological assumptions, and models of professional authority. He also traces the linkages between medicine's eventual decline in scientific and social status and realism's displacement by naturalism, detective fiction, and modernism.

This book examines how English writers from the Elizabethan period to the Restoration transformed and contested the ancient ideal of the virtuous mean. As early modern authors learned at grammar school and university, Aristotle and other classical thinkers praised "e;golden means"e; balanced between extremes: courage, for example, as opposed to cowardice or recklessness. By uncovering the enormous variety of English responses to this ethical doctrine, Joshua Scodel revises our understanding of the vital interaction between classical thought and early modern literary culture. Scodel argues that English authors used the ancient schema of means and extremes in innovative and contentious ways hitherto ignored by scholars. Through close readings of diverse writers and genres, he shows that conflicting representations of means and extremes figured prominently in the emergence of a self-consciously modern English culture. Donne, for example, reshaped the classical mean to promote individual freedom, while Bacon held extremism necessary for human empowerment. Imagining a modern rival to ancient Rome, georgics from Spenser to Cowley exhorted England to embody the mean or lauded extreme paths to national greatness. Drinking poetry from Jonson to Rochester expressed opposing visions of convivial moderation and drunken excess, while erotic writing from Sidney to Dryden and Behn pitted extreme passion against the traditional mean of conjugal moderation. Challenging his predecessors in various genres, Milton celebrated golden means of restrained pleasure and self-respect. Throughout this groundbreaking study, Scodel suggests how early modern treatments of means and extremes resonate in present-day cultural debates.