Darwin's plots

Sample

Julie A. Carlson

It is widely held that the romantic age was essentially undramatic and antitheatrical. Julie A. Carlson's original study focuses on the plays written by the canonical romantic poets, as contributions to political and aesthetic reform. Departing from the attention given by recent new-historicist studies to the theatricality of revolution, it asks instead how romantic theatre represents this connection and why it has been neglected by scholars of romanticism. Taking Coleridge as its representative case and the mid-point of his career as the central focus, the book modifies a number of standard assumptions about romanticism: that emphasis on imagination implies an antitheatrical aesthetic; that early rejection of radicalism leads to a disengagement from politics; and that formulations of nationhood demand the separation of private and public spheres. By highlighting the period during which Coleridge wrote most extensively for and about the theatre, this book recovers a large body of unfamiliar texts and the genre that displays most prominently the tensions that threaten Coleridge's (and romanticism's) aesthetic and national thinking. The project of procuring the English public's identification with the reflective space of theatre as a site of nationalist politics ultimately founders, and not only in Coleridge's work. Professor Carlson reveals these plays' inability to find a role for women in the dramas of state as symptomatic of anxieties about women which drive the age's antitheatricality. Her re-examination of romantic bardolatry, theatre criticism by Hazlitt, Hunt and Lamb, and the history plays of the second-generation romantics, confirms the Coleridgean investment in contemplative male figures, in the gender politics which underlie his drama, Remorse. Her conclusion is that romantic drama's 'closeting' of Shakespeare, and the ultimate disavowal of its stakes in the stage, serve to preserve both poetry and masculinity from active bodies of women.

Sample

Gesa Stedman

"In this new study, Gesa Stedman mines the vein of emotion in Victorian writing to unearth new insights into the ways literature responded to the dramatic social and political changes then taking place." "Through an examination of the history of key Victorian emotion words, the major topics that dominate the discourses on emotions in this era, and the central fictional and non-fictional 'paradigm scenarios' which constitute these discourses, Stedman shows how slowly written representatives of the 'passions' change in the 19th century. She argues that in texts about feelings, Victorian authors seem to attempt to delay or halt on a discursive level what can no longer be stopped on any other level of their culture and society." "Reading fictional texts alongside non-fictional works, this study highlights the tensions between the need of 19th-century writers to control 'storms of passion' and their effects, and their need to express feelings. Contemporary research from various disciplines such as sociology, ethnology and history inform this study, which juxtaposes canonical material such as Dicken's Hard Times, Charlotte Bronte's Shirley and Germaine de Stael's Corinne with popular novels and non-fictional texts such as The Education of the Heart, by Sarah Ellis, and Darwin's The Expression of Emotion in Man and Animals. The analysis deals with emotions applying to both genders, but includes a special section examining the representation of emotion in relation to women." "Stemming the Torrent provides new insights into the literature of the period, and brings to light important new material for the scholars interested in the philosophy and psychology of emotions."--Jacket.

Sample

Josephine McDonagh

Drawing on a broad range of sources, De Quincey's Disciplines reveals the English Opium-Eater to be a more complex and contradictory figure than is usually portrayed. All too often pigeon-holed as a latter-day Romantic and psychedelic dreamer, Thomas De Quincey is shown here to have been a prolific contributor to the periodicals of his day, on subjects as diverse as astronomy, economics, psychology, and politics. Josephine McDonagh traces the formulation of De Quincey's disciplines through an examination of his less frequently scrutinized works - political commentaries, translations of German philosophy, numerous essays, his treatise on economics - and shows that the writer aspired (often unsuccessfully) to participate in the major intellectual project of his time: the formation of new fields of knowledge, and the attempt to unify these into an organic whole. At the same time, De Quincey's works were often compromised by the demands of the market, his own political beliefs, and his tendency to produce works of 'the most provoking jumble'. Focusing on works produced in Edinburgh in reduced circumstances in the years after 1830, De Quincey's Disciplines portrays a transitional literary voice disseminating high Romantic values to a Victorian periodical audience, and a displaced High Tory regretting the end of England's ancien regime, even as he remains open to innovation in the diverse fields of knowledge. This original study recontextualizes De Quincey as a true interdisciplinarian, journalist, and man of letters. It will appeal to readers interested in new historicism and in literatures bridging the Romantic and Victorian periods.

Sample

John Sutherland

In Is Heathcliff a Murderer? (well, is he?) John Sutherland investigates thirty-four conundrums of nineteenth-century fiction. Applying these 'real world' questions to fiction is not in any sense intended to catch out the novelists who are invariably cleverer than their most defectively inclined readers. Typically, one finds a reason for the seeming anomaly. Not blunders, that is, but unexpected felicities and ingenious justifications. In Is Heathcliff a Murderer? John Sutherland, recently described by Tony Tanner as 'a sort of Sherlock Holmes of literature', pays homage to the most rewarding of critical activities, close reading and the pleasures of good-natured pedantry.