Ultra XXX: Street Seducer (Deviant Novel)

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The section on Mansfield Park is similarly structured, with two chapters on the novel and four on screen versions. The contexts for engagement with Austen relate to street culture, digitization, and the Austen craze, and the volume also contains a most helpful appendix consisting of the syllabi of the contributors ensuring their good practices can be incorporated and extended.

Elsewhere, Matthew P. Kathleen E. Eric C. Susan Spencer provides a good account of the new online resource co-devised by Austen scholar Janine Barchas at http:www.

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The study itself is concise, economical, and has a density of thought that lends it an epigrammatic air at times. Elsewhere, James P. Jonas S. Anna E. There was an interesting collection of essays on Mary Wollstonecraft in Hypatia this year. Alan M. The three-volume novel dates from and was never published.

The work of Ann Radcliffe receives several significant re-evaluations in an authoritative and compelling new collection of essays. The collection is divided into three sections. While this perspective anticipates Romantic poetic vision in certain ways, ultimately it becomes Gothic rather than Romantic, and Milbank offers detailed analysis of the two novels and the double perspective achieved by their melancholic characters and condition. The next chapter presents Jerrold E. Scott J. Of relevance here are the following chapters.

These are the chapters on Mary Robinson and Mary Wollstonecraft. Kathryn S. Arguing that this period of literary history in Anglo-Indian culture is pre-colonial, not colonial or postcolonial, Freeman analyses a range of novels, plays, and poetry by women in the period to uncover their critique of Western dualism, and the binaries relating to reason and emotion, masculinity and femininity, authority and submission, within their encounters with Indian philosophy, culture, and language.

Elsewhere, a fascinating account of the development of a discourse surrounding vegetarianism in the midst of British imperial discourse in India is offered by Marguerite M. From this seemingly simple claim Davies constructs a detailed analysis of the shift from oral or transitory maternal advice to the written authority of educational writers in a variety of genres. Six chapters take us through the writings and authorial development of influential writers: Sarah Fielding, Mary Wollstonecraft, Maria Edgeworth, Jane Austen, and the now obscure Ann Martin Taylor, with a selection of her works from to Through the following five chapters Davies traces the development of this written form of maternal authority and educational discipline in relation to Dissenting culture, empiricism and epistemology, radical politics, and the developing form of the eighteenth-century novel.

That said, after setting out the debate for history and authority in s political and philosophical writings in his first two chapters Richard Price, Edmund Burke, James Mackintosh, Mary Wollstonecraft, Thomas Paine Rooney goes on to devote a chapter to reformist and Jacobin novels, and another chapter to anti-Jacobin and conservative novels. Anne Frey provides an account of Agnes C.

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John B. Matthew J. Eleanor C. Jason S. George discusses a subgenre of Romantic fiction here, the fictional confession, drawing upon a range of obscure and often outrageous novels from to by authors such as Edmund Carrington, John Ainslie, and Thomas Little. Nicholas M.


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The majority of works published on Romantic poetry in focused on individual authors. But there were several general studies in the field of Romanticism that included discussion of poetry. A number of these works are considered in more detail in the Section 1 of this chapter, and so are only briefly highlighted here. These studies are all discussed in detail above. Two further important studies were published by Cambridge University Press in The pervasiveness of conflict in the Romantic period is of central concern to Jeffrey N.

Looking beyond the simple answer, namely that everyone else was doing it at the time too, this fascinating account of canonical poets argues that each writer criticizes the growing imperialism of Europe and the aesthetics as well as the politics of Western expansionism. This year saw the publication of two large critical editions of two relatively non-canonical abolitionist poets.

As well as an abolitionist, Rushton was an accomplished seaman, poet, and bookseller. The effect of this is to emphasize the Liverpool-based Rushton as a writer of merit who exceeds his marginal reputation in British Romanticism, and not simply as a figure of regional, historical, or academic interest.

Indeed, this edition, containing all his known works, shows Rushton to be a far more prolific writer of poetry than of prose.

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In this light it is tempting to view Rushton as a transatlantic poet, not only for biographical reasons—his seamanship—but because of the transatlantic themes of much of his writing. Although this may partly be due to the nineteenth-century distaste for his radical politics, and the peculiar nature of his posthumous publication, the Popean echoes of this opening passage suggest another reason.

Could Rushton, therefore, simply have been seen as unfashionable? The other substantial critical edition appearing in was the three-volume Collected Works of Ann Yearsley , edited by Kerri Andrews. Elsewhere, Andrews does not allow her research to crowd the poetry and letters by keeping paratextual elements to a minimum. Apart from a few sparse headnotes, Andrews confines details of textual variants, glosses, and contextual information largely to the back of the volume. Whereas Poems, on Several Occasions contained seventeen poems dedicated to one of her two patrons, Hannah More and Elizabeth Montagu, her final volume contained only two such poems to her then patron Frederick Hervey, fourth earl of Bristol.

A poet of the late eighteenth-century so heavily influenced by the much earlier poetics of Milton, Young, Pope, and Gray, however, is always likely to appear stylistically at odds with her more Romantic contemporaries and, at worst, decidedly unfashionable. More and Yearsley are frequently considered as eventual antagonists.

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The once collaborative relationship that gave way to rivalry, Andrews argues, was in fact fruitful for both poets. Andrews does not necessarily dismiss these; rather, she considers the significance of the complex role played by patronage in the eighteenth century in relation to all the above. In particular, Andrews notes how it was expected that a patronized poet should show gratitude, not only in private, but in print.

Hannah More was also the subject of a short article in In particular, it reminds us of how the Christian conservative More engaged in similar publishing practices, including even using the same publishers, as radical writers. Turning to individual authors, the most important work on Blake from concerned his religious background.

Blake and the Methodists , by Michael Farrell, considers this a very real possibility. But there was a large range of dissenting religious groups at this time, and whilst some adhered closely to one single sect, many others saw and appreciated a commonality witnessed between faiths, and held eclectic views. Farrell reads Blake as such a seeker, with heterogeneous religious views and practices. Far from being the extreme radical that criticism has tended to paint him as, then, Farrell finds Blake to be much more typical of the syncretic theology of his time. Paul Miner published three essays broadly built around influence and allusion in Blake in Notes and Queries.

I enjoyed the close attention to detail Miner offers throughout these three short essays. Collectively, they illustrate how Blakean allusion contributes to his powerfully compelling mythology. In , Angus Whitehead offered three short pieces in Notes and Queries on the labouring-class poet that bring further details of his life and work to the surface. Whitehead reveals to us the political context in which Bloomfield operated or perhaps it would be fairer to say in which he tried to operate.

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He writes eager to secure both literary support and financial assistance from Brydges—who was a writer, patron of the arts, and founder member of the Roxburghe Club. In the past five years there have been a number of major editorial undertakings on the collected works of Scottish Romantic writers. Edinburgh University Press will soon be publishing the Edinburgh edition of the poetry of Walter Scott, a project under the stewardship of Alison Lumsden at Aberdeen, and over the next decade or so we will have the fifteen-volume Oxford Edition of the Works of Robert Burns from the team at the centre for Burns studies at Glasgow, with Gerard Carruthers as its general editor.

Here, as editor, Leask brings all his vast knowledge to bear in a series of introductory essays for each item in the edition. In command of his sources and a range of scholarship, he neatly conveys the salient issues for modern readers of Burns, especially useful in the context of these less well-known works. Leask provides an uncluttered working text, with the accompanying notes given at the back of the volume.

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