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Victorian Poetry Index: Volume 51, 2013

From: Victorian Poetry
Volume 51, Number 4, Winter 2013
pp. 563-564 | 10.1353/vp.2013.0033

In lieu of an abstract, here is a brief excerpt of the content:

Victorian Poetry Index
Volume 51, 2013
99 D.M.R. Bentley
Dante Gabriel Rossetti’s “Absurd,” Antiquarian, and “Modern-Antique” Medievalism(s): Girlhood of Mary Virgin, The Bride’s Prelude, and “Stratton Water”
1 Alan P. Barr
The Irony of Swinburne’s Atalanta in Calydon
147 S. Brooke Cameron
The Pleasures of Looking and the Feminine Gaze in Michael Field’s Sight and Song
511 Ayşe Çelīkkol
Secular Pleasures and FitzGerald’s Rubáiyát of Omar Khayyám
249 Sarah H. Ficke
Crafting Social Criticism: Infanticide in “The Runaway Slave at Pilgrim’s Point” and Aurora Leigh
37 Michelle Geric
Tennyson’s Maud (1855) and the “unmeaning of names”: Geology, Language Theory, and Dialogics
Guide to the Year’s Work
81 John Hughes
Meter and Context: Hardy’s “Neutral Tones”
443 Linda K. Hughes
Narrative Matters: Keynote Address to “Forms and Fashions. A Conference in Celebration of the 50th Anniversary of Victorian Poetry
271 Andrew Kay
Swinburne, Impressionistic Formalism, and the Afterlife of Victorian Poetic Theory
63 Mary Mullen
Two Clocks: Aurora Leigh, Poetic Form, and the Politics of Timeliness
177 Jason Nabi
Tennyson with the Net Down: His “Freer” Verse
465 Albert D. Pionke
Erotic, Prosodic, and Ethical-Aesthetic Forms of Triangulation in Augusta Webster’s Dramatic Studies and A Women Sold and Other Poems
227 Rebecca Rainof
Victorians in Purgatory: Newman’s Poetics of Conciliation and the Afterlife of the Oxford Movement
487 Justin Sider
Framing Tennyson’s Farewells: Authority and Materiality in “Morte d’Arthur
201 Philip J. Stewart
Clough’s Last Summer
297 Joanna Swafford
Swinburne and the Möbius Strip: Circumvented Circularity in A Century of Roundels
311 Joshua Taft
The Forms of Discipline: Christina Rossetti’s Religious Verse
129 Marion Thain
“Thomas Hardy’s Poetics of Touch”
15 Megan Torti
“The life of such dead things”: Psychological Obsession in Swinburne’s “Félise”
533 Lorraine Wood
Filling in the Blanks: Music and Performance in Dante Gabriel Rossetti

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