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Arthur Symons Cover

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Arthur Symons

A Bibliography

Karl Beckson

Arthur Symons (1865-1945) produced some 60 volumes and pamphlets of poetry and prose, edited and introduced many more volumes, and wrote 1300 articles and reviews. This vast productivity is fully accounted for in Arthur Symons: A Bibliography.

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Arthur Symons, Critic Among Critic

An Annotated Bibliography

Arthur Symons, compiled and edited by C. Jay Fox, Carol Simpson Stern, Robert S. Means

Arthur Symons’s (1865–1945) prominence at the end of the nineteenth century and subsequent influence on early-twentieth-century literature is well established. His biographer Karl Beckson aptly calls him “a major figure who helped stimulate the Modernist initiative.” The breadth of his artistic interests and critical commentary remains extraordinary. In addition to writing short stories, poems, plays, travel sketches, and translations, Symons was a prolific critic and editor who wrote about literature and what he termed “the seven arts.” Yeats famously offered him the laurel “best critic of his generation.” Symons championed freedom of subject matter and literary style and thus influenced the work of Yeats, Eliot, Pound, Joyce, and others, particularly in introducing them to the evocative work of French symbolist writers. Arthur Symons, Critic Among Critics: An Annotated Bibliography documents the scholarly attention Symons continues to receive not only for his critical influence, but for his own creative work. This annotated bibliography captures over 1300 articles, books, reviews, dissertations, and other writings about Symons, revising and updating Carol Simpson Stern’s 1974 bibliography published in English Literature in Transition, 1880–1920. Over 1000 new items appear, some of these from unsigned articles now identified as written by authors such as Virginia Woolf and John Middleton Murry. The book, arranged alphabetically by author with annotations in paraphrase style, includes a helpful index and provides a chronological list of works published from the1880s to early 2007 that will prove useful in tracing the evolution of criticism about Symons

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Arthuriana

Vol. 4 (1994) through current issue

Arthuriana is the widely respected quarterly for the International Arthurian Society - North American Branch. This peer-reviewed journal considers all aspects of the Arthurian and chivalric cultures from the Middle Ages to the current moment. Poised on the cutting edge of cultural studies, Arthuriana consistently publishes work by the most respected and innovative scholars in the field. Arthuriana publishes book reviews and brief notices on a wide range of medieval and Arthurian subjects. Regular notices of the activities of the International Arthurian Society appear in this journal.

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Awake in America

On Irish American Poetry

Daniel Tobin

As the first comprehensive study of Irish American poetry ever published, Awake in America seeks to establish a conversation between Irish and Irish American literature that challenges many of the long-accepted boundaries between the two. In this distinctive book, Daniel Tobin presents a series of essays that combine poetry and literary criticism to form what he calls the poet’s essay. The first section of Awake in America reconsiders the dual tradition of Irish poetry through discussions of nineteenth- and twentieth-century poets as well as contemporary writers. The second section features a series of shorter chapters on poets in America. The third section explores the theme of “Crossings” and includes a consideration of Irish American and African American literature. The fourth, and final, section is comprised of a compositional memoir in which Tobin explores the role of hidden history in his own long poem, The Narrows. Awake in America offers an innovative reading of literary tradition in light of the routes by which tradition evolves as well as the roots from which tradition originates. It will be welcomed by poetry aficionados and by all scholars and readers of Irish and Irish American literature.

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Back to Nature

The Green and the Real in the Late Renaissance

By Robert N. Watson

Selected by Choice magazine as an Outstanding Academic Title

Sweeping across scholarly disciplines, Back to Nature shows that, from the moment of their conception, modern ecological and epistemological anxieties were conjoined twins. Urbanization, capitalism, Protestantism, colonialism, revived Skepticism, empirical science, and optical technologies conspired to alienate people from both the earth and reality itself in the seventeenth century. Literary and visual arts explored the resulting cultural wounds, expressing the pain and proposing some ingenious cures. The stakes, Robert N. Watson demonstrates, were huge.

Shakespeare's comedies, Marvell's pastoral lyrics, Traherne's visionary Centuries, and Dutch painting all illuminate a fierce submerged debate about what love of nature has to do with perception of reality.

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Backgrounds of English Literature, 1700-1760

Cecil Moore

The five studies collected in this volume have the common purpose of establishing a background for an understanding of eighteenth-century English literature. Some of the most popular ideas and ideals of the period are traced to their sources in contemporary philosophy, science, politics, and religion. All of the studies relate in some way to what the seventeenth century called the climate of opinion. They confirm the observation of Shelley that all writers are subjected to “a common influence which arises out of an infinite combination of circumstances belonging to the time in which they live.” All the studies belong to that older style of literary investigation to which scholarship owes its name and to which every student interested in basic ideas and the origins of concepts will sooner or later wish to turn. The first two studies, “Shaftesbury and the Ethical Poets” and “The Return to Nature in English Poetry of the Eighteenth Century,” throw as much light on the Romantic poetry of the nineteenth century as they do on the poetry of the eighteenth. The nature worship that one thinks of as peculiarly Wordsworthian is shown to lie at the heart of deism, the rationalistic philosophy of a century earlier. In “Whig Panegyric Verse,” the ideals of the Whig party, as expressed by poets of the time, are examined in relation to Shaftesbury’s moral philosophy. In “John Dunton: Pietist and Impostor,” the morbid gloom familiar in the “graveyard poets” is seen to reflect a widespread popular taste. That the melancholia of the period was so common as to be considered a national characteristic appears from “The English Malady,” which is largely concerned with the medical literature of the time.

Backgrounds of English Literature, 1700-1760 was first published in 1953. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

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Backstage in the Novel

Frances Burney and the Theater Arts

Francesca Saggini. Translated by Laura Kopp

In Backstage in the Novel, Francesca Saggini traces the unique interplay between fiction and theater in the eighteenth century through an examination of the work of the English novelist, diarist, and playwright Frances Burney. Moving beyond the basic identification of affinities between the genres, Saggini establishes a literary-cultural context for Burney's work, considering the relation between drama, a long-standing tradition, and the still-emergent form of the novel.

Through close semiotic analysis, intertextual comparison, and cultural contextualization, Saggini highlights the extensive metatextual discourse in Burney's novels, allowing the theater within the novels to surface. Saggini’s comparative analysis addresses, among other elements, textual structures, plots, characters, narrative discourse, and reading practices. The author explores the theatrical and spectacular elements that made the eighteenth-century novel a hybrid genre infused with dramatic conventions. She analyzes such conventions in light of contemporary theories of reception and of the role of the reader that underpinned eighteenth-century cultural consumption. In doing so, Saggini contextualizes the typical reader-spectator of Burney’s day, one who kept abreast of the latest publications and was able to move effortlessly between "high" (sentimental, dramatic) and "low" (grotesque, comedic) cultural forms that intersected on the stage.

Backstage in the Novel aims to restore to Burney's entire literary corpus the dimensionality that characterized it originally. It is a vivid, close-up view of a writer who operated in a society saturated by theater and spectacle and who rendered that dramatic text into narrative. More than a study of Burney or an overview of eighteenth-century literature and theater, this book gives immediacy to an understanding of the broad forces informing, and channeled through, Burney's life and work.

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Barbarous Play

Race on the English Renaissance Stage

Lara Bovilsky

Like our own, early modern beliefs about race depended on metaphorical, selective, and contradictory understandings of how membership in groups is determined. Although race took distinctive forms in the past, the fallacies that underlie early modern racial experience generally are precisely-and surprisingly-the same as those in contemporary culture.

 

Exploring the similar underpinnings of early modern and contemporary ideas of difference, Barbarous Play examines English Renaissance understandings of race as depicted in drama. Reading plays by Shakespeare, Marlowe, Webster, and Middleton, Bovilsky offers case studies of how racial meanings are generated by narratives of boundary crossing-especially miscegenation, religious conversion, class transgression, and moral and physical degeneracy. In the process, she reveals deep parallels between the period’s conceptions of race and gender.

 

Barbarous Play contests the widely held view that race and racism depend on modern science for their existence and argues that understanding just what is false and figurative in past depictions of race, such as those found in Othello, The Merchant of Venice, The White Devil, and The Changeling, can clarify the illogic of present-day racism.

 

Lara Bovilsky is assistant professor of English at Washington University in St. Louis.

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Be It Ever So Humble

Poverty, Fiction, and the Invention of the Middle-Class Home

Scott R. MacKenzie

Before the rise of private homes as we now understand them, the realm of personal, private, and local relations in England was the parish, which was also the sphere of poverty management. Between the 1740s and the 1790s, legislators, political economists, reformers, and novelists transferred the parish system’s functions to another institution that promised self-sufficient prosperity: the laborer’s cottage. Expanding its scope beyond the parameters of literary history and previous studies of domesticity, Be It Ever So Humble posits that the modern middle-class home was conceived during the eighteenth century in England, and that its first inhabitants were the poor.

Over the course of the eighteenth century, many participants in discussions about poverty management came to believe that private family dwellings could turn England's indigent, unemployed, and discontent into a self-sufficient, productive, and patriotic labor force. Writers and thinkers involved in these debates produced copious descriptions of what a private home was and how it related to the collective national home. In this body of texts, Scott MacKenzie pursues the origins of the modern middle-class home through an extensive set of discourses—including philosophy, law, religion, economics, and aesthetics—all of which brush up against and often spill over into literary representations.

Through close readings, the author substantiates his claim that the private home was first invented for the poor and that only later did the middle class appropriate it to themselves. Thus, the late eighteenth century proves to be a watershed moment in home's conceptual life, one that produced a remarkably rich and complex set of cultural ideas and images.

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Bearing the Dead

The British Culture of Mourning from the Enlightenment to Victoria

Esther Schor

Esther Schor tells us about the persistence of the dead, about why they still matter long after we emerge from grief and accept our loss. Mourning as a cultural phenomenon has become opaque to us in the twentieth century, Schor argues. This book is an effort to recover the culture of mourning that thrived in English society from the Enlightenment through the Romantic Age, and to recapture its meaning. Mourning appears here as the social diffusion of grief through sympathy, as a force that constitutes communities and helps us to conceptualize history.

In the textual and social practices of the British Enlightenment and its early nineteenth-century heirs, Schor uncovers the ways in which mourning mediated between received ideas of virtue, both classical and Christian, and a burgeoning, property-based commercial society. The circulation of sympathies maps the means by which both valued things and values themselves are distributed within a culture. Delving into philosophy, politics, economics, and social history as well as literary texts, Schor traces a shift in the British discourse of mourning in the wake of the French Revolution: What begins as a way to effect a moral consensus in society turns into a means of conceiving and bringing forth history.

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