Natural Supernaturalism: Tradition and Revolution in Romantic Literature

Introduction: the progress of society 1. Anglican Whig feminism in England, 1690-1760: self-love, reason and social benevolence 2. From savage to Scotswoman: the history of femininity 3. Roman, Gothic and medieval women: the historicisation of womanhood, 1750-c.1804 4. Catharine Macaulay's Histories of England: liberty, civilisation and the female historian 5. Good manners and partial civilisation in the writings of Mary Wollstonecraft 6. The history women and the population men, 1760-1830 Bibliography.

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Women and Enlightenment in Eighteenth-Century Britain

Percy Bysshe Shelley, in the essay 'On Life' (1819), stated 'We live on, and in living we lose the apprehension of life'. Ross Wilson uses this statement as a starting point to explore Shelley's fundamental beliefs about life and the significance of poetry. Drawing on a wide range of Shelley's own writing and on philosophical thinking from Plato to the present, this book offers a timely intervention in the debate about what Romantic poets understood by 'life'. For Shelley, it demonstrates poetry is emphatically 'living melody', which stands in resolute contrast to a world in which life does not live. Wilson argues that Shelley's concern with the opposition between 'living' and 'the apprehension of life' is fundamental to his work and lies at the heart of Romantic-era thought. • Offers a timely intervention in the debate about what Romantic poets understood by 'life' • Encompasses the whole range of Shelley's work, published and unpublished, to show his view of verse as an enlivening force against life's injustice • Places Shelley's poetics in its broad philosophical context, from Plato to the present

Shelley and the Apprehension of Life

The annual bibliography of the Keats-Shelley Journal catalogues recent scholarship related to British Romanticism, with emphasis on secondgeneration writers—particularly John Keats, Percy Shelley, Mary Shelley, Lord Byron, Leigh Hunt, and William Hazlitt. The bibliography includes books, chapters in books, book reviews, articles in journals, other bibliographies, dissertations, and editions of Romantic-era literature and historical documents. The listings are compiled primarily from the catalogues of major British and American publishers and from the tables of contents of books and major journals in the field. The first section of the bibliography lists a wide range of scholarly work on Romanticism that might be of interest to the Journal’s readers, while the subsequent sections list items that deal more specifically with the six aforementioned authors. Because the length of the bibliography precludes my annotating every item, only some entries have annotations—primarily books dealing with the second-generation Romantics. The following biblio graphy catalogues scholarship for the year 2012, along with the occasional item that inadvertently may have been excluded from the annual bibliography in previous years or that may have arrived too late for inclusion. While I have made every attempt to keep the bibliography accurate and comprehensive, the occasional error or omission is inevitable. Please send corrections, additions, and citations for upcoming bibliographies to Ben P. Robertson at Troy University

Annual Bibliography for 2012

1. Introduction: text and figure 2. Mab's metamorphoses 3. 'Hymn to intellectual beauty': visual texts, invisible figure 4. 'Clear elemental shapes': textual and cultural origins for liberty in the Laon and Cythna notebooks 5. Anarchy's textual progress: representing liberty 6. Pursuing revision in Shelley's 'Ode to Liberty' 7. Dispersoning Emily: drafting as plot in Epipsychidion 8. 'Compelling/All new successions': death and the poet's figurations in Adonais 9. The Triumph of Life: figure, history, and inscription.

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Shelley's Visual Imagination

Until recently, history writing has been understood as a male enclave from which women were restricted, particularly prior to the nineteenth century. The first book to look at British women writers and their contributions to historiography during the long eighteenth century, British Women Writers and the Writing of History, 1670-1820, asks why, rather than writing history that included their own sex, some women of this period chose to write the same kind of history as men-one that marginalized or excluded women altogether. But as Devoney Looser demonstrates, although British women's historically informed writings were not necessarily feminist or even female-focused, they were intimately involved in debates over and conversations about the genre of history. Looser investigates the careers of Lucy Hutchinson, Lady Mary Wortley Montagu, Charlotte Lennox, Catharine Macaulay, Hester Lynch Piozzi, and Jane Austen and shows how each of their contributions to historical discourse differed greatly as a result of political, historical, religious, class, and generic affiliations. Adding their contributions to accounts of early modern writing refutes the assumption that historiography was an exclusive men's club and that fiction was the only prose genre open to women.

British Women Writers and the Writing of History: 1670-1820@@@Lucy Hutchinson: Order and Disorder

Contents: Preface and Acknowledgments List of Abbreviations Introduction: Literary History, Cultural Politics, and \"The Nature Itself of Language\" 1 Figures That Look Before and After 2 Nothing Besides Remains 3 \"Mont Blanc, \" the Recuperation of Voice, the Way of \"Power,\" and the Fate of Love 4 Toward a Vision of the Nineteenth Century 5 The Poet Situated - between the Failed Past and a Hopeful Future 6 A Perpetual Orphic Song or, The Name of Thy Father? 7 Moving Toward the Shade of Shelley Notes Bibliography Index

Shelley among Others: The Play of the Intertext and the Idea of Language

Mimesis and Its Romantic Reflections

Thomas Gray (1716-1771) had the misfortune to be a poet at a time when English poetry was struggling with an aching question: how to preserve continuity with the great tradition of Spenser, Shakespeare, and Milton, yet avoid being merely echoes of them. A deep admirer of Milton, Gray emulated not only the great poet's subjects and diction, but his life as well. Although Gray turned to Milton for reminders of the heights to which all poetry might strive, he felt alternately energized and paralyzed by the sublimity of Milton's example. But Gray had an ally in his contest with his mighty predecessor. His friend and former schoolmate, Richard West, was also well educated, a devotee of Milton, and a poet. 'Gray Agonistes' is the first book to examine in detail the intersection in Thomas Gray's life and poetry of Milton's career and achievement and Gray's intense homosexual relationship with Richard West (and, to a lesser extent, with Horace Walpole and Thomas Ashton, all of whom banded together at Eton as the Quadruple Alliance). In all of Gray's poetry Gleckner discovers sites of intense and heroic struggle--with Milton's ghost and with Gray's need to articulate his passionate attachment to West. After West's early death in 1742, Gray's foreboding became anguish, and he became the poet of 'Elegy in a Country Churchyard'.

Gray Agonistes: Thomas Gray and Masculine Friendship

Reception and Poetics in Keats: 'My Ended Poet'

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