Anna Barton – författare

Seeking to understand Tennyson's poetry as the work of a man concerned with making and then living up to one of the most famous names in Victorian literature, Anna Barton offers close readings of Tennyson's major works. From his obscure beginning as 'A.T.', one of two anonymous brothers, to the height of his success, when he held the impressive title 'Alfred Lord Tennyson, DCL, Poet Laureate', the development of Tennyson's career took place in a period increasingly aware that a name could command considerable cultural capital. In the marketplace goods were sold on the strength of their brand name; in the press the battle for signed articles was fought and won; and in Victorian drawing rooms young ladies collected the autographs of family and friends and pasted them into scrap books. From his early lyrics to his Arthurian Idylls, Barton argues, the laureate's keen sense of professional identity forced him to grapple with modern concerns about the ethics of print in order to establish his own responsible poetic.

Introduces Tennyson's famous elegy to first-time readers, students and teachers of the poem.In Memoriam is one of the most famous and influential poems of the 19th century. Composed over nearly three decades and spanning over 100 sections, it is one of the longest elegies in the English language. It is at once a deeply personal description of grief and a wide-ranging discussion of its age.This guide provides:• The full text of the poem;• Information about its cultural, historical and literary contexts;• Four different reading strategies for approaching the text;• Suggested seminar activities, assessments and module outlines for teachers and lecturers

Introduces Tennyson's famous elegy to first-time readers, students and teachers of the poem.In Memoriam is one of the most famous and influential poems of the 19th century. Composed over nearly three decades and spanning over 100 sections, it is one of the longest elegies in the English language. It is at once a deeply personal description of grief and a wide-ranging discussion of its age.This guide provides:• The full text of the poem;• Information about its cultural, historical and literary contexts;• Four different reading strategies for approaching the text;• Suggested seminar activities, assessments and module outlines for teachers and lecturers

Seeking to understand Tennyson's poetry as the work of a man concerned with making and then living up to one of the most famous names in Victorian literature, Anna Barton offers close readings of Tennyson's major works. From his obscure beginning as 'A.T.', one of two anonymous brothers, to the height of his success, when he held the impressive title 'Alfred Lord Tennyson, DCL, Poet Laureate', the development of Tennyson's career took place in a period increasingly aware that a name could command considerable cultural capital. In the marketplace goods were sold on the strength of their brand name; in the press the battle for signed articles was fought and won; and in Victorian drawing rooms young ladies collected the autographs of family and friends and pasted them into scrap books. From his early lyrics to his Arthurian Idylls, Barton argues, the laureate's keen sense of professional identity forced him to grapple with modern concerns about the ethics of print in order to establish his own responsible poetic.

This book explores the relationship between nineteenth-century poetry and liberal philosophy. It carries out a reassessment of the aesthetic possibilities of liberalism and it considers the variety of ways that poetry by William Wordsworth, Elizabeth Barrett Browning, Arthur Hugh Clough, George Meredith, Robert Browning, Matthew Arnold and Algernon Charles Swinburne responds to and participates in urgent philosophical, social and political debates about liberty and the rule of law. It provides an account of poetry’s intervention into four different sites where liberalism has a stake: the self, the university, married life and the nation state and it seeks to assert the peculiar capacity of poetry to articulate liberal concerns, proposing poetic language as a means of liberal enquiry.

This book explores the relationship between nineteenth-century poetry and liberal philosophy. It carries out a reassessment of the aesthetic possibilities of liberalism and it considers the variety of ways that poetry by William Wordsworth, Elizabeth Barrett Browning, Arthur Hugh Clough, George Meredith, Robert Browning, Matthew Arnold and Algernon Charles Swinburne responds to and participates in urgent philosophical, social and political debates about liberty and the rule of law. It provides an account of poetry’s intervention into four different sites where liberalism has a stake: the self, the university, married life and the nation state and it seeks to assert the peculiar capacity of poetry to articulate liberal concerns, proposing poetic language as a means of liberal enquiry.

Seeking to understand Tennyson''s poetry as the work of a man concerned with making and then living up to one of the most famous names in Victorian literature, Anna Barton offers close readings of Tennyson''s major works. From his obscure beginning as ''A.T.'', one of two anonymous brothers, to the height of his success, when he held the impressive title ''Alfred Lord Tennyson, DCL, Poet Laureate'', the development of Tennyson''s career took place in a period increasingly aware that a name could command considerable cultural capital. In the marketplace goods were sold on the strength of their brand name; in the press the battle for signed articles was fought and won; and in Victorian drawing rooms young ladies collected the autographs of family and friends and pasted them into scrap books. From his early lyrics to his Arthurian Idylls, Barton argues, the laureate''s keen sense of professional identity forced him to grapple with modern concerns about the ethics of print in order to establish his own responsible poetic.

Seeking to understand Tennyson''s poetry as the work of a man concerned with making and then living up to one of the most famous names in Victorian literature, Anna Barton offers close readings of Tennyson''s major works. From his obscure beginning as ''A.T.'', one of two anonymous brothers, to the height of his success, when he held the impressive title ''Alfred Lord Tennyson, DCL, Poet Laureate'', the development of Tennyson''s career took place in a period increasingly aware that a name could command considerable cultural capital. In the marketplace goods were sold on the strength of their brand name; in the press the battle for signed articles was fought and won; and in Victorian drawing rooms young ladies collected the autographs of family and friends and pasted them into scrap books. From his early lyrics to his Arthurian Idylls, Barton argues, the laureate''s keen sense of professional identity forced him to grapple with modern concerns about the ethics of print in order to establish his own responsible poetic.

Mary Elizabeth Coleridge was a key figure in the history of both women’s poetry and fin-de-siècle poetics. Coleridge, the great grand niece of Samuel Taylor Coleridge, is best known for her gothic lyrics, ‘The Other Side of a Mirror’ and ‘The Witch’, poems that expose the undercurrents of desire and suffering housed within the Victorian domestic sphere.This collection provides a new understanding of the rich intellectual, aesthetic and spiritual breadth of Coleridge’s poetry. Drawing on Coleridge’s unpublished letters and manuscripts, it allows readers to trace the fascinating history of the poetry’s composition and to understand its role in the friendships and family ties of this important and often overlooked late-Victorian poet.

Mary Elizabeth Coleridge was a key figure in the history of both women’s poetry and fin-de-siecle poetics. Coleridge, the great grand niece of Samuel Taylor Coleridge, is best known for her gothic lyrics, ‘The Other Side of a Mirror’ and ‘The Witch’, poems that expose the undercurrents of desire and suffering housed within the Victorian domestic sphere.This collection provides a new understanding of the rich intellectual, aesthetic and spiritual breadth of Coleridge’s poetry. Drawing on Coleridge’s unpublished letters and manuscripts, it allows readers to trace the fascinating history of the poetry’s composition and to understand its role in the friendships and family ties of this important and often overlooked late-Victorian poet.

Mary Elizabeth Coleridge was a key figure in the history of both women’s poetry and fin-de-siecle poetics. Coleridge, the great grand niece of Samuel Taylor Coleridge, is best known for her gothic lyrics, ‘The Other Side of a Mirror’ and ‘The Witch’, poems that expose the undercurrents of desire and suffering housed within the Victorian domestic sphere.This collection provides a new understanding of the rich intellectual, aesthetic and spiritual breadth of Coleridge’s poetry. Drawing on Coleridge’s unpublished letters and manuscripts, it allows readers to trace the fascinating history of the poetry’s composition and to understand its role in the friendships and family ties of this important and often overlooked late-Victorian poet.

The Edinburgh Companion to Nonsense is the first comprehensive treatment of its subject across historical periods, languages, cultures, and theoretical frameworks. Written by scholars in a range of disciplines from philosophy to music as well as literary critics and linguists, it provides the first overview of nonsense as a vital dimension of human creativity, drawing on insights from theology to queer studies, from India to Russia, and from Ancient Greece to the late modernism of the twentieth century. Responding to a growing interest in nonsense within the academy and reflecting the diversity of understandings that the term inspires, this book aims to advance nonsense as a developing critical field, and to inspire new areas of research.

The Edinburgh Companion to Nonsense is the first comprehensive treatment of its subject across historical periods, languages, cultures, and theoretical frameworks. Written by scholars in a range of disciplines from philosophy to music as well as literary critics and linguists, it provides the first overview of nonsense as a vital dimension of human creativity, drawing on insights from theology to queer studies, from India to Russia, and from Ancient Greece to the late modernism of the twentieth century. Responding to a growing interest in nonsense within the academy and reflecting the diversity of understandings that the term inspires, this book aims to advance nonsense as a developing critical field, and to inspire new areas of research.

This book aims to intervene in current critical contexts for the study of nineteenth-century literature within the academy and beyond. Topics discussed include science and technology, poetry and philosophy, the Gothic, anatomical exhibitions, the global spread of liberalism, Anglo-American publishing, Punjabi popular culture and the neo-Victorian in literature, film and performance. By bringing together a broad range of intellectually challenging perspectives, the book offers an engaging critical overview of the field of nineteenth-century literary studies that will appeal both to scholars working within the field and students and teachers encountering this fascinating area of study for the first time.

This book aims to intervene in current critical contexts for the study of nineteenth-century literature within the academy and beyond. Topics discussed include science and technology, poetry and philosophy, the Gothic, anatomical exhibitions, the global spread of liberalism, Anglo-American publishing, Punjabi popular culture and the neo-Victorian in literature, film and performance. By bringing together a broad range of intellectually challenging perspectives, the book offers an engaging critical overview of the field of nineteenth-century literary studies that will appeal both to scholars working within the field and students and teachers encountering this fascinating area of study for the first time.