Caroline Franklin - Böcker

`Alas! the love of women! it is known/ To be a lovely and fearful thing!' Don Juan, II. 199Traditionally seen as an archetypal masculine poet, better known for his relationships with women than for the sympathetic study of them, Lord Byron has not lent himself easily to a feminist critique hitherto. In this, the first such example, Caroline Franklin takes an original and polemical standpoint, reading Byron within the setting of the contemporary debate on the nature, role, and rights of women in society. The heroines of Byron's narrative and dramatic verse are considered, not from a biographical perspective, but by relating these representations to ideologies of sexual difference which obtained in the poet's day. Viewed in their literary-historical context, these Byronic heroines are compared with other female protagonists of the age, thereby revealing the poet to be unusually honest and bold in his portrayal of female sexuality and its relation to political issues.Drawing upon original research materials, yron's Heroines presents the poet in a fresh and original context as well as making an important contribution to the debate regarding the representation of women in early nineteenth-century society.

This ground-breaking nineteenth-century volume is of considerable scholarly interest as an example of a femino-centric popular novel. Celia in Search of a Husband is a high-spirited and entertaining example of an anti-Jacobin novel, written at the height of the backlash against female intellectuals during the Napoleonic wars. Despite this hostile climate, the author sought to acknowledge the importance of female education and independence whilst at the same time endorsing the traditional Christian teaching that a wife should be subordinate to her husband. Although second wave feminists prioritized the progressive writers with whom they more readily identified, more recent scholarship has rightly paid close attention to conservative or moralist writers such as Miss Byron and recognized how influential they were. Accompanied by extensive editorial commentary, this edition of Celia in Search of a Husband contributes to this scholarship on the literary history of women’s writing, and will be a welcome to those with a particularly interest in women’s writing, satiric novels and spoofs, and Jane Austen.

This important collection of review articles makes it possible to trace the critical reputations of both major and minor British Romantic poets at the hands of first their contemporaries and then the principal Victorian critics.The collection also enables the reader to perceive the growing influence of Romanticism on the thinking of those critics of the second half of the nineteenth century who were instrumental in forming the canon of English Literature and instituting it as a field of study in the universities for the first time.The four volumes* include minor figures and overlooked women writers* allow insight into the history of criticism itself as readership became wider and more educated* trace the critical reputation of certain authors as it changed over time - from contemporary to historical perspective* trace the perception of Romanticism as a whole and its progress from a new movement to a dominant philosophy in Britain.

Lord Byron (1788-1824) was a poet and satirist, as famous in his time for his love affairs and questionable morals as he was for his poetry. Looking beyond the scandal, Byron leaves us a body of work that proved crucial to the development of English poetry and provides a fascinating counterpoint to other writings of the Romantic period. This guide to Byron’s sometimes daunting, often extraordinary work offers:an accessible introduction to the contexts and many interpretations of Byron’s texts, from publication to the present an introduction to key critical texts and perspectives on Byron’s life and work, situated in a broader critical history cross-references between sections of the guide, in order to suggest links between texts, contexts and criticism suggestions for further reading.Part of the Routledge Guides to Literature series, this volume is essential reading for all those beginning detailed study of Byron and seeking not only a guide to his works but also a way through the wealth of contextual and critical material that surrounds them.

Lord Byron (1788-1824) was a poet and satirist, as famous in his time for his love affairs and questionable morals as he was for his poetry. Looking beyond the scandal, Byron leaves us a body of work that proved crucial to the development of English poetry and provides a fascinating counterpoint to other writings of the Romantic period. This guide to Byron’s sometimes daunting, often extraordinary work offers:an accessible introduction to the contexts and many interpretations of Byron’s texts, from publication to the present an introduction to key critical texts and perspectives on Byron’s life and work, situated in a broader critical history cross-references between sections of the guide, in order to suggest links between texts, contexts and criticism suggestions for further reading.Part of the Routledge Guides to Literature series, this volume is essential reading for all those beginning detailed study of Byron and seeking not only a guide to his works but also a way through the wealth of contextual and critical material that surrounds them.

The Romantic Period saw a massive advance in British colonial expansion, which was accompanied by a corresponding expansion in travel writings. These published letters, journals and books provided British readers with detailed accounts of new and exotic locations and thus engaged the reading public with expansionist enterprises.Covering the period of the French Revolution up until Victoria’s ascendancy to the throne, and featuring journeys spanning France and central Europe, India, and South America, this collection brings together some of the most interesting travel accounts written by women at this time.The authors included come from a variety of social backgrounds and their written styles are as varied as their journeys. For instance, Williams and Morgan were professional writers who may be described as ‘feminists’, while Fay and Falconbridge were ordinary women who had been through extraordinary experiences.

This is VOLUME I of letters from France; Containing a great variety of original information concerning the most important events that have occurred in that country in the years 1790- 1791. To which are annexed, the correspondence of Dumourier with Pache, the War Minister, and with the Commissaries.-Letters of Bournonville, Miranda, Valence, by Helen Maria Williams.

VOLUME II Letters from France; Containing a great variety of original information concerning the most important events that have occurred in that country in the years 1792, and 1793. To which annexed, the correspondence of Dumourier with Pache, the War Minister, and with the Commissaries.-Letters of Bournonville, Miranda, Valence.

This is Volume 3 Of Women’s Travel Writing:1750—1850 And Contains A ‘Narrative Of Two Voyages To The River Sierra Leone, During The Years 1791-2-3’by A. M. Falconbridge And A ‘History Of A Six Weeks’ Tour Through A Part Of France, Switzerland, Germany, And Holland; With Letters Descriptive Of A Sail Round The Lake Of Geneva, And Of The Glaciers Of Chamouni.’ By Mary And Percy Shelley.

VOLUME IV includes original Letters from India; containing a narrative of a journey through Egypt, and the author’s imprisonment at Calicut by Hyder Ali. To which is added an abstract of three subsequent voyages to India by Mrs Elizabeth Fay.

This is Volume 5 Of Women's Travel Writing:1750-1850 and contains Letters from the Island of Tenerife, Brazil, The cape of Good Hope and the East Indies by Mrs Kindersley.

Part of the History of Feminism collection, this is Volume 6 of ‘Women’s Travel Writing:1750—1850’, first published in 1821 the writings of Lady Morgan on her travels to ITALY, this is VOLUME I of that account.

This is Volume VII, WOMEN’S TRAVEL WRITING: 1750 – 1850 and is volume II of a collection of writings about ITALY, by Lady Morgan.

This is Volume VIII, WOMEN’S TRAVEL WRITING: 1750 – 1850 and is volume III of a collection of writings about ITALY, by Lady Morgan.

Awarded the Elma Dangerfield Prize by the International Byron Society in 2013The nineteenth century is sometimes seen as a lacuna between two literary periods. In terms of women’s writing, however, the era between the death of Mary Wollstonecraft and the 1860s feminist movement produced a coherent body of major works, impelled by an ongoing dialogue between Enlightenment ‘feminism’ and late Romanticism. This study focuses on the dynamic interaction between Lord Byron and Madame de Staël, Lady Morgan, Mary Shelley and Jane Austen, challenging previous critics’ segregation of the male Romantic writers from their female peers. The Romantic movement in general unleashed the creative ambitions of nineteenth-century female novelists, and the public voice of Byron in particular engaged them in transnational issues of political, national and sexual freedom. Byronism had itself been shaped by the poet’s incursion onto a literary scene where women readers were dominant and formidable intellectuals such as Madame de Staël were lionized. Byron engaged in rivalrous dialogue with the novels of his female friends and contemporaries, such as Caroline Lamb, Mary Shelley and Jane Austen, whose critiques of Romantic egotism helped prompt his own self-parody in Don Juan. Later Victorian novelists, such as George Sand, the Brontë sisters and Harriet Beecher Stowe, wove their rejection of their childhood attraction to Byronism, and their dawning awareness of the significance for women of Lady Byron’s actions, into the feminist fabric of their art.

Gothic verse liberated the dark side of Romantic and Victorian verse: its medievalism, melancholy and morbidity. Some poets intended merely to shock or entertain, but Gothic also liberated the creative imagination and inspired them to enter disturbing areas of the psyche and to portray extreme states of human consciousness. This anthology illustrates that journey. This is the first modern anthology of Gothic verse. It traces the rise of Gothic in the late eighteenth century and follows its footsteps through the nineteenth century. Gothic has never truly died as it constantly reinvents itself, and this lively, illustrated and annotated anthology offers students the atmospheric poetry that originally studded terror novels and inspired horror films. Alongside canonical verse by Coleridge, Keats and Poe, it introduces readers to lesser-known authors excursions into the macabre and the grotesque. A wide range of poetic forms is included: as well as ballads, tales, lyrics, meditative odes and dramatic monologues, a medievalist romance by Scott and Gothic drama by Byron are also included in full. A substantial introduction by Caroline Franklin puts the rise of Gothic poetry into its historical context, relating it both to Romanticism and Enlightenment historicism. Although Gothic fiction has now been receiving serious critical attention for twenty years, Gothic verse has been largely overlooked. It is therefore hoped that this anthology will stimulate scholarly interest as well as readers pleasure in these unearthly poems.

Awarded the Elma Dangerfield Prize by the International Byron Society in 2013The nineteenth century is sometimes seen as a lacuna between two literary periods. In terms of women’s writing, however, the era between the death of Mary Wollstonecraft and the 1860s feminist movement produced a coherent body of major works, impelled by an ongoing dialogue between Enlightenment ‘feminism’ and late Romanticism. This study focuses on the dynamic interaction between Lord Byron and Madame de Staël, Lady Morgan, Mary Shelley and Jane Austen, challenging previous critics’ segregation of the male Romantic writers from their female peers. The Romantic movement in general unleashed the creative ambitions of nineteenth-century female novelists, and the public voice of Byron in particular engaged them in transnational issues of political, national and sexual freedom. Byronism had itself been shaped by the poet’s incursion onto a literary scene where women readers were dominant and formidable intellectuals such as Madame de Staël were lionized. Byron engaged in rivalrous dialogue with the novels of his female friends and contemporaries, such as Caroline Lamb, Mary Shelley and Jane Austen, whose critiques of Romantic egotism helped prompt his own self-parody in Don Juan. Later Victorian novelists, such as George Sand, the Brontë sisters and Harriet Beecher Stowe, wove their rejection of their childhood attraction to Byronism, and their dawning awareness of the significance for women of Lady Byron’s actions, into the feminist fabric of their art.