Gregory Dart – författare

'The enfranchised quill, that has plodded all the morning among the cart-rucks of figures and cyphers, frisks and curvets so at its ease over the flowery carpet-ground of a midnight dissertation.'Charles Lamb was employed full-time as a clerk in the City of London for most of his adult life, hence his literary output is relatively small when compared with freelance contemporaries such as Thomas De Quincey or William Hazlitt (P.P. Howe's complete Hazlitt edition of the 1930s runs to twenty-one volumes; E. V. Lucas's 1903 edition of The Works of Charles and Mary Lamb has five). Nevertheless, what Lamb's oeuvre might lack in size it more than makes up for in quality: both as a contributor to the great Romantic conversation about art and life, and as the English language's greatest familiar essayist, Lamb is an indispensable figure.This volume contains Elia (1823) and The Last Essays of Elia (1833), the essay collections for which he is best known. It is the fourth volume in the Complete Works of Charles and Mary Lamb, the first scholarly edition of their works in a century.

This book re-opens the question of Rousseau's influence on the French Revolution and on English Romanticism, by examining the relationship between his confessional writings and his political theory. Gregory Dart argues that by looking at the way in which Rousseau's writings were mediated by the speeches and actions of the French Jacobin statesman Maximilien Robespierre, we can gain a clearer and more concrete sense of the legacy he left to English writers. He shows how the writings of William Godwin, Mary Wollstonecraft, William Wordsworth and William Hazlitt rehearse and reflect upon the Jacobin tradition in the aftermath of the French revolutionary Terror.

This book re-opens the question of Rousseau's influence on the French Revolution and on English Romanticism, by examining the relationship between his confessional writings and his political theory. Gregory Dart argues that by looking at the way in which Rousseau's writings were mediated by the speeches and actions of the French Jacobin statesman Maximilien Robespierre, we can gain a clearer and more concrete sense of the legacy he left to English writers. He shows how the writings of William Godwin, Mary Wollstonecraft, William Wordsworth and William Hazlitt rehearse and reflect upon the Jacobin tradition in the aftermath of the French revolutionary Terror.

Gregory Dart expands upon existing notions of Cockneys and the 'Cockney School' in the late Romantic period by exploring some of the broader ramifications of the phenomenon in art and periodical literature. He argues that the term was not confined to discussion of the Leigh Hunt circle, but was fast becoming a way of gesturing towards everything in modern metropolitan life that seemed discrepant and disturbing. Covering the ground between Romanticism and Victorianism, Dart presents Cockneyism as a powerful critical currency in this period, which helps provide a link between the works of Leigh Hunt and Keats in the 1810s and the early works of Charles Dickens in the 1830s. Through an examination of literary history, art history, urban history and social history, this book identifies the early nineteenth-century figure of the Cockney as the true ancestor of modernity.

Gregory Dart expands upon existing notions of Cockneys and the 'Cockney School' in the late Romantic period by exploring some of the broader ramifications of the phenomenon in art and periodical literature. He argues that the term was not confined to discussion of the Leigh Hunt circle, but was fast becoming a way of gesturing towards everything in modern metropolitan life that seemed discrepant and disturbing. Covering the ground between Romanticism and Victorianism, Dart presents Cockneyism as a powerful critical currency in this period, which helps provide a link between the works of Leigh Hunt and Keats in the 1810s and the early works of Charles Dickens in the 1830s. Through an examination of literary history, art history, urban history and social history, this book identifies the early nineteenth-century figure of the Cockney as the true ancestor of modernity.

The metropolis is a site of endless making and unmaking. From the attempt to imagine a ''city-symphony'' to the cinematic tradition that runs from Walter Ruttmann to Terence Davies, Restless Cities traces the idiosyncratic character of the metropolitan city from the nineteenth century to the twenty-first-century megalopolis. With explorations of phenomena including nightwalking, urbicide, property, commuting and recycling, this wide-ranging new book identifies and traces the patterns that have defined everyday life in the modern city and its effect on us as individuals. Bringing together some of the most significant cultural writers of our time, Restless Cities is an illuminating, revelatory journey to the heart of our metropolitan world.

The metropolis is a site of endless making and unmaking. From the attempt to imagine a 'city-symphony' to the cinematic tradition that runs from Walter Ruttmann to Terence Davies, Restless Cities traces the idiosyncratic character of the metropolitan city from the nineteenth century to the twenty-first-century megalopolis. With explorations of phenomena including nightwalking, urbicide, property, commuting and recycling, this wide-ranging new book identifies and traces the patterns that have defined everyday life in the modern city and its effect on us as individuals. Bringing together some of the most significant cultural writers of our time, Restless Cities is an illuminating, revelatory journey to the heart of our metropolitan world.

In 1822 William Hazlitt, forty-four years old and married, was both tormented and enchanted by Sarah Walker, his landlady’s nineteen-year-old daughter. Liber Amoris is the chronicle of that obsession, an extraordinary fragment of Romantic autobiography that explores the unstable nature of what individuals perceive as ‘truth’, the unknowability of others, and leaves the reader unsure of who is victim, who seducer in this haunting relationship. Gregory Dart sets Liber Amoris in its context of Hazlitt’s other writings from 1822-3, and provides a wealth of fascinating notes that take us deep into the period and the writer’s imagination. Cover painting Vilhelm Hammerhøi: Interior, Young woman seen from behind, 1903-4. Reproduced by permission of the Randers Kunstmuseum, Denmark. Cover design StephenRaw.com