Isobel Armstrong – författare

Nineteenth-Century Women Poets is a major new anthology, turning a wide focus on a period which has traditionally had only its most eminent writers examined in any depth. Beginning with Anna Laetitia Barbauld's petition to William Wilberforce and ending with the myth-making Irish writers of the Celtic revival, this wide-ranging collection brings to light diverse female traditions that have for years remained in obscurity. While Nineteenth-Century Women Poets showcasts a host of female writers well-known in their day - Felicia Hemans, Elizabeth Barrett Browning, and Christina Rossetti - it resists the narrow focus upon familiar middle-class authors taken by other anthologies of this period and contains works by working-class, colonial and political writers, in addition to the better-known names. The anthology draws on first editions for texts wherever possible, retaining the spelling and punctuation of the originals for a faithful representation.The chronological progression of the title highlights the development of women's verse from the late Romantic period through to the Victorian fin-de-siècle, examining the political formations and cultural groupings to which the women belonged, along with the structures which made the development of their work possible, in particular the numerous minority journals which allowed them a coherent voice. The collection also explores the thematic connections between different writers, through a consideration of common preoccupations with marriage, slavery, military conflict, national identity, and religious and sexual discourses, and reveals how styles and genres changed across the century.

INineteenth-Century Women Poets is a major new anthology, selecting widely from writings produced in a period that has traditionally been associated with relatively few eminent female poets. Opening with Anna Laetitia Barbauld's petition to William Wilberforce and ending with the myth-making Irish writers of the Celtic revival, Nineteenth-Century Women Poets rediscovers rich and diverse female traditions. The anthology presents the work of over one hundred women writers. Besides featuring distinguished middle-class poets such as Felicia Hemans, Elizabeth Barrett-Browning, and Christina Rossetti, the collection presents work by authors such as Maria Jane Jewsbury, Augusta Webster, and Michael Field, whose significance is only now becoming apparent. It achieves range and depth by reprinting poems by working-class, colonial, and political poets, in addition to very substantial selections from the work of major figures. The collection draws on first editions wherever possible. The chronological span of the anthology provides a unique perspective on women's poetry from the late-Romantic period to the Victorian fin-de-siecle .This book is intended for general readers; scholars and students (undergraduate and postgraduate) of English literature, women's studies, 19th-century studies, and humanities.

Novel Politics aims to change the current consensus of thinking about the nineteenth-century novel. This assumes that the novel is structured by bourgeois ideology and morality, so that its default position is conservative and hegemonic. Such critique comes alike from Marxists, readers of nineteenth-century liberalism, and critics making claims for the working-class novel, and systematically under-reads democratic imaginations and social questioning in novels of the period.To undo such readings means evolving a new praxis of critical writing. Rather than addressing the explicitly political and deeply limited accounts of the machinery of franchise and ballot in texts, it is important to create a poetics of the novel that opens up its radical aspects. This can be done partly by taking a new look at some classic nineteenth-century political texts (Mill, De Tocqueville, Hegel), but centrally by exploring four claims: the novel is an open Inquiry (compare philosophical Inquiries of the Enlightenment contemporary with the novel's genesis), a lived interrogation, not a pre-formed political document; radical thinking requires radical formal experiment, creating generic and ideological disruption simultaneously and putting the so-called realist novel and its values under pressure; the poetics of social and phenomenological space reveals an analysis of the dispossessed subject, not the bildung of success or overcoming; the presence of the aesthetic and art works in the novel is a constant source of social questioning. Among texts discussed, six novels of illegitimacy, from Jane Austen to Scott to George Eliot and George Moore, stand out because illegitimacy, with its challenge to social norms, is a test case for the novelist, and a growing point of the democratic imagination.

Isobel Armstrong's startlingly original and beautifully illustrated book tells the stories that spring from the mass-production of glass in nineteenth-century England. Moving across technology, industry, local history, architecture, literature, print culture, the visual arts, optics, and philosophy, it will transform our understanding of the Victorian period.The mass production of glass in the nineteenth century transformed an ancient material into a modern one, at the same time transforming the environment and the nineteenth-century imagination. It created a new glass culture hitherto inconceivable. Glass culture constituted Victorian modernity. It was made from infinite variations of the prefabricated glass panel, and the lens. The mirror and the window became its formative elements, both the texts and constituents of glass culture. The glassworlds of the century are heterogeneous. They manifest themselves in the technologies of the factory furnace, in the myths of Cinderella and her glass slipper circulated in print media, in the ideologies of the conservatory as building type, in the fantasia of the shopfront, in the production of chandeliers, in the Crystal Palace, and the lens-made images of the magic lantern and microscope. But they were nevertheless governed by two inescapable conditions. First, to look through glass was to look through the residues of the breath of an unknown artisan, because glass was mass produced by incorporating glassblowing into the division of labour. Second, literally a new medium, glass brought the ambiguity of transparency and the problems of mediation into the everyday. It intervened between seer and seen, incorporating a modern philosophical problem into bodily experience. Thus for poets and novelists glass took on material and ontological, political, and aesthetic meanings. Reading glass forwards into Bauhaus modernism, Walter Benjamin overlooked an early phase of glass culture where the languages of glass are different. The book charts this phase in three parts. Factory archives, trade union records, and periodicals document the individual manufacturers and artisans who founded glass culture, the industrial tourists who described it, and the systematic politics of window-breaking. Part Two, culminating in glass under glass at the Crystal Palace, reads the glassing of the environment, including the mirror, the window, and controversy round the conservatory, and their inscription in poems and novels. Part Three explores the lens, from optical toys to 'philosophical' instruments as the telescope and microscope were known.A meditation on its history and phenomenology, Victorian Glassworlds is a poetics of glass for nineteenth-century modernity.

This collection of twelve critical essays on women's poetry of the eighteenth century and enlightenment is the first to range widely over individual poets and to undertake a comprehensive exploration of their work. Experiment with genre and form, the poetics of the body, the politics of gender, revolutionary critique, and patronage, are themes of the collection, which includes discussions of the distinctive projects of Mary Leapor, Ann Yearsley, Helen Maria Williams, Joanna Baillie, Charlotte Smith, Anna Barbauld and Lucy Aikin.

This collection of 12 essays on women's poetry of the 18th century and the Enlightenment ranges widely over individual poets and undertakes an exploration of their work. Experiment with genre and form, the poetics of the body, the politics of gender, revolutionary critique, and patronage, are themes of the collection which includes discussions of the projects of Mary Leapor, Ann Yearsley, Helen Maria Williams, Joanna Baillie, Charlotte Smith, Anna Barbauld and Lucy Aikin.

First published in 1969, this edition collection brings together a series of essaysnbspoffering a nbspre-evaluation ofnbspVictorian poetry in the light of early 20th Century criticism.nbsp

Poetry Poets and Politics. In a comprehensive and theoretically astute study, Armstrong rescues Victorian poetry from its images as a moralised form of romantic verse and unearths its often subversive critique of nineteenth-century culture and politics.

In a work that is uniquely comprehensive and theoretically astute, Isobel Armstrong rescues Victorian poetry from its longstanding sepia image as `a moralised form of romantic verse', and unearths its often subversive critique of nineteenth-century culture and politics.

This collection of new feminist essays represents the work of young critics researching and teaching in British Universities. Aiming to set the agenda for feminist criticism in the nineties, the essays debate themes crucial to the development of feminist thought: among them, the problems of gendered knowledge and the implications of accounts of gendered language, cultural restraints on the representation of sexuality, women’s agency, cultural and political change, a feminist aesthetics and new readings of race and class. This variety is given coherence by a unity of aim – to forge new feminist discourses by addressing conceptual and cultural questions central to problems of gender and sexual difference.The topics of discussion range from matrilinear thought to seventeenth-century prophecy; the poetry of Amelia Lanyer to Julia Margaret Cameron’s photographs; from Dorothy Richardson and Virginia Woolf to eighteenth-century colonial painting of the South Pacific; from medieval romance to feminist epistemology. The essays utilise and question the disciplines of literary criticism, art history, photography, psychoanalysis, Marxist history and post-structuralist theory.

In Victorian Poetry: Poetry, Poetics and Politics, Isobel Armstrong rescued Victorian poetry from its longstanding sepia image as ‘a moralised form of romantic verse' and unearthed its often subversive critique of nineteenth-century culture and politics. In this uniquely comprehensive and theoretically astute new edition, Armstrong provides an entirely new preface that notes the key advances in the criticism of Victorian poetry since her classic work was first published in 1993. A new chapter on the alternative fin de siècle sees Armstrong discuss Michael Field, Rudyard Kipling, Alice Meynell and a selection of Hardy lyrics. The extensive bibliography acts as a key resource for students and scholars alike.

First published in 1969, this edition collection brings together a series of essays offering a  re-evaluation of Victorian poetry in the light of early 20th Century criticism. The essays in this collection concentrate upon the poets whose reputations suffered from the great redirection of energy in English criticism initiated in this century by Eliot, Richards and Leavis. What theses poets wrote about, the values they expressed, the form of the poems, the language they used, all these were examined and found wanting in some radical way. One of the results of this criticism was the renewal of interest in metaphysical and eighteenth-century poetry and corresponding ebb of enthusiasm for Romantic poetry and for Victorian poetry in particular. Most of the essays in this book take as their starting point questions raised by the debate on Victorian poetry, both earlier in this century and in the more recent past. There are essays on the poetry of Tennyson, Browning and Arnold, on that of Clough, who until recently has been neglected, and Hopkins, because of, rather than in spite of, the fact that he is usually considered to be a modern poet. The volume is especially valuable in that it will give a clearer understanding of the nature of Victorian poetry, concentrating as it does on those areas of a poet’s work where critical discussion seems most necessary.

First published in 1969, this edition collection brings together a series of essays offering a  re-evaluation of Victorian poetry in the light of early 20th Century criticism. The essays in this collection concentrate upon the poets whose reputations suffered from the great redirection of energy in English criticism initiated in this century by Eliot, Richards and Leavis. What theses poets wrote about, the values they expressed, the form of the poems, the language they used, all these were examined and found wanting in some radical way. One of the results of this criticism was the renewal of interest in metaphysical and eighteenth-century poetry and corresponding ebb of enthusiasm for Romantic poetry and for Victorian poetry in particular. Most of the essays in this book take as their starting point questions raised by the debate on Victorian poetry, both earlier in this century and in the more recent past. There are essays on the poetry of Tennyson, Browning and Arnold, on that of Clough, who until recently has been neglected, and Hopkins, because of, rather than in spite of, the fact that he is usually considered to be a modern poet. The volume is especially valuable in that it will give a clearer understanding of the nature of Victorian poetry, concentrating as it does on those areas of a poet’s work where critical discussion seems most necessary.

This collection of new feminist essays represents the work of young critics researching and teaching in British Universities. Aiming to set the agenda for feminist criticism in the nineties, the essays debate themes crucial to the development of feminist thought: among them, the problems of gendered knowledge and the implications of accounts of gendered language, cultural restraints on the representation of sexuality, women’s agency, cultural and political change, a feminist aesthetics and new readings of race and class. This variety is given coherence by a unity of aim – to forge new feminist discourses by addressing conceptual and cultural questions central to problems of gender and sexual difference.The topics of discussion range from matrilinear thought to seventeenth-century prophecy; the poetry of Amelia Lanyer to Julia Margaret Cameron’s photographs; from Dorothy Richardson and Virginia Woolf to eighteenth-century colonial painting of the South Pacific; from medieval romance to feminist epistemology. The essays utilise and question the disciplines of literary criticism, art history, photography, psychoanalysis, Marxist history and post-structuralist theory.

In the years covered by this volume high Victorian poetry reached it's prolific peak and stimulated a corresponding abundance of critical comment. As poets turned to new themes and new modes of presenting them, critics sought to redifine the function of poetry in their time and nowhere with greater immediacy and sense of the cultural issues at stake than in the periodicals. Two occasions when discussion was particularly lively - in relation to Tennyson's early poems and Arnold's 1853 Preface - are here used by Dr. Armstrong as focal points and with them in mind she has selected and annotated thirteen substantial reviews, principally devoted to the poetry of Tennyson, Browning, Arnold and Clough. Dr. Armstrong's own long Introduction serves equally as an indispensable preliminary guide to the fundamentals of Victorian criticism and as an authoritative summing-up of the debate on poetics conducted at large in the body of the book by the Victorians themselves. Detailed bibliographies for further reading are provided at the end of each main section.

This ground-breaking new work offers a spirited and severe critique of the turn to an anti-aesthetic in theoretical writing and asserts that it has now become an intellectual necessity to rethink the aesthetic and remake aesthetic discourse.

This book explores the development and significance of the writer and painter Wyndham Lewis, the history of Anglo-American modernism in addition to modernism's internal critique.

Douglas Dunn is one of the most widely-read and respected poets of his generation. In a career spanning over 30 years, he has refined lyric and elegiac poetry into an instrument with which to make acute observations of English urban scenes, pastoral traditions, class and education, and the past, present and future of his native Scotland. In this lucid and wide-ranging critical study, poet and critic David Kennedy charts Dunn’s career from his debut volume Terry Street (1969) to his New Selected Poems 1964-2000 (2003). He argues that Dunn’s poetry has developed through often highly ambivalent relationships with form, culture and the public identity and role of the poet. Subtle readings of Dunn’s most intimate poetry are combined with careful analysis of Dunn’s exploration of what form Scotland’s national consciousness might take. Dunn emerges as a complex writer passionately concerned with both the private and the political.

Since Edgar Allan Poe's The Murders in the Rue Morgue inaugurated the detective whodunnit in 1841, narratives following the same basic structure have continued to flood the fiction market. This book examines why this form has proved so tenacious, and plots a course through the thousands of crime novels and stories which have appeared since then. Noting differences of form between pure whodunnits concerned with a past crime, and thrillers where we focus on a present action, the book maps such variants onto a series of historical changes, chiefly in Britain and the USA but with some consideration of French and Scandinavian fiction. As well as such classic detective writers as Collins, Doyle, Christie and Chandler, the book explores the Newgate Novel, spy fiction, the noir thriller, postwar police fiction, black and female private eyes, and the serial-killer mode which has swept the field since the 1980s. In this second edition a substantial new chapter has been added, and other chapters have been expanded to include significant new trends in the genre.

In Victorian Poetry: Poetry, Poetics and Politics, Isobel Armstrong rescued Victorian poetry from its longstanding sepia image as ‘a moralised form of romantic verse' and unearthed its often subversive critique of nineteenth-century culture and politics. In this uniquely comprehensive and theoretically astute new edition, Armstrong provides an entirely new preface that notes the key advances in the criticism of Victorian poetry since her classic work was first published in 1993. A new chapter on the alternative fin de siècle sees Armstrong discuss Michael Field, Rudyard Kipling, Alice Meynell and a selection of Hardy lyrics. The extensive bibliography acts as a key resource for students and scholars alike.

This collection of twelve critical essays on women's poetry of the eighteenth century and enlightenment is the first to range widely over individual poets and to undertake a comprehensive exploration of their work.