John Clubbe – författare

These essays focus on major figures, major works or major themes and movements of the Victorian era. Each aims to fill the gap in critical literature while reflecting the book's recurring concern with contexts and strategems of presentation. They strive for fresh perspectives, whether it be a fuller grounding for Browning's poetry, a reconciliation of the contrary views Emerson and Nietzsche held on Carlyle's narrative techniques, a clear awareness of the role of comedy in Arnold's prose, a new chapter on English literary realism or a look at Trollope as a crucial addition to his era's exhaustive studies of changing and highly symbolic parent-child relationships. John Clubbe is co-author of "English Romanticism: The Grounds of Belief" and Jerome Meckier is author of "Aldous Huxley: Satire and Structure".

Beethoven imbibed Enlightenment and revolutionary ideas in Bonn where they were fervently discussed in cafés and at the university. At the age of twenty-one, he moved to Vienna to study with Haydn, gaining renown as a master pianist and innovative composer. In the capital of the Hapsburg Empire, authorities were watchful to curtail and punish displays of radical political views. Nevertheless, Beethoven avidly followed the rise of Napoleon and his republican reforms. As Napoleon had liberated Europe from aristocratic oppression, Beethoven desired to liberate music and mankind itself.Through Beethoven’s letters, portraits and other personal papers, and by setting him alongside the major artists of the time, John Clubbe illuminates Beethoven’s role as a lifelong revolutionary.

Since the early nineteenth century, Byron, the man and his image, have captured the hearts and minds of untold legions of people of all political and social stripes in Britain, Europe, America, and around the world. This book focuses on the history and cultural significance for Federal America of the only portrait of Byron known to have been painted by a major artist. In private hands from 1826 until this day, Thomas Sully's Byron has never before been the subject of scholarly study. Beginning with his discovery of the portrait in 1999 and a 200-year narrative of the portrait's provenance and its relation to other well-known Byron portraits, the author discusses the work within the broad context of British and American portraiture of the late eighteenth and early nineteenth centuries. Receiving most attention are Thomas Lawrence and Sully, his American counterpart. The author gives the fullest account to date of Sully's career and his relation to English influences and to figures prominent in the early-nineteenth-century American imagination, among them, Washington, Fanny Kemble, Lafayette, Joseph Bonaparte, and Nicholas Biddle. Byron is discussed as an icon of the young American Republic whose Jubilee year coincided with Sully's initial work on the poet's portrait. Later chapters offer a close reading of the portrait, arguing that Sully has given a visual interpretation truly worthy of his celebrated, controversial, and famously handsome subject.

First published in 2005. Since the early nineteenth century, Byron, the man and his image, have captured the hearts and minds of untold legions of people of all political and social stripes in Britain, Europe, America, and around the world. This book focuses on the history and cultural significance for Federal America of the only portrait of Byron known to have been painted by a major artist. In private hands from 1826 until this day, Thomas Sulley’s Byron has never before been the subject of scholarly study. Beginning with the discovery of the portrait in 1999 and a 200-year narrative of the portrait’s provenance and its relation to other well-known Byron portraits, the author discusses the work within the broad context of British and American portraiture of the late eighteenth and early nineteenth centuries.

First published in 2005. Since the early nineteenth century, Byron, the man and his image, have captured the hearts and minds of untold legions of people of all political and social stripes in Britain, Europe, America, and around the world. This book focuses on the history and cultural significance for Federal America of the only portrait of Byron known to have been painted by a major artist. In private hands from 1826 until this day, Thomas Sulley’s Byron has never before been the subject of scholarly study. Beginning with the discovery of the portrait in 1999 and a 200-year narrative of the portrait’s provenance and its relation to other well-known Byron portraits, the author discusses the work within the broad context of British and American portraiture of the late eighteenth and early nineteenth centuries.