Norbert Lennartz - Böcker

Taking in works from writers as diverse as William Shakespeare, William Wordsworth, Charlotte Brontë, John Keats, James Joyce and D.H. Lawrence, this book spans approximately 300 years and unpacks how bodily liquidity, porosity and petrification recur as a pattern and underlie the chequered history of the body and genders in literature.Lennartz examines the precarious relationship between porosity and its opposite – closure, containment and stoniness – and explores literary history as a meandering narrative in which ‘female’ porosity and ‘manly’ stoniness clash, showing how different societies and epochs respond to and engage with bodily porosity.This book considers the ways that this relationship is constantly renegotiated and where effusive and ‘feminine’ genres, such as ‘sloppy’ letters and streams of consciousness, are pitted against stony and astringent forms of masculinity, like epitaphs, sonnets and the Bildungsroman.

Taking in works from writers as diverse as William Shakespeare, William Wordsworth, Charlotte Brontë, John Keats, James Joyce and D.H. Lawrence, this book spans approximately 300 years and unpacks how bodily liquidity, porosity and petrification recur as a pattern and underlie the chequered history of the body and genders in literature.Lennartz examines the precarious relationship between porosity and its opposite – closure, containment and stoniness – and explores literary history as a meandering narrative in which ‘female’ porosity and ‘manly’ stoniness clash, showing how different societies and epochs respond to and engage with bodily porosity.This book considers the ways that this relationship is constantly renegotiated and where effusive and ‘feminine’ genres, such as ‘sloppy’ letters and streams of consciousness, are pitted against stony and astringent forms of masculinity, like epitaphs, sonnets and the Bildungsroman.

Explores Byron as the figurehead of Romanticism and the writer of provocatively 'marginal' texts This book approaches Byron from a completely new angle: no longer seen in terms of his status as a celebrity and a star on the book-selling market, Byron is instead seen as an outsider both in Regency society and, even more so, for his iconoclastic views of life and literature. Pilgrims in pursuit of non-existing shrines, women as man-eating giants and viragos, cannibalism, suicide, black humour and other provocatively border-crossing topics leave scholars hopelessly at a loss as to where they should categorise Byron and what they should do with his penchant for marginal themes, genres and characters. Byron caters to numerous Romantic clichés (weltschmerz, melancholy, subjectivity), while simultaneously reverting to genres, themes and motifs that cast him as a pre- or even anti-Romantic. This collection will trigger new debates in Byron scholarship and show that terms such as canonicity and marginality tend to be blurry and stand in constant need of re-negotiation.Key Features:Re-reads Byron's heterogeneous textsForegrounds Byron's marginal texts, the margins from which they were written and the thematic marginalities they deal withRe-evalutates Romanticism in the light of marginalityPinpoints the interface between Classicism, Romanticism and Modernity

Explores Byron as the figurehead of Romanticism and the writer of provocatively 'marginal' texts This book approaches Byron from a completely new angle: no longer seen in terms of his status as a celebrity and a star on the book-selling market, Byron is instead seen as an outsider both in Regency society and, even more so, for his iconoclastic views of life and literature. Pilgrims in pursuit of non-existing shrines, women as man-eating giants and viragos, cannibalism, suicide, black humour and other provocatively border-crossing topics leave scholars hopelessly at a loss as to where they should categorise Byron and what they should do with his penchant for marginal themes, genres and characters. Byron caters to numerous Romantic clichés (weltschmerz, melancholy, subjectivity), while simultaneously reverting to genres, themes and motifs that cast him as a pre- or even anti-Romantic. This collection will trigger new debates in Byron scholarship and show that terms such as canonicity and marginality tend to be blurry and stand in constant need of re-negotiation.Key Features:Re-reads Byron's heterogeneous textsForegrounds Byron's marginal texts, the margins from which they were written and the thematic marginalities they deal withRe-evalutates Romanticism in the light of marginalityPinpoints the interface between Classicism, Romanticism and Modernity

This book features a collection of essays, shedding subversively new light on Romanticism and its canon of big-six, white, male Romantics by focusing on marginalised, forgotten and lost writers and their long-neglected works.

This book features a collection of essays, shedding subversively new light on Romanticism and its canon of big-six, white, male Romantics by focusing on marginalised, forgotten and lost writers and their long-neglected works.

This book targets a cluster of darknesses in a century that, in the wake of the Romantic euphoria for the nocturnal, preferred to see itself guided by the glaring light of positivism and clear factitiousness. Yet, both canonical and non-canonical texts of the Victorian age prove that the beacons of affirmation and technological progress were persistently drowned out by stentorian voices of darkish doubt and suicidal abandon. Moored in an ontology that had lost the time-honored balance between light and dark, Victorians were on the point of losing the old idea of the chiaroscuro of life, which had informed early-modern arts. With a focus on body, mind and place, Victorian darknesses addresses the morbid interest in corpses and (female) suicides, the contradiction between spiritualism and the wish for a radically sanitised and enlightened darkness and images of London that show the metropolis sinking into the mire of darkness, pauperism and crime. Legions of self-styled Promethean torchbearers, vampire-slayers and sleuths were dedicated to bringing light, but inevitably thrust the Victorian age into more impenetrable darkness.