Richard Gravil – författare

The Oxford Handbook of William Wordsworth deploys its forty-seven original essays to present a stimulating account of Wordsworth's life and achievement and to map new directions in criticism. In addition to twenty-two essays wholly on Wordsworth's poetry, other essays return to the poetry while exploring other dimensions of the life and work of the major Romantic poet. The result is a dialogic exploration of many major texts and problems in Wordsworth scholarship. This uniquely comprehensive handbook is structured so as to present, in turn, Wordsworth's life, career, and networks; aspects of the major lyrical and narrative poetry; components of 'The Recluse'; his poetical inheritance and his transformation of poetics; the variety of intellectual influences upon his work, from classical republican thought to modern science; his shaping of modern culture in such fields as gender, landscape, psychology, ethics, politics, religion, and ecology; and his 19th- and 20th-century reception-most importantly by poets, but also in modern criticism and scholarship.

The Oxford Handbook of William Wordsworth deploys its forty-eight original essays, by an international team of scholar-critics, to present a stimulating account of Wordsworth's life and achievement and to map new directions in criticism. Nineteen essays explore the highlights of a long career systematically, giving special prominence to the lyric Wordsworth of Lyrical Ballads and the Poems in Two Volumes and to the blank verse poet of 'The Recluse'. Most of the other essays return to the poetry while exploring other dimensions of the life and work of the major Romantic poet. The result is a dialogic exploration of many major texts and problems in Wordsworth scholarship.This uniquely comprehensive handbook is structured so as to present, in turn, Wordsworth's life, career, and networks; aspects of the major lyrical and narrative poetry; components of 'The Recluse'; his poetical inheritance and his transformation of poetics; the variety of intellectual influences upon his work, from classical republican thought to modern science; his shaping of modern culture in such fields as gender, landscape, psychology, ethics, politics, religion and ecology; and his 19th- and 20th-century reception-most importantly by poets, but also in modern criticism and scholarship.

Authors whose works are discussed in this collaborative book, covering a 'long' nineteenth century, include Sterne, Fielding, Scott, Austen, Mary Shelley, Emily Brontë, Gaskell, Dickens, George Eliot, Conrad, Woolf, and Lawrence. Most of the chapters focus on a single work, among them Tristram Shandy, Wuthering Heights, Bleak House, Middlemarch and Lord Jim, asking why, in the end, does this novel matter, and what does it invite us to 'see'. The contributors examine aspects of narrative technique which are crucial to interpretation, and which bring something new or distinctive into fiction. The introduction asks whether such experimentation may be driven by challenges to society's 'master narratives' - for instance, by a desire to circumvent the reader's ideological defences - and whether, in a radical model of canon-formation, such narrative innovation may be an aspect of canonicity.

The unifying thrust of the book is an exploration of the tension in Coleridge's theory and practice between the Imagination and the Natural, and a delineation of the particular profile of Coleridge's imagination as compared to that of Wordsworth. There are challenging reassessments of Dejection: an Ode, Christabel and Kubla Khan, among other poems; a cluster of essays on the relations between Coleridge and Wordsworth; a strikingly original examination of Coleridge's imagination at work in the privacy of his notebooks; and an intriguing study of the neglected imagination of Mrs Coleridge. The volume opens and closes with major statements by Jonathan Wordsworth on Coleridge's primary imagination and by John Beer on Kubla Khan, and includes work by such eminent scholars as Thomas MacFarland, David Erdman, Norman Fruman, Robert Barth, Anthony Harding, and Stephen Parrish.

Key Features: Study methods Introduction to the text Summaries with critical notes Themes and techniques Textual analysis of key passages Author biography Historical and literary background Modern and historical critical approaches Chronology Glossary of literary terms

Key Features: Study methods Introduction to the text Summaries with critical notes Themes and techniques Textual analysis of key passages Author biography Historical and literary background Modern and historical critical approaches Chronology Glossary of literary terms

Key Features: Study methods Introduction to the text Summaries with critical notes Themes and techniques Textual analysis of key passages Author biography Historical and literary background Modern and historical critical approaches Chronology Glossary of literary terms

Authors whose works are discussed in this collaborative book, covering a 'long' nineteenth century, include Sterne, Fielding, Scott, Austen, Mary Shelley, Emily Brontë, Gaskell, Dickens, George Eliot, Conrad, Woolf, and Lawrence. Most of the chapters focus on a single work, among them Tristram Shandy, Wuthering Heights, Bleak House, Middlemarch and Lord Jim, asking why, in the end, does this novel matter, and what does it invite us to 'see'. The contributors examine aspects of narrative technique which are crucial to interpretation, and which bring something new or distinctive into fiction. The introduction asks whether such experimentation may be driven by challenges to society's 'master narratives' - for instance, by a desire to circumvent the reader's ideological defences - and whether, in a radical model of canon-formation, such narrative innovation may be an aspect of canonicity.