Sally Bushell – författare

This Element reconsiders what the focus of digital literary mapping should be for English Literature, what digital tools should be employed, and to what interpretative ends. How can we harness the digital to find new ways of understanding spatial meaning in the Humanities? The Element elucidates the relationship between literature, geography, and cartography and the emergence of literary mapping, providing a critique of current digital methods and making the case for new approaches. It explores the potential of Mikhail Bakhtin's 'chronotope' as a way of structuring digital literary maps that provides a solution to the complexities of mapping time and space. It exemplifies the method by applying it first as one of two approaches to mapping the realist novel by way of Dickens, and then to the multiple states of J. M. Barrie's Peter Pan. This title is also available as Open Access on Cambridge Core.

This Element reconsiders what the focus of digital literary mapping should be for English Literature, what digital tools should be employed, and to what interpretative ends. How can we harness the digital to find new ways of understanding spatial meaning in the Humanities? The Element elucidates the relationship between literature, geography, and cartography and the emergence of literary mapping, providing a critique of current digital methods and making the case for new approaches. It explores the potential of Mikhail Bakhtin's 'chronotope' as a way of structuring digital literary maps that provides a solution to the complexities of mapping time and space. It exemplifies the method by applying it first as one of two approaches to mapping the realist novel by way of Dickens, and then to the multiple states of J. M. Barrie's Peter Pan. This title is also available as Open Access on Cambridge Core.

Lyrical Ballads (1798) is a work of huge cultural and literary significance. The volume of poetry, in which Coleridge''s Rime of the Ancyent Marinere and Wordsworth''s Lines written above Tintern Abbey were first published, lies at the heart of British Romanticism, establishing a poetics of powerful feeling, that is, nonetheless, expressed in direct, conversational language and exploring the everyday realities of common life. This engaging, accessible collection provides a comprehensive overview of current approaches to Lyrical Ballads, enabling readers to find fresh ways of understanding and responding to the volume. Sally Bushell''s introduction explores how the Preface to the second edition (1800) became a potent manifesto for the Romantic movement. Broad in scope, the Companion includes accessible essays on Wordsworth''s experiments with language and metre, ecocritical approaches, the reception of the volume in America and more; furnishing students and scholars with a range of entry points to this seminal text.

Lyrical Ballads (1798) is a work of huge cultural and literary significance. The volume of poetry, in which Coleridge''s Rime of the Ancyent Marinere and Wordsworth''s Lines written above Tintern Abbey were first published, lies at the heart of British Romanticism, establishing a poetics of powerful feeling, that is, nonetheless, expressed in direct, conversational language and exploring the everyday realities of common life. This engaging, accessible collection provides a comprehensive overview of current approaches to Lyrical Ballads, enabling readers to find fresh ways of understanding and responding to the volume. Sally Bushell''s introduction explores how the Preface to the second edition (1800) became a potent manifesto for the Romantic movement. Broad in scope, the Companion includes accessible essays on Wordsworth''s experiments with language and metre, ecocritical approaches, the reception of the volume in America and more; furnishing students and scholars with a range of entry points to this seminal text.

Lyrical Ballads (1798) is a work of huge cultural and literary significance. The volume of poetry, in which Coleridge's Rime of the Ancyent Marinere and Wordsworth's Lines written above Tintern Abbey were first published, lies at the heart of British Romanticism, establishing a poetics of powerful feeling, that is, nonetheless, expressed in direct, conversational language and exploring the everyday realities of common life. This engaging, accessible collection provides a comprehensive overview of current approaches to Lyrical Ballads, enabling readers to find fresh ways of understanding and responding to the volume. Sally Bushell's introduction explores how the Preface to the second edition (1800) became a potent manifesto for the Romantic movement. Broad in scope, the Companion includes accessible essays on Wordsworth's experiments with language and metre, ecocritical approaches, the reception of the volume in America and more; furnishing students and scholars with a range of entry points to this seminal text.

Lyrical Ballads (1798) is a work of huge cultural and literary significance. The volume of poetry, in which Coleridge's Rime of the Ancyent Marinere and Wordsworth's Lines written above Tintern Abbey were first published, lies at the heart of British Romanticism, establishing a poetics of powerful feeling, that is, nonetheless, expressed in direct, conversational language and exploring the everyday realities of common life. This engaging, accessible collection provides a comprehensive overview of current approaches to Lyrical Ballads, enabling readers to find fresh ways of understanding and responding to the volume. Sally Bushell's introduction explores how the Preface to the second edition (1800) became a potent manifesto for the Romantic movement. Broad in scope, the Companion includes accessible essays on Wordsworth's experiments with language and metre, ecocritical approaches, the reception of the volume in America and more; furnishing students and scholars with a range of entry points to this seminal text.

Romantic Cartographies is the first collection to explore the reach and significance of cartographic practice in Romantic-period culture. Revealing the diverse ways in which the period sought to map and spatialise itself, the volume also considers the engagement of our own digital cultures with Romanticism's 'map-mindedness'. Original, exploratory essays engage with a wide range of cartographic projects, objects and experiences in Britain, and globally. Subjects range from Wordsworth, Clare and Walter Scott, to Romantic board games and geographical primers, to reveal the pervasiveness of the cartographic imagination in private and public spheres. Bringing together literary analysis, creative practice, geography, cartography, history, politics and contemporary technologies - just as the cartographic enterprise did in the Romantic period itself - Romantic Cartographies enriches our understanding of what it means to 'map' literature and culture.

Romantic Cartographies is the first collection to explore the reach and significance of cartographic practice in Romantic-period culture. Revealing the diverse ways in which the period sought to map and spatialise itself, the volume also considers the engagement of our own digital cultures with Romanticism's 'map-mindedness'. Original, exploratory essays engage with a wide range of cartographic projects, objects and experiences in Britain, and globally. Subjects range from Wordsworth, Clare and Walter Scott, to Romantic board games and geographical primers, to reveal the pervasiveness of the cartographic imagination in private and public spheres. Bringing together literary analysis, creative practice, geography, cartography, history, politics and contemporary technologies - just as the cartographic enterprise did in the Romantic period itself - Romantic Cartographies enriches our understanding of what it means to 'map' literature and culture.

Do we map as we read? How central to our experience of literature is the way in which we spatialise and visualise a fictional world? Reading and Mapping Fiction offers a fresh approach to the interpretation of literary space and place centred upon the emergence of a fictional map alongside the text in the late nineteenth and early twentieth centuries. Bringing together a range of new and emerging theories, including cognitive mapping and critical cartography, Bushell compellingly argues that this activity, whatever it is called - mapping, diagramming, visualising, spatialising - is a vital and intrinsic part of how we experience literature, and of what makes it so powerful. Drawing on both the theory and history of literature and cartography, this richly illustrated study opens up understanding of spatial meaning and interpretation in new ways that are relevant to both more traditional academic scholarship and to newly emerging digital practices.

Romantic Cartographies is the first collection to explore the reach and significance of cartographic practice in Romantic-period culture. Revealing the diverse ways in which the period sought to map and spatialise itself, the volume also considers the engagement of our own digital cultures with Romanticism''s ''map-mindedness''. Original, exploratory essays engage with a wide range of cartographic projects, objects and experiences in Britain, and globally. Subjects range from Wordsworth, Clare and Walter Scott, to Romantic board games and geographical primers, to reveal the pervasiveness of the cartographic imagination in private and public spheres. Bringing together literary analysis, creative practice, geography, cartography, history, politics and contemporary technologies – just as the cartographic enterprise did in the Romantic period itself – Romantic Cartographies enriches our understanding of what it means to ''map'' literature and culture.

Romantic Cartographies is the first collection to explore the reach and significance of cartographic practice in Romantic-period culture. Revealing the diverse ways in which the period sought to map and spatialise itself, the volume also considers the engagement of our own digital cultures with Romanticism''s ''map-mindedness''. Original, exploratory essays engage with a wide range of cartographic projects, objects and experiences in Britain, and globally. Subjects range from Wordsworth, Clare and Walter Scott, to Romantic board games and geographical primers, to reveal the pervasiveness of the cartographic imagination in private and public spheres. Bringing together literary analysis, creative practice, geography, cartography, history, politics and contemporary technologies – just as the cartographic enterprise did in the Romantic period itself – Romantic Cartographies enriches our understanding of what it means to ''map'' literature and culture.

Do we map as we read? How central to our experience of literature is the way in which we spatialise and visualise a fictional world? Reading and Mapping Fiction offers a fresh approach to the interpretation of literary space and place centred upon the emergence of a fictional map alongside the text in the late nineteenth and early twentieth centuries. Bringing together a range of new and emerging theories, including cognitive mapping and critical cartography, Bushell compellingly argues that this activity, whatever it is called – mapping, diagramming, visualising, spatialising – is a vital and intrinsic part of how we experience literature, and of what makes it so powerful. Drawing on both the theory and history of literature and cartography, this richly illustrated study opens up understanding of spatial meaning and interpretation in new ways that are relevant to both more traditional academic scholarship and to newly emerging digital practices.

Do we map as we read? How central to our experience of literature is the way in which we spatialise and visualise a fictional world? Reading and Mapping Fiction offers a fresh approach to the interpretation of literary space and place centred upon the emergence of a fictional map alongside the text in the late nineteenth and early twentieth centuries. Bringing together a range of new and emerging theories, including cognitive mapping and critical cartography, Bushell compellingly argues that this activity, whatever it is called – mapping, diagramming, visualising, spatialising – is a vital and intrinsic part of how we experience literature, and of what makes it so powerful. Drawing on both the theory and history of literature and cartography, this richly illustrated study opens up understanding of spatial meaning and interpretation in new ways that are relevant to both more traditional academic scholarship and to newly emerging digital practices.

Re-Reading The Excursion: Narrative, Response and the Wordsworthian Dramatic Voice is a groundbreaking study, which transforms contemporary critical understanding of The Excursion and of the place of this long poem in the Wordsworthian canon. Sally Bushell argues that the poem, which has suffered at the hands of critics for most of the twentieth century, has been unfairly judged according to a Coleridgean rather than a Wordsworthian definition of "philosophy"-that it has been read as a didactic work, rather than one which uses its dramatic form to teach its readers to think for themselves. She offers a new reading in which The Excursion is shown to be about providing the readers with moral habits and mental constructs by which to learn, not simply telling them what to think. The book begins with a discussion of the reception of the poem in 1814, considering the responses of Coleridge, Hazlitt, Francis Jeffrey and Charles Lamb. This historicized discussion is then balanced by a reading of the poem at the compositional stage, looking at the emergence from the manuscripts of a Wordsworthian dramatic voice. The author goes on to argue that the poem's philosophy is performative-that is, concerned with the way in which moral ideas can best be communicated, as much as with the ideas themselves. She then shifts her attention to consider how this operates in relation to the reader, considering the importance of context in relation to emotional response. Later, the epitaphic books are reconsidered in the light of Wordworth's critical writing; Bushell argues that the significance of the epitaph for him lies in its values as a poetic form in which the text itself is released from poetic authority. Finally, the author looks back at The Prelude from the perspective of The Excursion and shows how the later poem attempts to value the ordinary, rather than the poetic, mind. The conclusion reached is that Wordsworth is not just the "egotistical" poet of The Prelude, interested largely in the development of his own imaginative powers, but one who goes on to explore the limits of subjectivity and the importance of different kinds of imaginative links between individuals.

Re-Reading The Excursion: Narrative, Response and the Wordsworthian Dramatic Voice is a groundbreaking study, which transforms contemporary critical understanding of The Excursion and of the place of this long poem in the Wordsworthian canon. Sally Bushell argues that the poem, which has suffered at the hands of critics for most of the twentieth century, has been unfairly judged according to a Coleridgean rather than a Wordsworthian definition of "philosophy"-that it has been read as a didactic work, rather than one which uses its dramatic form to teach its readers to think for themselves. She offers a new reading in which The Excursion is shown to be about providing the readers with moral habits and mental constructs by which to learn, not simply telling them what to think. The book begins with a discussion of the reception of the poem in 1814, considering the responses of Coleridge, Hazlitt, Francis Jeffrey and Charles Lamb. This historicized discussion is then balanced by a reading of the poem at the compositional stage, looking at the emergence from the manuscripts of a Wordsworthian dramatic voice. The author goes on to argue that the poem''s philosophy is performative-that is, concerned with the way in which moral ideas can best be communicated, as much as with the ideas themselves. She then shifts her attention to consider how this operates in relation to the reader, considering the importance of context in relation to emotional response. Later, the epitaphic books are reconsidered in the light of Wordworth''s critical writing; Bushell argues that the significance of the epitaph for him lies in its values as a poetic form in which the text itself is released from poetic authority. Finally, the author looks back at The Prelude from the perspective of The Excursion and shows how the later poem attempts to value the ordinary, rather than the poetic, mind. The conclusion reached is that Wordsworth is not just the "egotistical" poet of The Prelude, interested largely in the development of his own imaginative powers, but one who goes on to explore the limits of subjectivity and the importance of different kinds of imaginative links between individuals.