Warren Roberts – författare

In this book, Warren Roberts argues that Jane Austen was very much aware of the French Revolution and its Reign of Terror, of the Revolution's impact on British society, and of England's long and bitter military struggle with France. She not only knew about, but was profoundly affected by, the events of her day, in both her thinking and writing. Raised in the collective security of the 18th century, she tried to remain aloof from the new forces that disrupted the contours of her world, but when revising "Sense and Sensibility" and "Pride and Prejudice", and even more when writing "Mansfield Park", she became involved in the most pressing of contemporary issues. In addressing herself to those issues, she revealed her own stand on such areas of British life as politics, war, religion and feminism, all of which were deeply influenced by the French Revolution. Her novels show her attitude to many key issues, and they provide a record of the Revolutionary experience. The author previous publications include: "Morality and Social Class in Eighteenth-Century French Literature and Painting" (1974) and "Jacques-Louis David, Revolutionary Artist" (1989).

This volume contains 848 letters from the period June 1921 to March 1924. Lawrence decides to leave the old world - 'my heart - and my soul are broken in Europe' - to live in Taos, New Mexico. This period is characterised by the travelling he and Frieda do, from Australia to New York, via Mexico, back to England and finally to New York again. Lawrence's writings of the period reflect his restlessness. The action of Aaron's Rod shifts from a coal-mining town in England to Florence and Kangaroo conveys Lawrence's perceptions of Australia. By 1924, Lawrence is returning to Taos to write his Mexican novel, 'Quetzacoatl', published as The Plumed Serpent. His difficulties with agents and publishers continue to appear in the letters. New correspondences are started with Australians, including Mollie Skinner, the co-author of The Boy in the Bush, and Americans, such as Mabel Luhan, Idella Purnell and Witter Bynner.

Warren Roberts' Bibliography has long been established as the pre-eminent research tool for students and scholars of Lawrence, and an indispensable reference guide for book collectors and booksellers worldwide. This third edition, initially prepared by Warren Roberts before his death in 1998, was extensively revised and expanded by Paul Poplawski for publication in 2001. It is organised into five main sections, providing full details of Lawrence's publishing career and critical reception; his first editions; first editions of books containing previously unpublished contributions by him; his first periodical publications; translations of his works around the world; and his known manuscripts with their current locations. An important sixth section provides an extensive bibliography of over 600 secondary books and pamphlets. Overall, the volume offers comprehensive coverage of bibliographical information for one of the greatest writers of the twentieth century.

Warren Roberts' Bibliography has long been established as the pre-eminent research tool for students and scholars of Lawrence, and an indispensable reference guide for book collectors and booksellers worldwide. This third edition, initially prepared by Warren Roberts before his death in 1998, was extensively revised and expanded by Paul Poplawski for publication in 2001. It is organised into five main sections, providing full details of Lawrence's publishing career and critical reception; his first editions; first editions of books containing previously unpublished contributions by him; his first periodical publications; translations of his works around the world; and his known manuscripts with their current locations. An important sixth section provides an extensive bibliography of over 600 secondary books and pamphlets. Overall, the volume offers comprehensive coverage of bibliographical information for one of the greatest writers of the twentieth century.

The lifetime of Jacques-Louis David (1748-1825) coincides with the most tumultuous period in the history of France and much of the Western world. And David's life was closely bound up with the changes that were taking place in French politics, society, and culture. Although most other scholars have focused either on David's artistic activity or on his political career, Warren Roberts examines the connections between these two aspects of his life. Using a historical approach, Roberts provides an interpretation of David's art that illuminates David the man. Roberts presents David's art as a personal record that is an extension of his inner life and a product of historical conditions. David's art, like his character and his actions, cannot be fully understood without understanding the changes that led to and then flowed from the French Revolution. Roberts here considers these changes and their impact on David from the perspectives of the historian and the art historian, and he comes to conclusions that are important for both.

The moralistic tendencies that culminated in the Republic of Virtue can be traced in literature back to the late seventeenth century. In the 1690s two separate and antithetical moralities began to take shape, one erotic and libertine, the other highly moralistic. Both represented a revolt against the formalism of the seventeenth century. The roman érotique was rooted in a hedonistic philosophy whose objective was to enlarge the scope of freedom, translated in sexual terms, while the moralistic literature, also influenced by philosophical hedonism, was sentimental, romantic, and defended the Christian idea of love and marriage. Roberts discards some of the common presuppositions of historical and literary criticism, for example, that the literature of sensibility was the reaction of the bourgeoisie against the degenerate aristocracy, and that the libertine literature was created by and accurately portrayed the aristocracy. Such explanations have never been supported by valid evidence. Roberts shows that the bourgeoisie, even when most critical of the aristocracy, was emulating the aristocratic way of life, and that the aristocracy, even at its most degenerate, was susceptible to the moral influences revealed in contemporary art. 'Once the dikes of traditional morality broke,' Roberts explains, 'two responses took place. First, authors reacted against the severity of the seventeenth century, which led to a literature of libertinism and eventually of pornography. Secondly, an attempt was made to retain the loftiness of seventeenth-century morality, but to place that morality on new foundations, the result being sentimentalism, and later, classicism.' And out of this dialectical process came a third, dualistic current of literature and art combining hedonism, and sometimes perversity and pornography, with a condemnation of the social order, a call for moral regeneration, and a utopian vision of the future. This is a highly original study of social morality in pre-Revolutionary French and of its reflection in literature and art.

A comparative study of the French Revolution's most famous artist and a little-known illustrator.By offering a comparative study of Jacques-Louis David, the most famous artist of the French Revolution, and Jean-Louis Prieur, a little-known illustrator, this book tracks the political careers of the two artists and offers new insights to the relationship between the arts and the politics of the French Revolution.

A comparative study of the French Revolution's most famous artist and a little-known illustrator.By offering a comparative study of Jacques-Louis David, the most famous artist of the French Revolution, and Jean-Louis Prieur, a little-known illustrator, this book tracks the political careers of the two artists and offers new insights to the relationship between the arts and the politics of the French Revolution.