In this in-depth analysis, Peter Muir argues that Gordon Matta-Clark’s Conical Intersect (1975) is emblematic of Henri Lefebvre’s understanding of art’s function in relation to urban space. By engaging with Lefebvre’s theory in conjunction with the perspectives of other writers, such as Michel de Certeau, Jacques Derrida, and George Bataille, the book elicits a story that presents the artwork’s significance, origins and legacies. Muir argues that Conical Intersect is much more than an ‘artistic hole.’ Due to its location at Plateau Beaubourg in Paris, it is simultaneously an object of art and an instrument of social critique.
In November 1918, the implementation of agrarian change in the Scottish Highlands threatened another wave of unemployment and eviction for the land-working population, which led to widespread and varied social protest. Those who had been away on war service (and their families) faced returning to exactly the same social and economic conditions in the Scottish Highlands they had hoped they had left behind in the struggle to make ‘a land fit for heroes’. Widespread and varied social protest rapidly followed. It argues that, previously, there has been a failure to capture fully the geography, chronology typology and rate of occurrence of these events. The book not only offers new insights and a greater understanding of what was happening in the Highlands in this period, but illustrates how a range of forms of protest were used which demand attention, not least for the fact that these events, unlike most of the earlier Land Wars period, were successful. There are functioning townships in the Highlands today that owe their existence to the land invasions of the 1920s. The book innovatively concentrates on formulating explanation and interpretation from within and looks to the crofting landscape as base, means and motive to disturbance and interpretation. It proposes that protest is much more convincingly understood as an expression of environmental ethics from 'the bottom up' coming increasingly into conflict with conservationist views expressed from 'the top down' It focuses on individual case studies in order to engage more convincingly with an important evidential base - that of popular memory of land disturbances - and to adopt a frame and lens through which to explore the fluid and contingent nature of protest performances. Based upon the belief that in the study of landscapes of social protest the old shibboleth of space as solely passive setting and symbolic register is no longer tenable is paid here to nature/culture interactions, to vernacular ecological beliefs and to the dynamic and formative role of landscape in people’s lifespaces. It suggests reading and engaging with event as text in anticipation of revealing their fluid and contingent nature rather than, as has previously been done, imposing single master narratives. Critically, this book draws on oral testimony. The view taken here is that historical events are dynamic. While written, primary source material is nearly always static - recording only particular 'moments' of an incident - oral testimony captures different 'moments' of the same event and, if interwoven with the written archival material as here proposed, can only enrich our understanding.
The first English-language monograph on Il Fronte Nuovo delle Arti, this study explores the rise and fall of this postwar Italian artists' group as a representative instance of the tensions facing Italian painting during the transition out of two decades of Fascism and into the global divisions of the Cold War. Adrian Duran argues that the binary structures of the era - realism vs. abstraction, Communism vs. democracy, conformism vs. freedom - have monopolized the discourse surrounding the Fronte Nuovo and, with it, the historiography of Italian painting during this period, 1944-50.
This work shows the importance of analysing the "low" politics of areas that have traditionally been dominated by "high" politics. The role of bodies such as the Liberal Summer School and the Women's Liberal Federation are examined, along with the work of thinkers such as JM Keynes.
In his study of Romantic naturalists and early environmentalists, Hall claims the creation of the National Trust in the United Kingdom and the National Parks in the United States were both shaped by literature. Central to Hall's project are links among Gilbert White, William Wordsworth, Ralph Waldo Emerson, Octavia Hill and John Muir in the context of the vexed relationship between the ecosystem and the machine during the nineteenth century.
Exploring Shakespeare's intellectual interest in placing both characters and audiences in a state of uncertainty, mystery, and doubt, this book interrogates the use of paradox in Shakespeare's plays and in performance. By adopting this discourse-one in which opposites can co-exist and perspectives can be altered, and one that asks accepted opinions, beliefs, and truths to be reconsidered-Shakespeare used paradox to question love, gender, knowledge, and truth from multiple perspectives. Committed to situating literature within the larger culture, Peter Platt begins by examining the Renaissance culture of paradox in both the classical and Christian traditions. He then looks at selected plays in terms of paradox, including the geographical site of Venice in Othello and The Merchant of Venice, and equity law in The Comedy of Errors, Merchant, and Measure for Measure. Platt also considers the paradoxes of theater and live performance that were central to Shakespearean drama, such as the duality of the player, the boy-actor and gender, and the play/audience relationship in the Henriad, Hamlet, As You Like It, Twelfth Night, Antony and Cleopatra, The Winter's Tale, and The Tempest. In showing that Shakespeare's plays create and are created by a culture of paradox, Platt offers an exciting and innovative investigation of Shakespeare's cognitive and affective power over his audience.
Through the example of Central Pacific Railroad executives, Manufacturing the Modern Patron in Victorian California redirects attention from the usual art historical protagonists - artistic producers - and rewrites narratives of American art from the unfamiliar vantage of patrons and collectors. This book addresses not only readers in the art history and visual and material cultures of the United States, but also scholars of patronage studies, American Studies, and the sociology of culture. It tells a story still relevant to this new Gilded Age of the early twenty-first century, in which wealthy collectors dramatically shape contemporary art markets and institutions.
Applying current political theory on nationhood as well as methods established by recent performance studies, this study sheds new light on the role the public theatre played in the rise of English national identity around 1600. It situates selected history plays by Shakespeare and Marlowe in the context of non-fictional texts (such as historiographies, chorographies, political treatises, or dictionary entries) and cultural artefacts (such as maps or portraits), and thus highlights the circulation, and mutation, of national thought in late sixteenth-century culture. At the same time, it goes beyond a New Historicist approach by foregrounding the performative surplus of the theatre event that is so essential for the shaping of collective identity. How, this study crucially asks, does the performative art of theatre contribute to the dynamics of the formation of national identity? Although theories about the nature of nationalism vary, a majority of theorists agree that notions of a shared territory and history, as well as questions of religion, class and gender play crucial roles in the shaping of national identity. These factors inform the structure of this book, and each is examined individually. In contrast to existing publications, this inquiry does not take for granted a pre-existing national identity that simply manifested itself in the literary works of the period; nor does it proceed from preconceived notions of the playwrights’ political views. Instead, it understands the early modern stage as an essentially contested space in which conflicting political positions are played off against each other, and it inquires into how the imaginative work of negotiating these stances eventually contributed to a rising national self-awareness in the spectators.
It is a commonly held belief that medieval Catholics were focussed on the 'bells and whistles' of religious practices, the smoke, images, sights and sounds that dazzled pre-modern churchgoers. Protestantism, in contrast, has been cast as Catholicism's austere, intellective and less sensual rival sibling. With iis white-washed walls, lack of incense (and often music) Protestantism worship emphasised preaching and scripture, making the new religion a drab and disengaged sensual experience. In order to challenge such entrenched assumptions, this book examines Tudor views on the senses to create a new lens through which to explore the English Reformation. Divided into two sections, the book begins with an examination of pre-Reformation beliefs and practices, establishing intellectual views on the senses in fifteenth-century England, and situating them within their contemporary philosophical and cultural tensions. Having established the parameters for the role of sense before the Reformation, the second half of the book mirrors these concerns in the post-1520 world, looking at how, and to what degree, the relationship between religious practices and sensation changed as a result of the Reformation. By taking this long-term, binary approach, the study is able to tackle fundamental questions regarding the role of the senses in late-medieval and early modern English Christianity. By looking at what English men and women thought about sight, hearing, smell, taste and touch, the stereotype that Protestantism was not sensual, and that Catholicism was overly sensualised is wholly undermined. Through this examination of how worship was transformed in its textual and liturgical forms, the book illustrates how English religion sought to reflect changing ideas surrounding the senses and their place in religious life. Worship had to be 'sensible', and following how reformers and their opponents built liturgy around experience of the sacred through the physical allows us to tease out the tensions and pressures which shaped religious reform.
In her analysis of the South African novelist J. M. Coetzee's literary and intellectual career, Jane Poyner illuminates the author's abiding preoccupation with what Poyner calls the "paradox of postcolonial authorship". Writers of conscience or conscience-stricken writers of the kind Coetzee portrays, whilst striving symbolically to bring the stories of the marginal and the oppressed to light, always risk reimposing the very authority they seek to challenge. From Dusklands to Diary of a Bad Year, Poyner traces how Coetzee rehearses and revises his understanding of the ethics of intellectualism in parallel with the emergence of the "new South Africa". She contends that Coetzee's modernist aesthetics facilitate a more exacting critique of the problems that encumber postcolonial authorship, including the authority it necessarily engenders. Poyner is attentive to the ways Coetzee's writing addresses the writer's proper role with respect to the changing ethical demands of contemporary political life. Theoretically sophisticated and accessible, her book is a major contribution to our understanding of the Nobel Laureate and to postcolonial studies.
Religion is at the very core of Scotland's turbulent, action-packed history and its unique cultural heritage. Indeed, you could argue that Scotland has been, for most of the past 1600 years, an intensely religious country. It is home to some of the most significant early Christian art anywhere in the entire world, and has an amazing 53 cathedrals. In a fast-paced and enthralling epic celebration of Scotland's spiritual heritage, this amazing voyage of discovery reveals that there are echoes of the upsides and downsides of religion everywhere. The distinctive spiritual beauty of Scotland is inspiring and to be found in the most unexpected places. The author also casts a canny eye over some ever-controversial issues such as witchcraft, sectarianism, the Clearances and the DIsruption. Other topics include the Isles, literature, the differences between Edinburgh and Glasgow, Calvanism, Margaret Thatcher, the Declaration of Arbroath, The National Covenant, church buildings, special spiritual sites, spiritual leaders, kings and queens, little-known influential women, religious revivals, Celtic Christianity - and many other elements of the diverse essence of spiritual Scotland. Scotland's Christianity always mixed with politics and was a key part of our national identity....until now, that is. Now Scotland is an apparently secular country, often oblivious to its Christian foundations. Can Christianity be revived in Scotland - or is it dead and buried for ever? Harry Reid has some controversial and perhaps surprising answers.
Author Charles Ford continues to examine the philosophy of choice in the spirit of poetry by existentialism. Many themes are included, such as alienation, God, death, love, and so on. Here the list of themes is not exhausted. The roots of these choices are grounded in the will of the individual rather than his/her reason. He/she confronts problems that are seen in the world, so by his/her actions disclose human nature and reflect his/her latent dispositions. This is where inner choices must arise, so external choices may be seen as actions per se. When these state-of-affairs are closely examined, they disclosed aspects of the human condition. Experiences that revealed that we are human beings touching various realms of reality. For our inner/external choices say something about our makeup, we are wonderfully composed, and dynamically active from moment-to-moment of our existence. In Hidden Fields Book 3, Charles has written lots of poems in a personal way. He invites the readers to come along, and experience reality both mentally and through their senses. Every reader will soon discover something about him/ her with respect to choices that were made that he/she is fleshly human and is real. Charles wants to share and invite the reader into his home now.
Visions of Nature revives the work of late nineteenth-century landscape photographers who shaped the environmental attitudes of settlers in the colonies of the Tasman World and in California. Despite having little association with one another, these photographers developed remarkably similar visions of nature. They rode a wave of interest in wilderness imagery and made pictures that were hung in settler drawing rooms, perused in albums, projected in theaters, and re-created on vacations. In both the American West and the Tasman World, landscape photography fed into settler belonging and produced new ways of thinking about territory and history. During this key period of settler revolution, a generation of photographers came to associate “nature” with remoteness, antiquity, and emptiness, a perspective that disguised the realities of Indigenous presence and reinforced colonial fantasies of environmental abundance. This book lifts the work of these photographers out of their provincial contexts and repositions it within a new comparative frame.
Based on an in-depth ethnographic study working with some of the world’s most influential Independent Public Artists, this book takes a completely new approach. Placing these illicit aesthetic practices within a broader historical, political, and aesthetic context, it argues that they are in fact both intrinsically ornamental (working within a classic architectonic framework), as well as innately ordered (within a highly ritualized, performative structure). Rather than disharmonic, destructive forms, rather than ones solely working within the dynamics of the market, these insurgent images are seen to reface rather than deface the city, operating within a modality of contemporary civic ritual.
Ghosts abound in Manhattan, and with the aid of Dr. Philip Ernest Schoenberg's extensive guide, you can still hobnob with cultural icons such as Dorothy Parker and Sherwood Anderson or glimpse Harry Houdini's ghost, who is said to haunt the legendary McSorley's. Even the spirits of America's most illustrious leaders, such as George Washington and Teddy Roosevelt, are said to roam Manhattan. This compendium of haunted locales, based on Dr. Schoenberg's own Ghosts of New York Walking Tours, spans the island, from Alexander Hamilton's grave at Trinity Church to the White Horse Tavern, Dylan Thomas's favorite watering hole. Rediscover a city filled with the howls of long-dead slaves in the African Burial Ground and disembodied voices ringing through the Belasco Theatre. Brimming with ghost-hunting tips and spooky lore, this guide is guaranteed to raise hairs.
This edited book brings together empirical studies of young people in paid employment from a variety of disciplinary perspectives and in different national settings. In the context of increasing youth labour market participation rates and debates about the value of early employment, it draws on multi-level analyses to reflect the complexity of the field. Each of the three sections of the book explores a key aspect of young people's employment: their experience of work, intersections between work and education, and the impact of other actors and institutions. The book contributes to broadening and strengthening knowledge about the opportunities and constraints that young people face during their formative experiences in the labour market. This book will be required reading for all those working in the fields of sociology, employment relations and education
Interdisciplinary in scope, this book constitutes the first overview of the development of early modern papal funeral apparati, the temporary decorations used during the funeral masses in St Peter’s. Drawing from a range of unpublished sources, the author shows how the papal apparati functioned within the funerary liturgy and how the apparati compared to those of cardinals and princes on the stages of early modern Rome, Theatre of the World.
Pathology of the Human Placenta has become the gold standard in the field for pathologists and obstetrician-gynecologists. Completely up-to-date, this fifth edition continues to be the essential reference for professionals in the field and includes many revised features such as a more detailed index; 700 total illustrations (350 color illustrations); and updated tables.
Based on travel writings, religious history and popular literature, Jews in the Early Modern English Imagination explores the encounter between English travellers and the Jews. While literary and religious traditions created an image of Jews as untrustworthy, even sinister, travellers came to know them in their many and diverse communities with rich traditions and intriguing life-styles. The Jew of the imagination encountered the Jew of town and village, in southern Europe, North Africa and the Levant. Coming from an England riven by religious disputes and often by political unrest, travellers brought their own questions about identity, national character, religious belief and the quality of human relations to their encounter with 'the scattered nation'.
Recent dissatisfaction with individualism and the problems of religious pluralism make this an opportune time to reassess the way in which we define ourselves and conduct our relationships with others. The philosophical writings of John Macmurray are a useful resource for performing this examination, and recent interest in Macmurray's work has been growing steadily. A full-scale critical examination of Macmurray's religious philosophy has not been published and this work fills this gap, sharing his insistence that we define ourselves through action and through person-to-person relationships, while critiquing his account of the ensuing political and religious issues. The key themes in this work are the concept of the person and the ethics of personal relations.
Eric Coates (1886-1957) is perhaps the most familiar name associated with British light music. Sir Charles Groves said that 'his music crackled with enthusiasm and vitality. He could write tunes and clothe them in the most attractive musical colours'. Coates won a scholarship to the Royal Academy of Music, and from 1912 to 1919 he was principal viola of the Queen's Hall Orchestra under Sir Henry Wood. He also played under such conductors as Elgar, Delius, Richard Strauss, Debussy, and Beecham. It was, however, as a composer of orchestral music that he found his greatest success. Beginning with the Miniature Suite, written for the 1911 Promenade Concerts, he forged an enviable reputation as a composer. By the 1920s and 1930s, he was one of the most popular and highest-paid British composers, with a string of popular works flowing from his pen. Coates' music has become indelibly entwined with such popular radio programmes as the BBC's In Town Tonight, which was introduced by the 'Knightsbridge' March and Desert Island Discs whose signature tune for the past forty years has been By the Sleepy Lagoon. Perhaps his most memorable work was his march for the Dam Busters film. Michael Payne traces the changing fortunes of the career of the man who composed some of Britain's best-known music. In many ways, Coates' story is the story of British light music, and Payne's study offers a fascinating insight into the heyday and decline of the British light music tradition.
Voting hides a familiar puzzle. Many people take the trouble to vote even though each voter's prospect of deciding the election is nearly nil. Russians vote even when pervasive electoral fraud virtually eliminates even that slim chance. The right to vote has commonly been won by protesters who risked death or injury even though any one protester could have stayed home without lessening the protest’s chance of success. Could people vote or protest because they stop considering their own chances and start to think about an identity shared with others? If what they hear or read affects political identity, a shift in political discourse might not just evoke protests and voting but also make the minority that has imposed the dictator’s will suddenly lose heart. During the Soviet Union’s final years the cues that set communist discourse apart from standard Russian sharply dwindled. A similar convergence of political discourse with local language has preceded expansion of the right to vote in many states around the globe. Richard D. Anderson, Jr., presents a groundbreaking theory of what language use does to politics.
The first of its kind to situate the early modern debate on sovereignty within a 'popular culture' dramatic context, this project examines the changing ideological conceptions of sovereignty and their on-stage representations in public theaters from 1580 to 1642. The study examines the way in which the early modern stage presented a critical dialogue concerning the nature of sovereignty through the lens of specifically English history, focusing in particular on the representation of monarchy.
Following years of theology of deafness based on the premise that Deaf people are simply people who cannot hear, this book breaks new ground. Presenting a new approach to Deaf people, theology and the Church, this book enables Deaf people who see themselves as members of a minority group to formulate their own theology rooted in their own history and culture. Deconstructing the theology and practice of the Church, Hannah Lewis shows how the Church unconsciously oppresses Deaf people through its view of them as people who cannot hear. Lewis reclaims Deaf perspectives on Church history, examines how an essentially visual Deaf culture can relate to the written text of the Bible and asks 'Can Jesus sign?' This book pulls together all these strands to consider how worship can be truly liberating, truly a place for Deaf people to celebrate who they are before God.
In this book, the first full-length study of its kind in English, Marsha Morton argues that no artist represented the shift from tradition to innovation in the Wilhelmine Empire (1870s - 1880s) more compellingly than Max Klinger. Morton makes an interdisciplinary examination of Klinger’s early prints and drawings within the context of Wilhelmine transformations, coming to the conclusion that the artist’s work revealed the psychological and biological underpinnings of modern rational man whose drives and passions undermined bourgeois constructions of society.
A certain amount of worry and stress can be energising. They may act as a natural warning system when something is wrong, and can help people meet deadlines and complete tasks. High levels of both are however counter-productive, and all too common. Generalised Anxiety Disorder (GAD) is believed to affect some two million people in the UK, while the World Health Organisation estimates that half of all cases go undiagnosed. These figures put anxiety only second to depression as a mental health problem. Topics covered in this book include: * What is 'normal' worry and when is it useful - e.g., sitting an exam, completing a work assignment * signs and symptoms of excessive worry and stress * tackling worry and stress - analysing the problem, accepting uncertainty * developing problem-solving skills, including prioritising and time management * the value of exercise (helps release serotonin) * diet, e.g. eliminating sugar, caffeine and alcohol * relaxation and breathing * when worry gets out of hand - what to do if you need help * treatment - cognitive behavioural therapy, medication * support groups.
In her study of English theatre during the Peninsular War, Susan Valladares contextualizes the theatrical treatment of the war within the larger political and ideological axes of Romantic performance. From its nuanced reading of Richard Brinsley Sheridan's Pizarro (1799), to its accounts of wartime productions of Shakespeare, description of performances at the minor theatres, and detailed case study of dramatic culture in Bristol, Valladares’s book reveals how theatrical entertainments reflected and shaped public feeling on the Peninsular campaign.
This is a publication of the online Journal of Metaphysics and Connected Consciousness. This is the Journal's second annual publication: Volume II - Consciousness
Questioning whether the impulse to adapt Shakespeare has changed over time, Lynne Bradley argues for restoring a sense of historicity to the study of adaptation. Bradley compares Nahum Tate's History of King Lear (1681), adaptations by David Garrick in the mid-eighteenth century, and nineteenth-century Shakespeare burlesques to twentieth-century theatrical rewritings of King Lear, and suggests latter-day adaptations should be viewed as a unique genre that allows playwrights to express modern subject positions with regard to their literary heritage while also participating in broader debates about art and society. In identifying and relocating different adaptive gestures within this historical framework, Bradley explores the link between the critical and the creative in the history of Shakespearean adaptation. Focusing on works such as Gordon Bottomley's King Lear's Wife (1913), Edward Bond's Lear (1971), Howard Barker's Seven Lears (1989), and the Women's Theatre Group's Lear's Daughters (1987), Bradley theorizes that modern rewritings of Shakespeare constitute a new type of textual interaction based on a simultaneous double-gesture of collaboration and rejection. She suggests that this new interaction provides constituent groups, such as the feminist collective who wrote Lear's Daughters, a strategy to acknowledge their debt to Shakespeare while writing against the traditional and negative representations of femininity they see reflected in his plays.
In recent years, social and legal historians have called into question the degree to which the labour that fuelled and sustained industrialization in England was actually ‘free’. The corpus of statutes known as master and servant law has been a focal point of interest: throughout the eighteenth and nineteenth centuries, at the behest of employers, mine owners, and manufacturers, Parliament regularly supplemented and updated the provisions of these statutes with new legislation which contained increasingly harsh sanctions for workers who left work, performed it poorly, or committed acts of misbehaviour. The statutes were characterized by a double standard of sanctions, which treated workers’ breach of contract as a criminal offence, but offered only civil remedies for the broken promises of employers. Surprisingly little scholarship has looked into resistance to the Master and Servant laws. This book examines the tactics, rhetoric and consequences of a sustained legal and political campaign by English and Welsh trade unions, Chartists, and a few radical solicitors against the penal sanctions of employment law during the mid-nineteenth century. By bringing together historical narratives that are all too frequently examined in isolation, Christopher Frank is able to draw new conclusions about the development of the English legal system, trade unionism and popular politics of the period. The author demonstrates how the use of imprisonment for breach of a labour contract under master and servant law, and its enforcement by local magistrates, played a significant role in shaping labour markets, disciplining workers and combating industrial action in many regions of England and Wales, and further into the British Empire. By combining social and legal history the book reveals the complex relationship between parliamentary legislation, its interpretation by the high courts, and its enforcement by local officials. This work marks an important contribution to legal history, Chartist scholarship and to the social history of the nineteenth century more broadly.
In the late eighteenth-century English novel, the question of feminism has usually been explored with respect to how women writers treat their heroines and how they engage with contemporary political debates, particularly those relating to the French Revolution. Megan Woodworth argues that women writers' ideas about their own liberty are also present in their treatment of male characters. In positing a 'Gentleman's Liberation Movement,' she suggests that Frances Burney, Charlotte Smith, Jane West, Maria Edgeworth, and Jane Austen all used their creative powers to liberate men from the very institutions and ideas about power, society, and gender that promote the subjection of women. Their writing juxtaposes the role of women in the private spheres with men's engagement in political structures and successive wars for independence (the American Revolution, the French Revolution, and the Napoleonic Wars). The failures associated with fighting these wars and the ideological debates surrounding them made plain, at least to these women writers, that in denying the universality of these natural freedoms, their liberating effects would be severely compromised. Thus, to win the same rights for which men fought, women writers sought to remake men as individuals freed from the tyranny of their patriarchal inheritance.
This study argues against vague interpretations of fantasy as mere escapism and seeks to define it as a distinct kind of narrative. A general theoretical section introduces recent work on fantasy, notably Tzventan Todorov's The Fantastic: A Structural Approach to a Literary Genre (1973). Dr Jackson, however, extends Todorov's ideas to include aspects of psychoanalytical theory. Seeing fantasy as primarily an expression of unconscious drives, she stresses the importance of the writings of Freud and subsequent theorists when analysing recurrent themes, such as doubling or multiplying selves, mirror images, metamorphosis and bodily disintegration.^l Gothic fiction, classic Victorian fantasies, the 'fantastic realism' of Dickens and Dostoevsky, tales by Mary Shelley, James Hogg, E.T.A. Hoffmann, George Eliot, Henry James, Joseph Conrad, R.L. Stevenson, Franz Kafka, Mervyn Peake and Thomas Pynchon are among the texts covered. Through a reading of these frequently disquieting works, Dr Jackson moves towards a definition of fantasy expressing cultural unease. These issues are discussed in relation to a wide range of fantasies with varying images of desire and disenchantment.
The subject of Romanticism, Memory, and Mourning could not be timelier with Žižek’s recent proclamation that we are ‘living in the end times’ and in an era which is preoccupied with the process and consequences of ageing. We mourn both for our pasts and futures as we now recognise that history is a continuation and record of loss. Mark Sandy explores the treatment of grief, loss, and death across a variety of Romantic poetic forms, including the ballad, sonnet, epic, elegy, fragment, romance, and ode in the works of poets as diverse as Smith, Hemans, Blake, Wordsworth, Coleridge, Byron, Shelley, Keats, and Clare. Romantic meditations on grief, however varied in form and content, are self-consciously aware of the complexity and strength of feelings surrounding the consolation or disconsolation that their structures of poetic memory afford those who survive the imaginary and actual dead. Romantic mourning, Sandy shows, finds expression in disparate poetic forms, and how it manifests itself both as the spirit of its age, rooted in precise historical conditions, and as a proleptic power, of lasting transhistorical significance. Romantic meditations on grief and loss speak to our contemporary anxieties about the inevitable, but unthinkable, event of death itself.
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