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1000 tulosta hakusanalla Shelley Carson
The magnificent collection of “Shelley and His Circle” manuscripts in the Carl H. Pforzheimer Library is one of our finest sources for the English Romantic movement. This edition presents the more than 450 manuscripts from 1772 to 1822, over half of them by Percy Bysshe Shelley.Volumes I and II include a first accurate printing of Shelley’s letters to Thomas Hogg during a crucial period of his life; another series of letters records a struggle between Forman and Silsbee for acquisition of Shelley’s papers that was the background for Henry James’s Aspern Papers; Thomas Love Peacock, William Godwin, Leigh Hunt, Mary Wollstonecraft, and others are represented by materials (most of them previously unpublished) that throw much new light on their lives and times.The Peacock and part of the Wollstonecraft manuscripts were edited by Eleanor L. Nicholes, and The Diary of Harriet Grove (Shelley’s boyhood sweetheart) by Frederick L. Jones. New and effective editorial, bibliographical and typographical methods were devised to deal with special problems.
The publication of Volumes III and IV of Shelley and His Circle under the editorial auspices of Kenneth Neill Cameron makes available a further portion of the Shelley manuscript materials in the Carl H. Pforzheimer Library. These two volumes continue in the format and style of Volumes I and II, which received the critical acclaim of, among others, John Ciardi, who lauded Cameron and his contributing editors for rescuing “the material from felonious footnotery primarily by enclosing it in a continuous narrative that contains detailed introductions to each of the characters of the circle, and a general background of their relationships and of the times.”Volumes III and IV progress chronologically through Shelley’s life, beginning with the early years of Shelley’s marriage to Harriet Westbrook, where Volume II ended, and concluding with her suicide. Among the manuscripts are twelve letters and literary pieces by Byron including the first of his “separation” poem “Fare Thee Well,” the expanded 1814 journal of Claire Clairmont, the curious triangular correspondence of Shelley, Mary Godwin, and Thomas Jefferson Hogg, Shelley’s annotated copy of Queen Mab, and the suicide letter Harriet Shelley wrote a few hours before she drowned in the Serpentine.A number of maps especially prepared for this edition and other supplementary illustrations enhance the impeccable scholarship of these volumes which, with the projected publication of the remaining materials, will present a half century of interconnected biographies and will suggest the literary and intellectual tenor of the Romantic era. The Pforzheimer collection, exceeded only by that at the Bodleian in the number of Shelley and Shelleyana manuscripts, reflects the personal interests of Carl H. Pforzheimer, who put together one of the notable private libraries of modern times. Before his death in 1957, he planned the form of publication for his collection, designing it not only for the academic use of scholars but also as a stimulating and readable set for the enthusiastic layman.
Volumes V and VI of Shelley and His Circle, edited by Donald H. Reiman, make available a further portion of the Shelley manuscript materials in the Carl H. Pforzheimer Library. These two volumes continue in the format and style of the preceding ones. They progress chronologically from late 1816 through 1819, tracing the growth of the poet’s friendship with Leigh Hunt and his circle (including John Keats) and the blossoming of Shelley’s poetic maturity.These volumes record the writing of The Revolt of Islam, Shelley’s epic on the lessons of the French Revolution; the poet’s journey to Italy; the deaths of his and Mary’s two children; and his literary annus mirabilis in 1819. During this year he wrote Prometheus Unbound, The Cenci, and A Philosophical View of Reform, which is here presented in a corrected text. The sequence closes in late December 1819 with a series of letters that signal the beginning of Shelley’s sense of isolation from his English friends and publisher.Among the 175 manuscripts presented in full diplomatic transcription are 82 by Shelley and numerous others by Godwin, Hunt, and Byron, as well as important hitherto unpublished early letters by Edward John Trelawny, and letters and journals of Keats, Peacock, Mary Shelley, Claire Clairmont, Thomas Jefferson Hogg, and Edward E. Williams. An Appendix of eleven early letters and poems by Byron completes this set. Altogether, Shelley and His Circle will encompass a half-century of interconnected biographies and will capture the literary and intellectual tenor of the Romantic era.
Volumes VII and VIII not only carry the chronological catalogue of relevant manuscripts into July 1820, but they also contain an important retrospective of recently acquired Shelley and Byron letters and literary manuscripts from their summer together in Switzerland in 1816 through the end of 1819. (Some eighty-five percent of the manuscripts appearing in these volumes were not known to exist when Volumes V–VI of Shelley and His Circle went to press.) Among these are Shelley’s long letter to Peacock describing his first acquaintance with Byron and their trip together around Lake Geneva (hitherto published as two separate letters); the press-copy manuscripts of Byron’s Beppo and Shelley’s “Athanase: A Fragment”; letters of Henry Brougham and Madame de Stael that comment on Byron in Switzerland; numerous letters by Byron’s Venetian mistresses; and letters charting the growth of Byron’s attachment to Teresa Guiccioli.In volume VIII, the materials of 1820 include E. J. Trelawny’s account and commonplace book of 1820–1822; letters by Keats and others mentioning him; hitherto established letters from Peacock and others relevant to Shelley’s debt to a Bath upholstery firm; Shelley’s annotations in copies of Godwin’s Political Justice and Spinoza’s Traclatus Theologico-Politicus; three newly discovered letters of Shelley to his Florentine banker, as well as other important letters by Shelley, Godwin, and Leigh Hunt; and a web of correspondence between Teresa Guiccioli and Byron while they carried on their affair from different apartments in the Palazzo Guiccioli.These primary materials, all meticulously transcribed (those in Italian and Latin also accompanied by full translations) are complemented by detailed commentaries on events, people, ideas, and problems reused by the manuscripts, as well as by the following major essays: “Shelley as Athanase” by Donald H. Reiman; “Countesses and Cobblers’ Wives: Byron’s Venetian Mistresses” by Doucet Devin Fischer; “Mixed Company: Byron’s Beppo and the Italian Medley” by Jerome J. McGann; “Countess Guiccioli’s Byron” by Doucet Devin Fischer; “Trelawny’s Lost Years” by William St. Clair; and “Shelley and the Upholsterers of Bath” by Donald H. Reiman.
This two-volume set presents and contextualizes major manuscripts in the Carl H. Pforzheimer Collection of Shelley and His Circle, now at the New York Public Library.These volumes of Shelley and His Circle include a retrospective centered on the young Shelley, featuring unpublished letters from 1809–1810, a memorandum book he kept at Eton, his libelous verse-letter about his parents, and other manuscripts predating his Italian exile. This backward glance also includes the only known exchange between Mary Wollstonecraft and Catharine Macaulay, Godwin’s first letter to Malthus, and a partial draft of Mary Shelley’s Proserpine, emended by her husband. The chronology of the Italian period begins in July 1820 with the press copy of Byron’s verse drama Marino Faliero and continues through December, a period of political ferment when the letters of Leigh Hunt, the Shelleys, Byron, and Countess Teresa Guiccoli reflect preoccupation with Queen Caroline’s “trial” for adultery in Britain and brewing revolutions in Italy. Other highlights are two important eyewitness accounts: a young British officer’s reminiscences of Shelley in 1814 and Henry Reveley’s testimony about the Shelley Circle. Four substantial essays along with detailed commentaries provide context for the 100 manuscripts.
Shelley has long been viewed as a dreamer isolated from reality, a “beautiful and ineffectual angel,” in Arnold’s words. In contrast, Stuart Sperry’s book emphasizes the life forces originating in the poet’s childhood that impelled and shaped his career, and reasserts Shelley’s relevance to the social and cultural dilemmas of contemporary life.Concentrating on the major narrative and dramatic poems and the patterns of development they reveal, Sperry reintegrates Shelley’s poetry with his life by showing how, following the traumatic events of his early years, the poet sought to preserve and extend those life impulses by creating a network of personal relationships that provided the inspiration and model for his poems. As the circumstances of his life and his relationships to others changed and as his thought evolved, he was led to reshape his major poems. Three chapters at the center of the book, devoted to Shelley’s visionary masterpiece Prometheus Unbound, provide the finest introduction so far to its conceptions and intent as well as a powerful vindication of the poet’s enduring idealism. In defining Shelley’s true originality, Sperry defends the poet against his harshest critics by suggesting that his vision of human potential may represent a vital resource against the competitive drives and self-destructive compulsions of our own day.Sperry’s approach to the poetry through the formative events of Shelley’s early life provides an excellent biographical introduction. His reinterpretation of the major works and the career will appeal to first-time readers as well as to mature students of Shelley.
Percy Bysshe Shelley (1792-1822) was perhaps the most intellectually adventurous of the great Romantic poets. A classicist, a headlong visionary, a social radical, and a poet of serene artistry with a lyric touch second to none, Shelley personified the richly various--and contradictory--energies of his time. This compact yet comprehensive collection showcases all the extraordinary facets of Shelley's art. From his most famous lyrical poems ("Ozymandias," "The Cloud") to his political and philosophical works ("The Mask of Anarchy," "Hymn to Intellectual Beauty") to excerpts from his remarkable dramatic and narrative verses ("Alastor," "Prometheus Unbound"), Shelley's words gave voice to English romanticism's deepest aspirations.
Shelley's tragedy, The Cenci, has been regarded as an avant-garde attack on orthodox Christian principles, a celebrated cause for Victorian intellectuals, a vehicle for innovative minds of the theater, a historical oddity, a neglected masterpiece. Derived from the dark legends of one of Rome's great families, the Cenci records a history of sadism, incest, and murder. Shelley's one actable play has received little attention in modern times. Professor Curran studies it first as a poem-its patterns, themes, imagery-then as a play. After showing its relationship to England's Regency theater, he analyzes the fascinating course of its stage history, and finds Shelley foreshadowing such modern emphases as psychodrama, the existential vision, the Theatre of Cruelty Originally published in 1970. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Shelley's Major Poetry
Princeton University Press
2015
pokkari
Professor Baker is concerned primarily with Shelley's development ns a philosophical and psychological poet, and it is precisely in this that the great achievement of the book lies Originally published in 1966. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Shelley's tragedy, The Cenci, has been regarded as an avant-garde attack on orthodox Christian principles, a celebrated cause for Victorian intellectuals, a vehicle for innovative minds of the theater, a historical oddity, a neglected masterpiece. Derived from the dark legends of one of Rome's great families, the Cenci records a history of sadism, incest, and murder. Shelley's one actable play has received little attention in modern times. Professor Curran studies it first as a poem-its patterns, themes, imagery-then as a play. After showing its relationship to England's Regency theater, he analyzes the fascinating course of its stage history, and finds Shelley foreshadowing such modern emphases as psychodrama, the existential vision, the Theatre of Cruelty Originally published in 1970. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Shelley's Major Poetry
Princeton University Press
2016
sidottu
Professor Baker is concerned primarily with Shelley's development ns a philosophical and psychological poet, and it is precisely in this that the great achievement of the book lies Originally published in 1966. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Percy Bysshe Shelley joined the deluge of sightseers that poured onto the Continent after Napoleon's defeat in 1814, and over the next eight years Shelley followed major travelling trends, visiting Switzerland in 1816 and Italy from 1818. Shelley's Eye is the first study to address Shelley's participation in the travel culture of Post-Napoleonic Europe, and the first to consider Shelley as an important travel writer in his own right. This book is informed by original research on a wide range of period travel writings, including Mary Shelley and Shelley's neglected collaboration, History of a Six Weeks' Tour (1817), in which 'Mont Blanc' first appeared. Fully responsive to the culture of travel, Shelley's travel prose and poetry form fascinating conversations with major Romantic travellers like Byron, Wollstonecraft, and Wordsworth, as well as lesser-known but widely read travel writers of the day, including Morris Birkbeck, Charlotte Eaton, and John Chetwode Eustace. In this provocative study, Benjamin Colbert demonstrates how the Grand Tour remains a vital cultural metaphor for Shelley and his contemporaries, under pressure from mass travel and popular culture. Shelley's travel prose and 'visionary' poetry explore motives of perception underlying travel discourse and posit an authentic 'aesthetic vision' that reconfigures social, historical, and political meanings of 'sights' from the perspective of an ideal tourist-observer. Shelley's Eye offers a new perspective on Shelley's intellectual history. It is also a timely and important contribution to recent interdisciplinary scholarship that aims to re-evaluate Romantic idealism in the context of physical, experiential, or material cultural practices.
Shelley and the Musico-Poetics of Romanticism
Jessica K. Quillin
Ashgate Publishing Limited
2012
sidottu
Addressing a gap in Shelley studies, Jessica K. Quillin explores the poet's lifelong interest in music. Quillin connects the trope of music with Shelley's larger formal aesthetic, political, and philosophical concerns, showing that music offers a new critical lens through which to view such familiar Shelleyan concerns as the status of the poetic, figural language, and the philosophical problem posed by idealism versus skepticism. Quillin's book uncovers the implications of Shelley's use of music by means of four musico-poetic concerns: the inherently interdisciplinary nature of musical imagery and figurative language; the rhythmic and sonoric dimensions of poetry; the extension of poetry into the performative realms of the theatre and drawing room through close links between most poetic genres and music; and the transformation of poetry into music through the setting and adaptation of poetic lyrics to music. Ultimately, Quillin argues, Shelley exhibits a fundamental recognition of an interdependence between music and poetry which is expressed in the form and content of his highly sonorous works. Equating music with love allows him to create a radical model in which poetry is the highest form of imaginative expression, one that can affect the mind and the senses at once and potentially bring about the perfectibility of mankind through a unique mode of visionary experience.
Finally, a much-needed expansive photo reference guide to this popular manufacturer of fine bone china from Longton in the renowned Staffordshire potting district in England. A grand assortment of the prolific Shelley Pottery’s products is illustrated, including works by their predecessor, Wileman & Co, a.k.a. The Foley China. Over 500 photos show more than 1,000 pieces, including dinnerware, tea and coffee sets, jelly molds, ashtrays and souvenir items, vases, pitchers, and the ever-popular miniatures in the chintz, landscapes, and bright floral patterns widely prized by today’s collectors. A brief history of Shelley and its predecessor, spanning the years 1860-1966, is included. Plus there is a guide to back stamps; a buyer’s guide to fakes, reproductions, and damaged items; a pattern index; and current market values, all making this an invaluable tool for collectors and dealers.
Ambitious in its scope, Shelley among Others: The Play of the Intertext and the Idea of Language is a comprehensive reading of Shelley's oeuvre through the lens of recent developments in literary and psychoanalytic theory. Stuart Peterfreund not only provides thought-provoking readings of well-known works but also explores less familiar pieces to illuminate their relationship to Shelley's continually evolving conceptions of language, power, and the role of poetry in society. Peterfreund proposes that there is an intimate connection between Shelley's sophisticated understanding of metaphor and his radical politics, and that this connection animates his entire poetic career, making possible a comprehensive exegesis of his work and development. In masterful close readings, he contextualizes this understanding as a dialogue ("intertext") that Shelley carries on with precursors and contemporaries, both in his theoretical writings (with Vico and Rousseau, for instance) and his poetry (with Wordsworth, Milton, and Shakespeare, among others). The political dimension of Shelley's thought is grounded through often startling connections between his poems and the debates, events, and personalities of the time, and Peterfreund takes care to connect the theory of language which Shelley's work articulates with present-day literary theory, particularly in the writings of Lacan and Kristeva.
Glenn O’Malley’s Shelley and Synesthesia examines a little-known aspect of Percy Shelley’s poetry, offering a history of synesthesia and engaging in close readings of Shelley’s poetry, focusing primarily on his longer works. O’Malley explores the internal structure of Shelley’s poems to concentrate on patterns of imagery and symbolism, bringing attention to Shelley’s resourcefulness and responsibility in his use of synesthesia and his development of it into a powerful creative tool. The work advances the conversation on literary synesthesia and brings fresh insights to Shelley’s poems and to poetic theory in Romanticism.
Shelley’s Religion was first published in 1936. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.That we have power over ourselves to doAnd suffer – what, we know not till we try;But something nobler than to live and die.“The beginning of a new school of Shelleyan criticism” is to be found in this daringly original and impassioned discussion of the poet’s attitude toward God, Christianity, immortality, and related subjects. This is the most thorough treatment Shelley’s religious ideas have ever received.The author, an iconoclastic young critic of remarkable insight and intensity, attacks with spirit a number of Shelley “myths” and their proponents, living and dead. He draws extensively from Shelley’s own writings to prove that the poet was anything but an undiscriminating materialist, or a shallow and uncomprehending opponent of true religion. This is a book which Shelleyans will read with delight – some perhaps with dismay.
In this work, a full-length critical analysis of the dialogue between Shelley's poetry and its contemporary reviewers, Kim Wheatley argues that Shelley's idealism can be recovered through the study of its reception. Incorporating extensive research in major early-19th-century British periodicals, Wheatley integrates a reception-based methodology with careful textual analysis to demonstrate that the contemporary reception of Shelley's work registers the immediate impact of the poet's increasingly idealistic passion for reforming the world. Wheatley examines Shelley's poetry within the context of Romantic-era ""paranoid politics"", a heightened language of defenisveness and persecution incorporating Miltonic and apocalyptic imagery that paints adversaries as Satanic rebels against the orthodoxy. A simultaneously empowering and disabling dynamic, the paranoid style embodies a preoccupation with the efficacy of the printed word, thus singling out radical writers such as Shelley for personal attacks. Using Shelley's ""Queen Mab"" as an example of his early radical poetry, Wheatley demonstrates that the poet, like his contemporary reviewers, is caught up in the paranoid rhetoric. Failing to challenge the assumptions of paranoid politics - conspiracy and contagion - Shelley takes merely an oppositional stance. However, Shelley's later poems, exemplified by ""Prometheus Unbound"" and ""Adonais"", introduce a boldly innovative approach. These less explicitly political poems transcend the dynamics of paranoid politics by incorporating an experimental language that creates an interplay between poem and reader. Shifting to an apolitical conception of the aeshetic, Shelley's poetry is able to move beyond cultural paranoia. The final chapter of this study argues that the posthumous reception of ""Adonais"" uniquely replicates the elegiac moves and complex idealism of the poem, concluding with a discussion of how the Shelley circle aestheticized the poet after his death. The book offers a new approach to the question of how to recuperate Romantic idealism in the face of such literary criticism as deconstructionism and historicism. The use of reception-based methodology should make this book valuable not only to specialists of the Romantic period but also to anyone interested in literary criticism.
This is the perfect study guide to Shelley's classic gothic novel, "Frankenstein" - a key text for introductory literature courses at undergraduate level.Mary Shelley's classic gothic novel, "Frankenstein", is one of the most widely studied and read novels in English Literature. Aside from its key position in the English Literature canon and its wide cultural influence, the novel has been the subject of a vast array of interpretations and so leaves students needing guidance through this maze of reading.This guide offers an authoritative, up-to-date guide for students, introducing its context, language, themes, criticism and afterlife, leading students to a more sophisticated understanding of the text. It is the ideal guide to reading and studying the novel, setting "Frankenstein" in its historical, intellectual and cultural contexts, offering analyses of its themes, style and structure, providing exemplary close readings and presenting an up-to-date account of its critical reception.It also includes an introduction to "Frankenstein's" substantial history as an adapted text on stage and screen and its wider influence in film and popular culture. It includes points for discussion, suggestions for further study and an annotated guide to relevant reading."Continuum Reader's Guides" are clear, concise and accessible introductions to key texts in literature and philosophy. Each book explores the themes, context, criticism and influence of key works, providing a practical introduction to close reading, guiding students towards a thorough understanding of the text. They provide an essential, up-to-date resource, ideal for undergraduate students.