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This book examines the male Romantics' versions of poetic authority in theory and practice in the context of their involvement in the political debates of Regency Britain and argues that their response to Burke's gendered discourse about power effected radical changes in the definitions of masculinity and femininity. It portrays their influence on each other as a series of unstable struggles and alliances in which the formulation of an authoritative masculinity was a political as well as an aesthetic issue. The author investigates the writers' portrayals of women and their collaborations with women writers and throws new light on their nature poetry by relating it to their reactions to the sexual and political scandals of the Regency.
This is the first extended study of the role gender plays in the writing, reading, publishing, and reviewing of poetry in late 18th-century and early 19th-century Britain. Ross examines the ways in which Romanticism has been constructed, from the Romantic period to the present, as a masculine enterprise. He then traces the growth of a "feminine" poetic tradition from 1730 to 1830, showing the importance of this previously neglected tradition in the understanding of 19th-century British culture, and the development of current literary history, theory, and taste.
This volume addresses the growing obsolescence of traditional constructions of masculine identity in popular romantic comedies by proposing an approach that combines gender and genre theory to examine the ongoing radical reconstruction of gender roles in these films. Alberti creates a unified theory of gender role change in the movies that combines the insights of both poststructuralist gender and narrative genre theory, avoiding binary approaches to the study of gender representation. He establishes the current "crises" in both gender representation and genre development within romantic comedies as examples of experimentation and change towards narratives that feature more egalitarian and less essentialist constructions of gender.
This book examines the male Romantics' versions of poetic authority in theory and practice in the context of their involvement in the political debates of Regency Britain and argues that their response to Burke's gendered discourse about power effected radical changes in the definitions of masculinity and femininity. It portrays their influence on each other as a series of unstable struggles and alliances in which the formulation of an authoritative masculinity was a political as well as an aesthetic issue. The author investigates the writers' portrayals of women and their collaborations with women writers and throws new light on their nature poetry by relating it to their reactions to the sexual and political scandals of the Regency.
This book illuminates Jane Austen’s exploration of masculinity through the courtship romance genre in the socially, politically and culturally turbulent Romantic era. Austen scrutinises, satirises, censures and ultimately rewrites dominant modes of masculinity through the courtship romance plot between her heroines and male protagonists. This book reveals that Austen pioneers and celebrates a new vision of masculinity that could complement the Romantic desire for agency, individualism and selfhood embodied in her heroines. Rewriting desirable masculinity as an internalised, psychologically complex and authentic gender identity – a model of manhood that drives the ongoing appeal and cultural power of her men in the twenty-first century – Austen explores both the challenges and the opportunities for male selfhood, romantic love and feminine agency. Jane Austen’s Men is among the first full-length works to explore Austen's male protagonists as textual constructions of masculinity. Sarah Ailwood reveals the depth of Austen's engagement with her predecessors and contemporaries, including Mary Wollstonecraft, Jane West and Jane Porter, on critical questions of masculinity and its relationship to femininity and narrative form. This book illuminates in new ways Jane Austen’s ambitions for the novel, and the political power of the courtship romance genre in the Romantic era.
Combining queer theory with theories of affect, psychoanalysis, and Foucauldian genealogy, Romanticism, Gender, and Violence: Blake to George Sodini theorizes performative melancholia, a condition where, regardless of sexual orientation, overinvestment in gender norms causes subjects who are unable to embody those norms to experience socially expected (‘normal’) gender as something unattainable or lost. This perceived loss causes an ambivalence within the subject that can lead to self-inflicted violence (masochism, suicide) or violence toward others (sadism, murder). Reading a range of Romantic poetry and novels between 1790-1820, but ultimately moving beyond the period to show its contemporary cultural relevance through readings of Eliot’s The Mill on the Floss, Virginia Woolf’s Mrs. Dalloway, Andrew Holleran’s Dancer from the Dance, and George Sodini’s 2009 murder-suicide case, this study argues that we need to move beyond focusing on bullying, teens, and LGBT students and look at our cultural investment in gender normativity itself. Doing so allows us to recognize that the relationship between non-normative gender performance and violence is not simply a gay problem; it is a human problem that can affect people of any sex, sexuality, age, race, or ethnicity and one that we can trace back to the Romantic period. Bringing late 18th-century novels into conversation with both canonical and lesser-known Romantic poetry, allows us to see that, as people whose performance of gender occasionally exceeds the normal, we too often internalize these norms and punish ourselves or others for our inability to adhere to them. Contrasting paired chapters by male and female authors and including sections on failed romantic coupling, melancholic femininities, melancholic masculinities, failed gender performance and madness, and ending with a section titled After Romanticism, this study works on multiple levels to complicate previous understandings of gender and violence in Romanticism while also offering a model for contemporary issues relating to gender and violence among people who ‘fail’ to perform gender according to social norms.
Hegel possessed : reading the gothic in the phenomenology of mind -- The male romantic poet as gothic subject : Keats's Hyperion and The fall of hyperion : a dream -- Sharing gothic secrets : Byron's The Giaour and Lara -- "This dream it would not pass away" : Christabel and mimetic enchantment -- The gothic romance of Sigmund Freud and Wilhelm Fliess
More than any other period of British literature, Romanticism is strongly identified with a single genre. Romantic poetry has been one of the most enduring, best loved, most widely read and most frequently studied genres for two centuries and remains no less so today. This Companion offers a comprehensive overview and interpretation of the poetry of the period in its literary and historical contexts. The essays consider its metrical, formal, and linguistic features; its relation to history; its influence on other genres; its reflections of empire and nationalism, both within and outside the British Isles; and the various implications of oral transmission and the rapid expansion of print culture and mass readership. Attention is given to the work of less well-known or recently rediscovered authors, alongside the achievements of some of the greatest poets in the English language: Wordsworth, Coleridge, Blake, Scott, Burns, Keats, Shelley, Byron and Clare.
A nonfiction investigation into masculinity, For The Love of Men provides actionable steps for how to be a man in the modern world, while also exploring how being a man in the world has evolved. In 2019, traditional masculinity is both rewarded and sanctioned. Men grow up being told that boys don’t cry and dolls are for girls (a newer phenomenon than you might realize—gendered toys came back in vogue as recently as the 80s). They learn they must hide their feelings and anxieties, that their masculinity must constantly be proven. They must be the breadwinners, they must be the romantic pursuers. This hasn’t been good for the culture at large: 99% of school shooters are male; men in fraternities are 300% (!) more likely to commit rape; a woman serving in uniform has a higher likelihood of being assaulted by a fellow soldier than to be killed by enemy fire. In For the Love of Men, Liz offers a smart, insightful, and deeply-researched guide for what we're all going to do about toxic masculinity. For both women looking to guide the men in their lives and men who want to do better and just don’t know how, For the Love of Men will lead the conversation on men's issues in a society where so much is changing, but gender roles have remained strangely stagnant. What are we going to do about men? Liz Plank has the answer. And it has the possibility to change the world for men and women alike.