Current Bibliography, 1998

Compiled by

Jonathan Gross

DePaul University

Headnote to the letterpress bibliography:

This bibliography covers articles, reviews, and book-length studies of Byron, Hazlitt, Hunt, Percy and Mary Shelley, John Keats, and their circle from January 1998 through December 1998. Special thanks to Barb Natividad for research assistance and to Michelle Nichols for proofreading and indexing. Rozlyn Gray and Treneka Flemister assisted with a number of queries. This bibliography was made possible by a grant from the University Research Council at DePaul University. I would like to express my gratitude for their generous support.

Through 1999 this bibliography was compiled by Jonathan David Gross. Beginning in 2000, inquiries, corrections, and suggested entries should be sent to the new Bibliographer, Kyle Grimes, Universitiy of Alabama, Birmingham, kgrimes@uab.edu.

Headnote to the online version:

This version of the 1998 "Current Bibliography" from the Keats-Shelley Journal is essentially a hypertext update to the letterpress bibliography compiled by Jonathan Gross. Adopting the practice of the 1999 bibliography, the reviews have been placed in a separate file, and individual web pages have been written for monographs and edited collections to facilitate the process of locating reviews and to allow space for additional commentary or other bibliographical information.. For an explanation of the organization of the Bibliography, see the Introductory Essay to the 1999 edition. All annotations here are by Jonathan Gross unless otherwise noted.

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General

Current Bibliographies

Breen, Jennifer. "Women Poets of the Romantic Period." In Literature of the Romantic Period: A Bibliographical Guide, ed. Michael O'Neill (Oxford: Clarendon P, 1998), 181-91.

Bugajski, Ken A. "Joanna Baillie: An Annotated Bibliography." RoN 12 (Nov. 1998): <http://www.erudit.org/revue/ron/1998/v/n12/005817ar.html>.

Dawson, P. M. S. "John Clare." In Literature of the Romantic Period: A Bibliographical Guide, ed. Michael O'Neill (Oxford: Clarendon P, 1998), 167-80.

Donovan, J. P. "Thomas Love Peacock." In Literature of the Romantic Period: A Bibliographical Guide, ed. Michael O'Neill (Oxford: Clarendon P, 1998), 269-83.

Fuller, David. "William Blake." In Literature of the Romantic Period: A Bibliographical Guide, ed. Michael O'Neill (Oxford: Clarendon P, 1998), 27-44.

Garside, Peter. "Romantic Gothic." In Literature of the Romantic Period: A Bibliographical Guide, ed. Michael O'Neill (Oxford: Clarendon P, 1998), 315-40.

Matthews, Susan. "Fiction of the Romantic Period (Godwin, Wollstonecraft, Bage, Edgeworth, Burney, Inchbald, Hays, and Others)." In Literature of the Romantic Period: A Bibliographical Guide, ed. Michael O'Neill (Oxford: Clarendon P, 1998), 298-314.

Morrison, Robert. "Essayists of the Romantic Period (De Quincey, Hazlitt, Hunt, and Lamb)." In Literature of the Romantic Period: A Bibliographical Guide, ed. Michael O'Neill (Oxford: Clarendon P, 1998), 341-63.

O'Neill, Michael. "General Studies of the Romantic Period." In Literature of the Romantic Period: A Bibliographical Guide, ed. Michael O'Neill (Oxford: Clarendon P, 1998), 1-26.

O'Neill, Michael, ed. Literature of the Romantic Period: A Bibliographical Guide. Oxford: Clarendon P, 1998.

"A critical guide to the best and the typical in scholarship and criticism devoted to literature of the Romantic period." This work aims at an undergraduate reader but discusses internecine warfare among Romantic scholars in unattractive detail, especially in O'Neill's introduction. Important gaps are evident in this bibliography, such as historically-informed studies that do not touch upon primary works. The reliability of introductory chapters varies. This volume will not replace Jordan's more descriptive and less evaluative MLA bibliography (1988).

Chapters on "General Studies of the Romantic Period," by Michael O'Neill; "William Blake," by David Fuller; "William Wordsworth," by Nicholas Roe; "Samuel Taylor Coleridge," by Nicola Trott; "Lord Byron," by Andrew Nicholson; "Percy Bysshe Shelley," by Jerrold E. Hogle; and "John Keats," by Greg Kucich. Bibliographies on John Clare; women poets; Burns; Cowper; Crabbe; Southey; Walter Scott; Jane Austen; Thomas Love Peacock; Mary Wollstonecraft Shelley; fictional writers, including Burney, Inchbald, Hazlitt, Lamb, and Hunt; as well as political prose writers.

Robertson, Fiona. "Walter Scott." In Literature of the Romantic Period: A Bibliographical Guide, ed. Michael O'Neill (Oxford: Clarendon P, 1998), 221-45.

Roe, Nicholas. "William Wordsworth." In Literature of the Romantic Period: A Bibliographical Guide, ed. Michael O'Neill (Oxford: Clarendon P, 1998), 45-64.

Rossington, Michael. "Poetry by Burns, Cowper, Crabbe, Southey, and Other Male Authors." In Literature of the Romantic Period: A Bibliographical Guide, ed. Michael O'Neill (Oxford: Clarendon P, 1998), 192-220.

Stafford, Fiona. "Jane Austen." In Literature of the Romantic Period: A Bibliographical Guide, ed. Michael O'Neill (Oxford: Clarendon P, 1998), 246-68.

Trott, Nicola. "Samuel Taylor Coleridge." In Literature of the Romantic Period: A Bibliographical Guide, ed. Michael O'Neill (Oxford: Clarendon P, 1998), 65-89.

Whale, John. "Political Prose of the Romantic Period." In Literature of the Romantic Period: A Bibliographical Guide, ed. Michael O'Neill (Oxford: Clarendon P, 1998), 364-79.

Anthologies, Books, and Articles Relating to English Romanticism

Alexander, Robert, Adam Carter, Kevin D. Hutchings, and Nevile F. Newman. "Alterity in the Discourse of Romanticism." ERR 9.2 (Spring 1998): 149-60.

Allen, Emily. "Staging Identity: Frances Burney's Allegory of Genre." Eighteenth-Century Studies 31.4 (Summer 1998): 433-52.

Alliston, April. "Of Haunted Highlands: Mapping a Geography of Gender in the Margins of Europe." In Cultural Interactions in the Romantic Age: Critical Essays in Comparative Literature, ed. Gregory Maertz (Albany: State U of New York P, 1998), 55-78.

Alliston argues that "romantic national typecasting went alongside and in fact entailed the development of specific gender stereotypes that are still being invoked in the name of the nation" (5). Scotland "turns out to be a 'state' of exile from national identity that is also contained within national boundaries, and secures them" (5). She asks why novels by "women in three different countries all make Scotland the scene where a properly virtuous feminine character is staged as a spectacle of imprisonment, exile, and death" in Sophie von La Roche's Geschichte des Frauleins von Sternheim, Sophia Lee's The Recess, and Germaine de Staël's Corinne.

Anderson, John M. "Mary Tighe, Psyche." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 199-203.

Argento, Dominick. Dominick Argento. London: Collins Classics, 1998. Sound recording. Includes musical settings for poems by Keats.

Ashfield, Andrew. Romantic Women Poets, 1788-1848. Vol. 2. Manchester: Manchester UP; New York: St. Martin's P, 1998.

Ashton, Rosemary. "England and Germany." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 495-504.

Bacon, Alan. The Nineteenth Century History of English Studies. London: Ashgate, 1998.

Examines the influence of F. R. Leavis and his opponents; discusses the history of criticism, the history of language, and the status of English as a fully fledged academic discipline.

Barrell, John. "Sad Stories: Louis XVI, George III, and the Language of Sentiment." In Refiguring Revolutions: Aesthetics and Politics from the English Revolution to the Romantic Revolution, ed. Kevin Sharpe and Steven N. Zwicker (Berkeley: U of California P, 1998), 75-98.

Discusses "the language of sentiment in political discussions in the mid-1790s," focusing on Louis XVI's last interview with his family on the evening of January 20, 1793, the day before his execution. "The particular anxieties surrounding the person of the King from 1788 to the mid-1790s need to be understood as an effect of the institution of monarchy having become so heavily invested in the language of sentiment" (97).

Batten, Guinn. The Orphaned Imagination: Melancholy and Commodity Culture in English Romanticism. Durham, N.C.: Duke UP, 1998.

An introduction on romantic melancholy and commodity culture, with chapters on "Byron's In-Between Art of Ennui: 'The World is Full of Orphans'" (21-71) and "Shelley's Absent Fathers: 'The Awful Shadow of Some Unseen Power'" (119-48). Other chapters discuss Blake's The Four Zoas and Wordsworth's 1805 Prelude. Batten explores the fact that Wordsworth, Coleridge, Byron, and Keats lost at least one parent early in life and both before becoming adults. "Byron, like his self-styled Cain, digressively and obsessively returned as a poet to the scene of his parents' fall into mortality, to ruined estates and squandered legacies for whose loss Byron and Cain blame their antecedents, but especially their Father" (27). "Whether Shelley pursued an ideal other in a father figure or an ideal Other in some version of idealism," Batten argues in her reading of Alastor, "he consistently found that such pursuits left him, literally and palpably, with 'nothing'" (133). Batten discusses Byron's Childe Harold's Pilgrimage, photocopies of manuscripts of Don Juan, Cain, and his letters, as well as Shelley's Alastor, "Mont Blanc," "Eyes: A Fragment," and "Hymn to Intellectual Beauty," among other works.

Discusses ideology and its "logic of exchange" by considering Julia Kristeva's Powers of Horror, Black Sun, Tales of Love, and Revolution in Poetic Language; Judith Butler's Gender Trouble; and Slavoj Zizek's The Metases of Enjoyment.

Close readings of Byron's Childe Harold (34-36), Don Juan (45-71), and Cain (37-45), as well as Hours of Idleness (50) and The Prisoner of Chillon (36); readings of Alastor (133-40), "Hymn to Intellectual Beauty" (119-24), and "Mont Blanc" (141-48); general discussion (119-30) of Prometheus Unbound (120,131) and The Triumph of Life (120); discusses Keats' "The Eve of St. Agnes" (220-36), letters (234-35), "Ode to a Nightingale" (216-36), "To Autumn" (234), and "When I Have Fears That I May Cease to Be" (235).

Beer, John. "Lamb, Coleridge, and the Electronic Revolution." CLB 101 (Jan. 1998): 18-29.

Beer, John. Providence and Love: Studies in Wordsworth, Channing, Myers, George Eliot, and Ruskin. New York: Oxford UP, 1998.

Beer, John. "Remapping the Roads to Xanadu and Highgate: Another Look at Coleridge's Reading." In British Romantics as Readers: Intertextualities, Maps of Misreading, Reinterpretations; Festschrift fur Horst Meller, ed. Michael Gassenmeier, Petre Bridzun, Jens Martin Gurr, and Frank Eric Pointner (Heidelberg: Universitatsverlag C. Winter, 1998), 201-22.

Behrendt, Stephen C. "Remapping the Landscape: The Romantic Literary Community Revisited." In Comparative Romanticisms: Power, Gender, Subjectivity, ed. Larry H. Peer and Diane Long Hoeveler (South Carolina: Camden House, 1998), 11-32.

Behrendt, Stephen C. "The Romantic Reader." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 91-100.

Bell, Leonard. "'Beyond the Stretch of Labouring Thought Sublime': Romanticism, Post-Colonial Theory, and the Transmission of Sanskrit Texts." In Orientalism Transposed: The Impact of the Colonies on British Culture, ed. Julie F. Codell and Dianne Sachko Macleod (Hangs, Eng.; Brookfield, Vt.: Ashgate, 1998), 117-39.

Bending, Stephen. "A Natural Revolution? Garden Politics in Eighteenth-Century England." In Refiguring Revolutions: Aesthetics and Politics from the English Revolution to the Romantic Revolution, ed. Kevin Sharpe and Steven N. Zwicker (Berkeley: U of California P, 1998), 241-66.

Discusses "linguistic infighting" surrounding Kew gardens (266); the "democracy of aesthetic space" in light of Goldsmith's Vicar of Wakefield and The Deserted Village; and Richard Graves' anti-Methodist satire, The Spiritual Quixote (1773).

Bewell, Alan. "'Cholera Cured Before Hand': Coleridge, Abjection and the 'Dirty Business of Laudanum.'" Romanticism 4.2 (1998): 155-73.

Bialostosky, Don. "Genres from Life in Wordsworth's Art: Lyrical Ballads 1798." In Romanticism, History, and the Possibilities of Genre: Re-forming Literature 1789-1837, ed. Tilottama Rajan and Julia M. Wright (Cambridge: Cambridge UP, 1998), 109-21.

Biele, Joelle. "'Revise, Revise': Elizabeth Bishop's Writing Process." Ph.D. diss., U of Maryland College Park, 1998, DAI, 59-06A (1998): 2019.

Explores the development of Bishop's free-verse form and argues that her writing process went through stages "that reflect her modernist-romantic aesthetics." Bishop's style observes the arc of the romantic poem--observation, crisis, resolution--as defined by Jerredith Merrin in An Enabling Humility. "Within that arc Bishop utilized techniques of modernist poetics such as shifting verb tenses," thus mixing "modernism's lyrical fracturing and doubts with romanticism's narrative structure and emphasis on imagination. She created a fluid experience of time and space. Her interest lies in the moment, as Keats says, when the sparrow lands on the windowsill." Bishop straddles multiple points in time and space and doing so revises the romantic tradition.

Blain, Virginia. Caroline Bowles Southey, 1786-1854: The Making of a Woman Writer. London: Ashgate, 1998.

At the age of 52, Caroline Bowles Southey married Poet Laureate Robert Southey; she wrote romantic epics, comic burlesque, dramatic social protest, and meditative personal lyrics.

Blythe, Joan. "An Ecology of Green Texts: Turner, Milton, and Romantic Re-Use." In British Romantics as Readers: Intertextualities, Maps of Misreading, Reinterpretations; Festschrift fur Horst Meller, ed. Michael Gassenmeier, Petre Bridzun, Jens Martin Gurr, and Frank Eric Pointner (Heidelberg: Universitatsverlag C. Winter, 1998), 149-70.

While "Turner responded to some of the same aspects of Milton's works as did other Romantics, he differed from them in the extent and degree to which his life-long Miltonic bond was nature-based" (150). Includes a discussion of De Quincey and Ruskin., while responding to Diane McColley's claim "that Milton is the first comprehensively 'ecological' poet writing in English, and perhaps in any language" (151).

Bowers, Toni. "Queen Anne Makes Provision." In Refiguring Revolutions: Aesthetics and Politics from the English Revolution to the Romantic Revolution, ed. Kevin Sharpe and Steven N. Zwicker (Berkeley: U of California P, 1998), 57-74.

Breunig. Hans Werner. "Some Considerations Concerning the Influence of German Idealism on S. T. Coleridge." In British Romantics as Readers: Intertextualities, Maps of Misreading, Reinterpretations; Festschrift fur Horst Meller, ed. Michael Gassenmeier, Petre Bridzun, Jens Martin Gurr, and Frank Eric Pointner (Heidelberg: Universitatsverlag C. Winter, 1998), 183-200.

Bromwich, David. "Edmund Burke, Reflections on the Revolution in France." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 113-21.

Brose, Margaret. "The Politics of Mourning in Dei Sepolcri." ERR 9.1 (Winter 1998): 1-34.

Brown, Eric C. "Boyd's Dante, Coleridge's Ancient Mariner, and the Pattern of Infernal Influence." SEL (autumn 1998): 647-69.

Burgess, Miranda J. "Charlotte Smith, The Old Manor House." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 122-30.

Burgess, Miranda J. "Domesticating Gothic: Jane Austen, Ann Radcliffe, and National Romance." In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 392-412.

Burgoyne, Daniel A. "The Colloquy of Edgar Allan Poe and Samuel Taylor Coleridge." Ph.D. diss., U of Washington, 1998, DAI, 59-03A (1998): 812.

Burroughs, Catherine B. Closet Stages: Joanna Baillie and the Theater Theory of British Women Writers. Philadelphia: U of Pennsylvania P, 1997.

Burroughs, Catherine B. "Teaching the Theory and Practice of Women's Dramaturgy." RoN 12 (Nov. 1998):
<http://www.erudit.org/revue/ron/1998/v/n12/005823ar.html.>

Discusses the syllabus of a course taught at Cornell University in 1996, "Theoretical Approaches to Romantic Theatre and Drama, 1790-1840." Burroughs argues that Sophia Lee, Elizabeth Inchbald, Joanna Baillie, and Mary Russell Mitford raise issues of antitheatricalism, generic experimentation, the cultural significance of the gothic play, and other concerns.

Burwick, Frederick. "The Romantic Drama." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 323-32.

Burwick, Frederick. "Romantic Madness: Hölderlin, Nerval, Clare." In Cultural Interactions in the Romantic Age: Critical Essays in Comparative Literature, ed. Gregory Maertz (Albany: State U of New York P, 1998), 29-51.

In "Romantic Madness: Hölderlin, Nerval, Clare," Frederick Burwick discusses three poets from different literary traditions whose collapse into mental illness is either prefigured or embedded in their work. Employs a critical frame adopted from Shoshona Feldman, Michel Foucault, and Jacques Derrida. Discusses Hölderlin's "Patmos," Nerval's "Christ on the Mount of Olives," and Clare's "Child Harold."

Burwick, Frederick. "Shakespeare and the Romantics." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 512-19.

Butler, James A. "Travel Writing." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 364-70.

Cafarelli, Annette Wheeler. "Rousseau and British Romanticism: Women and the Legacy of Male Radicalism." In Cultural Interactions in the Romantic Age: Critical Essays in Comparative Literature, ed. Gregory Maertz (Albany: State U of New York P, 1998), 125-55.

Rousseau's opponents were not conservatives aligned with Burke, but British radicals like Mary Wollstonecraft, Mary Hays, and Catherine Macaulay. Conservatives like Hannah More, Clara Reeve, and Sydney Owenson Morgan "were actually more likely to appropriate Rousseau's prescriptions for women in their own work" (7). Explores Mary Shelley's selective reading of Rousseau's Julie after the death of her husband in her essay in The Liberal, "Mme d'Houdetot" (1823) (147).

Cao, Zuoya. The Internal and the External: A Comparison of the Artistic Use of Natural Imagery in English Romantic and Chinese Classic Poetry. New York: Peter Lang, 1998.

This book compares the use of "natural imagery" in English Romantic and Chinese Classic (Tang and Song dynasties) lyrics to challenge Paul De Man's belief, expressed in Blindness and Insight and The Rhetoric of Romanticism, that "the merging of the internal and external can never be reached in poetic language" (Cao 1). Cao favors M. H. Abrams' perspective in "Structure and Style in the Greater Romantic Lyric." "The difference between Romantic and Chinese Tang/Song poets in their use of natural imagery is not that the former is subjective and the latter is objective, for although the Romantics use nature as a theme while the Chinese poets do not, they both employ natural imagery for expressing the inner world" (149). Compares Wang Wei, a major poet of the Tang dynasty influenced by Buddhism, with Wordsworth; contrasts Wei's "Mt. Zhongnan" and "Tintern Abbey" (8). Shows how jing (scene/the external) and qing (feeling/the internal) became a main concern in Chinese classic poetics beginning with the Tang dynasty; discusses the connotation of shenyun and sublime and makes use of Cecile Chu-chin Sun's study of three analogical modes in Chinese and English poetry, which introduces the concept of quin and jing in Chinese poetics. Vincent Yang's comparison of Su Shi and Wordsworth and An-yan Tang Wang's comparison of Du Fu and Yeats are also important for this study (3), which compares Du Fu's Confucian influenced verse ("Autumn Meditation") with Coleridge's "Eolian Harp" and "Frost at Midnight" (14; 17). Discusses Shelley as a romantic theorist and as a poet (118-20). Chapter 2, titled "The Use of Natural Objects" (43-78), is the most relevant to Keats and Shelley. In this chapter, Cao contrasts Su Shi's poem on the willow catkin with Shelley's "Sensitive Plant" ("the poets use personification to describe a plant and express their feelings by describing the fate of the plant" [52]); Shelley's "Ode to the West Wind" with Li Bai's "A Song of White Clouds" ("a rare example of a poem focusing on the image of the cloud in Chinese poetry, the cloud is used to show the poet's feeling upon leaving a friend" [61]); Shelley's "The Cloud" with Li Bai's famous "Drinking Alone by Moonlight," which treats the moon as a fellow human, inviting the moon to drink with him (58); and Shelley's "To a Skylark" with Li Bai's "Peng" ("Unlike Shelley's skylark, which is a disembodied spirit, Li Bai's Peng is presented as a motor, kinesthetic image conveying 'tactile and muscular impressions,' though the Peng is not a real bird but exists only in the poet's imagination" [69]). Similar comparisons are made with Du Fu's "Lone Wild Goose" (67-69) and Keats's "Ode to a Nightingale" (68). This book does not include an index.

Chandler, David. "'The Conflict': Hannah Brand and Theatre Politics in the 1790s." RoN 12 (Nov. 1998): <http://www.erudit.org/revue/ron/1998/v/n12/005819ar.html>.

Chandler, David. "Vagrancy Smoked Out: Wordsworth 'betwixt Severn and Wye.'" RoN 11 (Aug. 1998): <http://www.erudit.org/revue/ron/1998/v/n11/005811ar.html>.

Chandler, James. England in 1819: The Politics of Literary Culture and the Case of Romantic Historicism. Chicago: U of Chicago P, 1998.

This study is divided into two parts: "The Historical Situation of Romanticism" and "Reading England in 1819." Chandler discusses Don Juan, "Ode to the West Wind," Peter Bell, and other works. He concludes that 1819 was a "watershed year of literary, political and historical self-consciousness in England."

Chaney, Eve Christine. "'The Aesthetic of Lived Life' From Wollstonecraft to Mill." Ph.D. diss., U of Washington, 1998, DAI, 59-06A (1998): 2033.

Childers, Joseph W. "Recent Studies in the Nineteenth Century." SEL 38:4 (autumn 1998): 761-825.

This essay considers editions and letters; biographies and works about a single author; the Romantics; the Victorians; the Romantic period: literary and cultural studies; the Victorian period: gender studies; literary and cultural studies; nineteenth-century art and architecture; and colonialism and post-colonialism. Discusses works ranging as far back as 1996. A number of important works are necessarily omitted.

Claussen, David Ryan. "Recognizing Longinus." Ph.D. diss., State U of New York at Buffalo, 1998, DAI, 59-01A (1998): 180.

Clubbe, John. "Schom's Napoleon: Review Essay." Napoleonic Scholarship: The Journal of the International Napoleonic Society 1, 2 (1999): 96-105.

This review faults Schom for failing to provide a "balanced biography" and reveling "in Napoleonic failure." Schom's biography of Napoleon "may be the most hostile book ever written on the French Emperor" (96).

Cochran, Peter. "Francis Cohen, Don Juan, and Casti." Romanticism 4.1 (1998): 120-24.

Codell, Julie F., and Dianne Sachko Macleod. "Orientalism Transposed: The 'Easternization' of Britain and Interventions to Colonial Discourse." In Orientalism Transposed: The Impact of the Colonies on British Culture, ed. Julie F. Codell and Dianne Sachko Macleod (Hangs, Eng.; Brookfield, Vt.: Ashgate, 1998), 1-10.

Codell and Macleod consider Joanne Waghorne's assertion, in The Raja's Magic Clothes, that England and India shared common cultural ground in royal ceremonies, "represented by the Indian ceremony of durbar which the English appropriated": influences during the Raj went in both directions (1). Their essay considers the issue of the "Easternization" of Britain at two levels. "The first concerns the ways that colonized people intervened in the hegemonic colonial or Orientalist discourse and negotiated, revised, subverted and reinvented it to serve their own cultural expressions, political resistance and self-representations, while the second charts the manner in which British aesthetic concepts were altered by the colonial experience" (1). Orientalist discourse was often subverted and turned on its head, hence the title of this collection, "Orientalism Transposed." The writers take issue with Said's Orientalism to show, with Homi Babha, that colonized people practised "discursive modes of resistance" (2).

Codell, Julie F., and Dianne Sachko Macleod, eds. Orientalism Transposed: The Impact of the Colonies on British Culture. Hangs, Eng.; Brookfield, Vt.: Ashgate, 1998.

Essays by Julie F. Codell and Dianne Sachko Macleod, Julie F. Codell, Emily M. Weeks, Dianne Sachko Macleod, Romita Ray, Leonard Bell, Kathryn S. Freeman, Jeff Rosen, Barbara Groseclose, and Constance C. McPhee. Bell's essay is on Romanticism, post-colonial theory, and the transmission of Sanskrit texts; Codell's essay discusses Sir David Wilkie's portrait of Mehemet Ali, Pasha of Egypt.

The Compleat Silver Lining: 26 Distinguished Actors Read 41 of Their Favorite Poems. Audiocassette. BMP, Ltd., 1998.

Includes readings of Keats's "To Autumn" (Simon Ward), "A Thing of Beauty" (James Earl Jones), and "Sonnet to Sleep" (Patrick Stewart); Byron's "She Walks in Beauty" (David Warner); and Shelley's "Ozymandias" (John Standing) and "Indian Serenade" (David Warner).

Cowlishaw, Brian Thomas. "A Genealogy of Eccentricity." Ph.D. diss., U of Oklahoma, 1998, DAI, 59-04A (1998): 1174.

Cox, Jeffrey N. "Ideology and Genre in the British Antirevolutionary Drama in the 1790s." In British Romantic Drama: Historical and Critical Essays, ed. Terence Allan Hoagwood and Daniel P. Watkins (Madison, N.J.: Fairleigh Dickinson UP; London: Associated UP, 1998), 84-114.

This essay discusses antirevolutionary drama, which shaped "Romantic culture as well as the future development of the English drama and theater" (17), in order to illuminate the political and literary situation of the 1790s. Cox examines The Rovers (rumored to have been written by Pitt), The Fall of the French Monarchy, Maid of Normandy, and Democratic Rage in the context of the political struggles of the 1790s: "the conservative culture . . . found its strongest voice in melodrama" (17).

Cox, Jeffrey N. Poetry and Politics in the Cockney School: Keats, Shelley, Hunt, and Their Circle. Cambridge: Cambridge UP, 1998.

Crochunis, Tom, ed. "British Women Playwrights around 1800: A Special Issue of Romanticism on the Net." RoN 12 (Nov. 1998): <http://www-sul.stanford.edu/mirrors/romnet/>.

Crochunis, Tom. "The Function of the Dramatic Closet at the Present Time." RoN 12 (Nov. 1998): <http://www-sul.stanford.edu/mirrors/romnet/>.

Questions whether "closet drama" is not "at the center, rather than the margins, of British dramaturgical and scholarly history."

Cronin, Richard, ed. 1798: The Year of the Lyrical Ballads. New York: St. Martin's P, 1998.

This volume attempts to "recreate the literary culture of 1798" which produced a volume of poems entitled Lyrical Ballads, the importance of which was not immediately apparent (1). Includes essays by Clifford Siskin, who discusses "blaming the System" as a historically-specific event; Nicola Trott, who writes on Mary Wollstonecraft at the turn of the century; Dorothy McMillan on Joanna Baillie; Marilyn Gaull on "Malthus on the Road to Excess"; Richard Cronin on Gebir; Alice Jenkins on Humphry Davy; Peter Jimack on "England and France in 1798"; Stephen Prickett on "Coleridge, Schlegel and Schleiermacher"; Nicholas Roe on medical science, politics, and poetry in Thelwall, Coleridge, and Wordsworth; Jean Stabler on Lyrical Ballads and literary satire; and James A. W. Heffernan on "Wordsworth's 'Leveling' Muse in 1798."

Dart, Gregory. Rousseau, Robespierre, and English Romanticism. Cambridge: Cambridge UP, 1998.

Davies, Damian Walford. "Thomas De Quincey, Confessions of an English Opium-Eater." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 269-76.

Davies, Paul. Romanticism and Esoteric Tradition: Studies in Imagination. Hudson, N.Y.: Lindisfarne Books, 1998.

Makes use of sources in Buddhism, Sufism, Neoplatonism, Anthroposophy, and other traditions to illuminate romantic poems in eight essays. Owen Barfield, Gaston Bachelard, Henry Corbin, and Kathleen Raine influence this book's effort to develop a "spiritual hermeneutics."

Davis, Tracy C. "The Sociable Playwright and Representative Citizen." RoN 12 (Nov. 1998): <http://www.erudit.org/revue/ron/1998/v/n12/005818ar.html>.

De Montluzin, Emily Lorraine. "Killing the Cockneys: Blackwood's Weapons of Choice against Hunt, Hazlitt, and Keats." KSJ 47 (1998): 87-107.

Decker, Catherine. "Crossing Old Barriers: The WorldWideWeb, Academia, and the Romantic Novel." RoN 10 (May 1998): <http://www.erudit.org/revue/ron/1998/v/n10/005794ar.html>.

Deguchi, Yasuo, ed. The Examiner, 1818-1822. 5 vols. London: Pickering & Chatto, 1998.

Donovan, John. "Rosalind and Helen: Pastoral, Exile, Memory." Romanticism 4.2 (1998): 241-73.

Duff, David. "From Revolution to Romanticism: The Historical Context to 1800." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 23-34.

Earl, E. M. Byron and Southey, Vision of Judgement. Salzburg, Aus.; Portland, Oreg.: U of Salzburg, 1998.

Emilsson, Wilhelm. "Epicurean Aestheticism: De Quincey, Pater, Wilde, Stoppard." Ph.D. diss., U of British Columbia, 1998, DAI, 59-05A (1998): 1581.

Engell, James. "Coleridge, Johnson, and Shakespeare: A Critical Drama in Five Acts." Romanticism 4.1 (1998): 22-39.

Engell, James. "Romantische Poesie: Richard Hurd and Friedrich Schlegel." In Cultural Interactions in the Romantic Age: Critical Essays in Comparative Literature, ed. Gregory Maertz (Albany: State U of New York P, 1998), 13-27.

The first "systematic discussion of the connection between Hurd's writings and Schlegel's theory of 'romantische Poesie' and the instrumental relationship 'between English critical writing and the birth of German romanticism.'" Engell compares Hurd's Letters on Chivalry and Romance (1762) and "On the Idea of Universal Poetry" (1765) with Schlegel's influential "Athenaum Fragment No. 116" and passages in Gesprach uber die Poesie (1800). He demonstrates that to understand German Romanticism and Friedrich Schlegel, one must consider not only Herder, Goethe, and Schiller, but also Hurd and eighteenth-century British critics. (4)

Enzell, Margaret J. M. "Revisioning Responding: A Second Look at Women Playwrights around 1800." RoN 12 (Nov. 1998): <http://www.erudit.org/revue/ron/1998/v/n12/005821ar.html>.

Esterhammer, Angela. "Performative Language and Speech-act Theory." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 452-59.

Evans, David Andrew. "Poets and Warriors: Constructions of Heroism in Southey, Wordsworth, and Coleridge, 1789-1815." Ph.D. diss., Ohio State U, 1998, DAI, 59-01A (1998): 181.

Evans focuses on heroism as defined by British martial figures that emerged from the British wars with Revolutionary and Napoleonic France. Evans shows how "non-Byronic conceptions of heroism were vital to contemporary political discourse." Issues related to the domestic sphere influenced contemporary conceptions of heroism to a greater degree than previously realized. Like Burke, Southey, Wordsworth, and Coleridge viewed the nation as an extension of the family: "their changing political views were consistently informed by and reflective of the high value they placed on stable households." Evans discusses the intersection of poet, hero, home, and nation-state to broaden "current notions of Romantic-era heroism."

Fay, Elizabeth. "The Bluestocking Archive: Constructivism and Salon Theory Revisited." RoN 10 (May 1998): <http://www.erudit.org/revue/ron/1998/v/n10/005795ar.html>.

Fay, Elizabeth. A Feminist Introduction to Romanticism. Malden: Blackwell Publishers, 1998.

Fay, Elizabeth. "Romanticism and Feminism." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 397-401.

Feldman, Paula R., and Daniel Robinson, eds. A Century of Sonnets: The Romantic-Era Revival, 1750-1850. New York: Oxford UP, 1998.

Ferguson, Moira. "Fictional Constructions of Liberated Africans: Mary Butt Sherwood." In Romanticism and Colonialism: Writing and Empire, 1780-1830, ed. Tim Fulford and Peter Kitson (Cambridge: Cambridge UP, 1998), 148-64.

Ferguson, William. The Identity of the Scottish Nation: An Historic Quest. New York and Edinburgh: Columbia UP and Edinburgh UP, 1998.

This book seeks to explain the variety of views that have "been advanced on the origin and development of Scottish identity" (preface). Fourteen chapters discuss such topics as "Mythopoeia and Superiority" (19-35); the "Chronicling of an Advocate's Brief" (36-55); "Humanism and New Looks at Old History" (56-78); "George Buchanan, Humanist and Historian" (79-97); "The Religious Factor--Old Dogmatisms and New" (98-119); "Towards Enlightenment and a New View of History" (144-72); "The Dawn of Enlightenment" (173-95); "Enlightenment and Darkness Visible" (196-226); "James Macpherson and 'The Invention of Ossian'" (227-49); "Goth. versus Gael" (250-73); and "Per Ardua ad Astra" (274-300). This book is primarily an historical rather than a literary discussion of its subject.

Ferris, Ina. "Writing on the Border: The National Tale, Female Writing, and the Public Sphere." In Romanticism, History, and the Possibilities of Genre: Re-forming Literature 1789-1837, ed. Tilottama Rajan and Julia M. Wright (Cambridge: Cambridge UP, 1998), 86-106.

Discusses Lady Morgan's last Irish national tale, The O'Briens and the O'Flahertys. Morgan's fiction "signs itself as modern precisely because the postmodern erupts within it. And the postmodern typically erupts in her fiction through the encounter of femininity, the public sphere, and the unformed nation" (103).

Finegan, Ann Jennifer. "For a Charging of the Passions: Sex and Metaphysics in English Romantic Poetry (Percy Bysshe Shelley, Samuel Taylor Coleridge, William Blake, William Wordsworth)." Ph.D. diss., U of New South Wales, 1998, DAI, 59-08A (1998): 2999.

Inspired by Lacan's Encore, this dissertation analyzes the consummation scenes which appear in English Romanticism's "long, metonymical poems of desire--Shelley's Prometheus Unbound, Keats's Endymion, and the Hyperion poems." Coleridge's theological writings are examined against Kant's synthetic imagination "from the point of view of the repression of desire." Artaud's essay on Coleridge uncovers Coleridge's "disavowing tactics which reveal the processes of the unconscious under the screen of a fake occult." Coleridge's unpublished Notebooks show that his unfinished Logosophia "attempted to reconcile logos with desire." Blake and Wordsworth are discussed through Lacan's metaphorics of delusion and Heidegger's aletheia ("through which being deconceals").

Folker, Brian. "Romantic Realist: Wordsworth and the Problem of War." Ph.D. diss., New York U, 1998, DAI, 58-12A (1998): 4664.

Folker uses Kenneth Waltz' notion of structural realism, a theory of international relations, that views "fracture and conflict" as "necessary and permanent features of the human community." Applying Waltz' theory of systemic anarchy to Romantic poetry results in a reading of Wordsworth that emphasizes his concern with "large scale social violence and anxiety over the Napoleonic wars." Previous critics have focused too narrowly upon the poet's "ideational development." The second chapter considers The Recluse as Wordsworth's effort to conceive "of the domestic scene as potentially unbounded and capable of limitless expansion." His third chapter discusses The Prelude and notes tensions between Wordsworth's recognition that the domestic sphere is bounded and his view of family as "potentially unbounded"; the tension between these two views leads Wordsworth to expand the poem to thirteen books in 1804. Chapter four discusses the Convention of Cintra as it relates to Wordsworth's Recluse. Wordsworth turns away from an anarchic dissemination of the means of violence. In his fifth chapter, Folker describes Wordsworth's "return to the domestic scene in The Excursion": "after the failure of attempts to rehabilitate the poet's role, he renounces his claim as the ideational center."

"For Freedom's Battle": Heinrich Heine and England. A Bicentenary Exhibition, 16 January-6 February 1998. London: Christie's, 1998.

Ford, Jennifer. Coleridge on Dreaming: Romanticism, Dreams, and the Medical Imagination. Cambridge: Cambridge UP, 1998.

This book investigates Coleridge's responses to his dreams and to contemporary debates about the nature of dreaming, a subject of perennial interest to poets, philosophers, and scientists through the Romantic period. Ford makes use of notebooks, letters, and marginalia to analyze the ways in which dreaming processes were construed by Coleridge in his dream readings, and by his contemporaries in a range of poetic and medical works. Very brief index.

Fraistat, Neil, Steven Jones, and Carl Stahmer. "The Canon, the Web, and the Digitization of Romanticism. RoN 10 (May 1998): <http://www.erudit.org/revue/ron/1998/v/n10/005801ar.html>.

Franklin, Caroline. British Romantic Poets. London: Routledge/Thoemmes P, 1998.

Franklin, Caroline. "'Some Samples of the Finest Orientalism': Byronic Philhellenism and Proto-Zionism at the Time of the Congress of Vienna." In Romanticism and Colonialism: Writing and Empire, 1780-1830, by Tim Fulford and Peter Kitson (Cambridge: Cambridge UP, 1998), 221-42.

Franklin points out that Byron "has proved a trickier writer to fit into the binary model of Said's thesis than government polemicists like . . . Robert Southey" (221). Franklin finds Said's Foucauldian model "too monolithic" in her discussion of The Siege of Corinth (1816) and Hebrew Melodies (1815). These works were published "when Europe's boundaries were being redrawn with the defeat of Napoleon," while The Giaour "coincided with parliament's review of the Charter of the East India Company and debate over whether missionaries should be allowed to preach Christianity in India" (223). Byron's "Oriental" tales "experiment with point of view to confound readerly expectations" (223). Byron's national aspirations for Greece and Israel were in opposition to British foreign policy "which since 1791 had been to prop up the declining Ottoman Empire in order to keep open the route to India, and prevent the ambitions of Napoleonic France, Russia and Austria of extending their influence to the Mediterranean" (228).

Freeman, Kathryn S. "'Beyond the Stretch of Laboring Thought Sublime': Romanticism, Post-Colonial Theory, and the Transmission of Sanskrit Texts." In Orientalism Transposed: The Impact of the Colonies on British Culture, ed. Julie F. Codell and Dianne Sachko Macleod (Hangs, Eng.; Brookfield, Vt.: Ashgate, 1998), 140-57.

Freeman notes how William Jones "westernizes Indian philosophy" in ways that reveal "his ambivalence toward both East and West" (148). "His description of the Hindus as more 'rational' than the Christians paradoxically anticipates Macaulay's criticisms. Yet in his Hymns to the Hindu Deities, Jones draws not only from Indian sources, but freely from the legacy of Western literature: Plato, Pindar, the Bible, Milton, Pope, and Gray. Discusses Charles Wilkin's preface to his translation of The Bhagavad Gita, Charlotte Smith's Beachy Head (151), Blake's The Marriage of Heaven and Hell, and Jones' "Hymn to Narayana."

Fulford, Tim. "Fields of Liberty? The Politics of Wordsworth's Grasmere." ERR 9.1 (Winter 1998): 59-86.

Fulford, Tim. "Romanticism and Colonialism: Races, Places, Peoples, 1800-1830." In Romanticism and Colonialism: Writing and Empire, 1780-1830, ed. Tim Fulford and Peter J. Kitson (Cambridge: Cambridge UP, 1998), 35-47.

Fulford, Tim, and Peter Kitson. "Romanticism and Colonialism: Texts, Contexts, Issues." In Romanticism and Colonialism: Writing and Empire, 1780-1830, ed. Tim Fulford and Peter J. Kitson. (Cambridge: Cambridge UP, 1998), 1-13.

Fulford, Tim, and Peter Kitson, eds. Romanticism and Colonialism: Writing and Empire, 1780-1830. Cambridge: Cambridge UP, 1998.

This collection of essays responds to Jerome J. McGann's The Romantic Ideology and attempts to place poetry in its social and historical context. "Romanticism's relationship with colonialism has been relatively little studied," the authors claim, though Makdisi's Romantic Imperialism in part answers that need.

Furst, Lilian R. "The Salons of Germaine de Staël and Rachel Varnhagen." In Cultural Interactions in the Romantic Age: Critical Essays in Comparative Literature, ed. Gregory Maertz (Albany: State U of New York P, 1998), 95-103.

"Coppet was the main source for the transmission of German romanticism to the French avant-garde at a time when the development of French romanticism was held in check by censorship and the neoclassical bias associated with 'official' revolutionary culture; Varnhagen's Berlin salon was remarkable for its quiet transgression of social codes through purely social interaction" (6).

Galperin, William. "What Happens When Jane Austen and Frances Burney Enter the Romantic Canon?" In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 376-91.

Gassenmeier. Michael. "The Praised Friend, Quod Est Imitatio et Emulatio Poematis Poetae Docti Thomasii Sternii Elioti Intitulatum Terra Deserta." In British Romantics as Readers: Intertextualities, Maps of Misreading, Reinterpretations; Festschrift fur Horst Meller, ed. Michael Gassenmeier, Petre Bridzun, Jens Martin Gurr, and Frank Eric Pointner (Heidelberg: Universitatsverlag C. Winter, 1998), 11-22.

Gassenmeier, Michael, Petre Bridzun, Jens Martin Gurr, and Frank Eric Pointner, eds. British Romantics as Readers: Intertextualities, Maps of Misreading, Reinterpretations: Festschrift for Horst Meller. Heidelberg: Universitatsverlag C. Winter, 1998.

Proceedings from a symposium held at Gerhard-Mercator-Universität Duisburg to celebrate Horst Meller's 60^th birthday and honor his academic achievement. This symposium, which took place in August 1996, was jointly sponsored by the Society for English Romanticism (GER) and the International Byron Society. "Horst Meller has writen about English Literature from Shakespeare via Milton and the Romantics to Classical Modernism. In his writings-beginnings with his dissertation on William Empson-he has also consistently reflected upon questions of literary theory with critical detachment and often with subtle irony" (Preface).

Gilmartin, Kevin. "Radical Print Culture in Periodical Reform." In Romanticism, History, and the Possibilities of Genre: Re-forming Literature 1789-1837, ed. Tilottama Rajan and Julia M. Wright (Cambridge: Cambridge UP, 1998), 39-63.

Gomille, Monika. "Acts of Misreading? Milton, the 'Original Author,' and the Romantics." In British Romantics as Readers: Intertextualities, Maps of Misreading, Reinterpretations; Festschrift fur Horst Meller, ed. Michael Gassenmeier, Petre Bridzun, Jens Martin Gurr, and Frank Eric Pointner ( Heidelberg: Universitatsverlag C. Winter, 1998), 137-48.

This essay aims to show "that intertextuality implies not only a dynamic relationship between different texts, but also between texts and contingent horizons of reference." Gombille focuses specifically on "the blending of the Lockean discourse with its concern for origin and first proprietors with the aesthetic discourse of originality during the second half of the eighteenth century" (148).

Goodridge, John. "'Out There in the Night': Rituals of Nurture and Exclusion in Clare's St. Martin's Eve." Romanticism 4.2 (1998): 202-11.

Graver, Bruce, and Ronald Tetreault. "Editing Lyrical Ballads for the Electronic Environment." RoN 9 (Feb. 1998): <http://www.erudit.org/revue/ron/1998/v/n9/005783ar.html>.

Guest, Harriet. "'These Neuter Somethings': Gender Difference and Commercial Culture in Mid-Eighteenth-Century England." In Refiguring Revolutions: Aesthetics and Politics from the English Revolution to the Romantic Revolution, ed. Kevin Sharpe and Steven N. Zwicker (Berkeley: U of California P, 1998), 173-94.

Halliwell, Sarah, ed. The Romantics. Austin, Tex.: Raintree Stec-Vaughn, 1998.

Hamlin, Cyrus. Hermeneutics of Form: Romantic Poetics in Theory and Practice. New Haven: Henry R. Schwab, 1998.

This book "consists in a series of essays, all of which were written independently of one another . . . over a twelve-year period from 1971 to 1983," when Hamlin was teaching at the University of Toronto (22). Chapter 5 contains an addendum on Keats and Shelley as "practitioners of the Romantic ode" (24). Hamlin's interest in Hölderlin influences readings of a number of poems. Hamlin discusses Shelley's "Ode to the West Wind" (240-53) in terms of Shelley's use of a Greek chorus and Dantesque rhyme scheme, with echoes of souls as dead leaves from Virgil's Aeneid VI. Hamlin finds the last stanza of the ode crucial for a consideration of the work's hermeneutics of form (250). "The poem itself as achieved form serves as an instrument or vehicle for the voice of the poet, which is no longer merely a human subject or the individual self" (250). Keats's "Ode to a Nightingale" (238-40, 242-46, 253, 254) is also discussed. "No reader of Keats' 'Nightingale' will fail to observe . . . that the structure of the ode is defined by the experience within the poet's mind resulting from his response to the bird's song" (245). Nine chapters on "The Limits of Interpretation"; "The Negativity of Reading"; "The Conscience of Narrative"; "The Poetics of Self-Consciousness"; "Reading the Romantic Ode"; "The Temporality of Selfhood"; "Platonic Dialogue and Romantic Irony"; "Strategies of Reversal in Literary Narrative"; and "The Faults of Vision; a Dialogue in Identity and Poetry." Chapter 5, which contrasts Coleridge's "Dejection: An Ode" with Keats's and Shelley's poetry, concludes by discussing Hegel and the Romantic ode (6).

Handwerk, Gary. "Envisioning India: Friedrich Schlegel's Sanskrit Studies and the Emergence of Romantic Historiograph." ERR 9.2 (Spring 1998): 231-42.

Handwerk, Gary. "History, Trauma, and the Limits of the Liberal Imagination: William Godwin's Historical Fiction." In Romanticism, History, and the Possibilities of Genre: Re-forming Literature 1789-1837, ed. Tilottama Rajan and Julia M. Wright (Cambridge: Cambridge UP, 1998), 64-85.

Handwerk explores whether Godwin's "inability to assimilate the insights of Romantic historicity into his liberal imagination were peculiar to him or to his era, or are instead somehow endemic to liberalism generally" (82). Mandeville (1817) and St. Leon (1799) are discussed as efforts to "confront the Luckacsian paradigm" (81): "they see the moments of historical upheaval that they depict as moments when things may not in fact be changing, not moving forward, perhaps not even moving at all" (81).

Hanley, Keith. "Wordsworth's Revolution in Poetic Language." RoN 9 (Feb. 1998): <http://www.erudit.org/revue/ron/1998/v/n9/005790ar.html>.

Haywood, Ian, and Zachary Leader, eds. Romantic Period Writings, 1798-1832: An Anthology. New York: Routledge, 1998.

Hensley, David C. "Richardson, Rousseau, Kant: 'Mystics of Taste and Sentiment' and the Critical Philosophy." In Cultural Interactions in the Romantic Age: Critical Essays in Comparative Literature, ed. Gregory Maertz (Albany: State U of New York P, 1998), 177-207.

Hensley challenges the "traditional understanding of Clarissa's impact on the formation of German Romanticism." Twentieth-century critics have followed Coleridge's Biographia Literaria, and failed to acknowledge Samuel Richardson's contributions to British and German Romanticism (7). Hensley focuses on Kant's reading of Richardson and Rousseau, which "calls attention to questions of historical mediation that still need to be explored and theorized before Coleridge's claim that Clarissa shaped German Romanticism can be turned into a basis for appropriately wide-ranging and detailed work in literary and cultural history" (7).

Herringman, Noah Isaac. "Romantic Rocks, Aesthetic Geology." Ph.D. diss., Harvard U, 1998, DAI, 59-05A (1998): 1583.

Hewitt, Regina. "Friendly Instruction: Coleridge and the Discipline of Sociology." In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 89-102.

Considers The Friend in the light of studies on how fields of learning take shape. "Coleridge's plans for the periodical identify his goal as the creation of a discipline, . . . The Friend may yet fulfill its original aim" (90).

Heydt-Stevenson, Jill. "Liberty, Connection, and Tyranny: The Novels of Jane Austen and the Aesthetic Movement of the Picturesque." In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 261-79.

Hilton, Nelson. "William Blake, Songs of Innocence and of Experience." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 103-12.

Hoagwood, Terence Allan. "Romantic Drama and Historical Hermeneutics." In British Romantic Drama: Historical and Critical Essays, ed. Terence Allan Hoagwood and Daniel P. Watkins (Madison, N.J.: Fairleigh Dickinson UP; London: Associated UP, 1998), 22-55.

Hoagwood, Terence Allan, and Daniel P. Watkins, eds. British Romantic Drama: Historical and Critical Essays. Madison, N.J.: Fairleigh Dickinson UP; London: Associated UP, 1998.

This volume "intentionally gravitates toward discussion of lesser-known works of the period, rather than such major dramas as Manfred or Prometheus Unbound, because the poetic dramas by Byron and Shelley have already been the subject of many useful historicist investigations, and because lesser-known works--for instance, the dramas of Scott, Wordsworth's Borderers, and the many revolutionary and counter-revolutionary dramas of the period--provide avenues into historical and ideological issues that cannot be adequately addressed by exclusive attention to dramas long recognized as canonical" (15). Many of these essays were previously published in Wordsworth Circle (Kucich, Johnston, and Nicholes), though some have been revised (Hoagwood, Ferriss).

Hoeveler, Diane Long."The Female Gothic, Beating Fantasies, and the Civilizing Process." In Comparative Romanticisms: Power, Gender, Subjectivity, ed. Larry H. Peer and Diane Long Hoeveler (South Carolina: Camden House, 1998), 103-32.

Hoeveler, Diane Long. Gothic Feminism: The Professionalization of Gender from Charlotte Smith to the Brontës. University Park, Pennsylvania: Pennsylvania State UP, 1998.

Hoeveler's introduction is titled "Gothic Feminism and the Professionalization of 'Femininity.'" In five chapters, she discusses Charlotte Smith's Emmeline, the Orphan of the Castle; Radcliffe's Early Gothics; Radcliffe's Major Gothics; Jane Austen; "Rosa Matilda" and Mary Shelley; and the Brontës and Romantic feminism.

Hofkosh, Sonia. Sexual Politics and the Romantic Author. Cambridge: Cambridge UP, 1998.

Includes chapters titled "Introduction: Invisible Girls," "A Woman's Profession: Sexual Difference and the Romance of Authorship," "The Writer's Ravishment: Byron's Body Politics," "Classifying Romanticism: The Milliner Girl and the Magazines," "Disfiguring Economies: Mary Shelley's Gift-Book Stories," "The Author's Progress: William Hazlitt's Keswick Escapade and Sarah Hazlitt's Journal," and "Romanticism in the Drawing Room: Austen's Interiority."

Hofkosh's third chapter, "Classifying Romanticism: The Milliner Girl and the Magazines," briefly considers the periodical press lampoon of Leigh Hunt as "King of the Cockneys" (66). "Invisible girls are scripted into romantic tradition in particularly material configurations--as bodies, among objects, like books, in the marketplace--even as they appear to be overlooked or, what may amount to the same thing, looked over" (3). She discusses Byron's letter to Walter Scott describing the circumstances that attended his dedication to Scott of Cain. Both Keats and Byron owed their literary fame to the very Bluestockings they despised and who read them (54). In her chapter on Mary Shelley, "Disfiguring Economies," Hofkosh turns her attention to Mary Shelley's writings for annual gift books. "Between the death of Percy Bysshe in 1822 and the death of Sir Timothy in 1844, Shelley supplements the subsistence income her father-in-law begrudgingly lends her out of her son's future estate by writing short stories, many for such annual gift books as The Keepsake and Heath's Book of Beauty." Hofkosh argues that "these narratives explicate in their various frames Shelley's negotiations between two economies of value--of authority, authorship, self--in which the body, especially the female body, is inseparably implicated. Shelley's stories respond on the one hand to an aristocratic economy of patrilinear inheritance and, on the other hand, she recognizes an economics of the marketplace, what Percy Bysshe called 'the shop interest'" (86) wherein production disfigures the writer.

In her chapter on William Hazlitt's Keswick escapade and Sarah Hazlitt's Journal, Hofkosh discusses Hazlitt's "unwanted advances to a village girl" (104). In his failed effort to seduce a woman in the Lake District, Hazlitt emerges as the proud author of An Essay on the Principle of Human Action (1805), a book he proudly claimed no woman "would ever comprehend the meaning of" (104). Sarah Hazlitt's Journal of My Trip to Scotland is the subject of Hofkosh's concluding remarks. "In the heterosexual economy within which she must inevitably function--whether single, married, or divorced--the woman may never conclude that she is her own except in contesting the very oppositions which define her" (117). Sarah Hazlitt is forced to lie about having no "collusion in the divorce proceedings" (117). The law conspires to make her a liar by making "perjury, like divorce, a practical necessity of her compromised position" (118).

Hogle, Jerrold E. "The Gothic Ghost as Counterfeit and Its Haunting of Romanticism: The Case of 'Frost at Midnight.'" ERR 9.2 (Spring 1998): 283-92.

Hundert, Edward. "Performing the Passions in Commercial Society: Bernard Mandeville and the Theatricality of Eighteenth-Century Thought." In Refiguring Revolutions: Aesthetics and Politics from the English Revolution to the Romantic Revolution, ed. Kevin Sharpe and Steven N. Zwicker (Berkeley: U of California P, 1998), 141-72.

Izenberg, Gerald. "The Politics of Song in Wordsworth's Lyrical Ballads." In Refiguring Revolutions: Aesthetics and Politics from the English Revolution to the Romantic Revolution, ed. Kevin Sharpe and Steven N. Zwicker (Berkeley: U of California P, 1998), 116-37.

Jackson, H. J. "Coleridge's Lessons in Transition: The 'Logic' of the 'Wildest Odes.'" In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 213-24.

Jacobs, Matthew Eric. "William Wordsworth and the Evolution of Style: A Study of Philosophical Differences in the Poetry of Wordsworth and Keats." Honors thesis, Coe College, 1998.

Jacobus, Mary. "'The Science of Herself': Scenes of Female Enlightenment." In Romanticism, History, and the Possibilities of Genre: Re-forming Literature 1789-1837, ed. Tilottama Rajan and Julia M. Wright (Cambridge: Cambridge UP, 1998), 240-69.

Jacobus' essay explores Austen's Mansfield Park (1814) and the proposed in-house performance of Kotzebue's play The Child of Love, translated by Elizabeth Inchbald as Lovers' Vows (1798), which allows Austen "to depict the invasion of the English country house by foreign forms of intimacy" (243). Jacobus is concerned with how Jacobin women disrupt the domestic sphere "by importing the politics of sexuality into the family, reminding us that what the family excludes is also what makes it a space of confinement for women" (243); she also discusses abject figures in Ann Radcliffe's The Romance of the Forest (1791), where the dead mother is a "sign of forbidden pleasure" (255), and concludes with Maria Edgeworth's novel Belinda (1801), "best-known for its anti-Jacobin caricature of a cross-dressing proto-feminist eccentric, Harriet Freke, who champions the rights of women to duel and to declare their love to men" (259).

"Whether male- or female-authored, Jacobin or conservative, the scene of female enlightenment tends to veer not only towards the question of female sexuality--the dangerous susceptibility that Wollstonecraft's writing encodes as 'sensibility'--but also towards the problematic outcome of unconfined feminine desire. For the British women writers who constitute the female enlightenment of the early Romantic period, these restraints often coincide with melancholia, taking the form of melancholic identification with a lost maternal object" (240).

Janowitz, Anne. Lyric and Labour in the Romantic Tradition. Cambridge: Cambridge UP, 1998.

Janowitz, Anne. "The Romantic Fragment." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 442-51.

Jarvis, Simon. "Wordsworth's Gifts of Feeling." Romanticism 4.1 (1998): 90-103.

Jasper, David. The Sacred and Secular Canon in Romanticism: Preserving the Sacred Truths. New York: St. Martin's P, 1998.

Jenner, Mark. "Bathing and Baptism: Sir John Floyer and the Politics of Cold Bathing." In Refiguring Revolutions: Aesthetics and Politics from the English Revolution to the Romantic Revolution, ed. Kevin Sharpe and Steven N. Zwicker (Berkeley: U of California P, 1998), 197-216.

Johnson, Roberta. "La Gaviota and Romantic Irony." In Cultural Interactions in the Romantic Age: Critical Essays in Comparative Literature, ed. Gregory Maertz (Albany: State U of New York P, 1998), 79-92.

"Examines the struggle of displaced persons during the Carlist Wars, a period of extraordinary geographical and national fluidity in Spanish history. Her focus is on a novel [La Gaviota] by Cecilia Bohl von Faber, who wrote under the masculine pseudonymn Fernan Caballero" (5).

Johnston, Kenneth R., and Joseph Nicholes. "Transitory Actions, Men Betrayed: The French Revolution in the English Revolution in Romantic Drama." In British Romantic Drama: Historical and Critical Essays, ed. Terence Allan Hoagwood and Daniel P. Watkins (Madison, N.J.: Fairleigh Dickinson UP; London: Associated UP, 1998), 115-58.

This essay examines five Romantic dramas concerned with the English Revolution, "showing that the political content of these dramas is directly relevant to British politics after the French Revolution" (17). Johnston and Nicholes include discussions of Charles Lamb's John Woodvil, William Godwin's Faulkner, Percy Bysshe Shelley's Charles the First, Mary Russell Mitford's Charles the First, and Robert Browning's Strafford: An Historical Tragedy. "These dramas insist . . . that the actions of individuals are seldom only private . . .and that personal life carries within it the pressures and principles of the age to which it belongs" (18).

Jones, Christine Kenyon. "'Minute Obeisances': Beasts, Birds, and Wordsworth's Ecological Credentials." Romanticism 4.1 (1998): 74-89.

"The way in which Wordsworth places and approaches animals in his view of nature has been given little critical attention" (74); includes brief readings of The Prelude (1805; VIII, 486-97; II, 324-29; V, 399-410) and The Excursion (IV, 402-12), with references to Peter Bell and Hart-Leap Well.

Jones, Steven. "Representing Rustics: Satire, Counter-Satire, and Emergent Romanticism." WC 29.1 (Winter 1998): 60-67.

Joseph, Elizabeth. "William Wordsworth as Rhetor in The River Duddon Sonnets." Ph.D. diss., Texas Woman's U, 1998, DAI, 59-07A (1998): 2522, 161 pages.

Wordsworth's The River Duddon sonnets show his craftsmanship and have not received adequate recognition. He deserves to be ranked with Spenser, Sidney, Shakespeare, and Milton; his influence on Shelley, Tennyson, and Arnold "needs further investigation."

Katz, Marc. "Confessions of an Anti-Poet: Kierkegaard's Either/Or and the German Romantics." In Cultural Interactions in the Romantic Age: Critical Essays in Comparative Literature, ed. Gregory Maertz (Albany: State U of New York P, 1998), 227-45.

Kaufman, Robert. "The Madness of George III, by Mary Wollstonecraft." SIR 37:1 (Spring 1998): 17-26.

Kelley, Theresa M. "Postmodernism, Romanticism, and John Clare." In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 157-70.

Kemp, Martin. "Turner's Trinity." Nature 392.6674 (Mar. 26, 1998): 343.

Kenning, Douglas. Necessity, Freedom, and Transcendence in the Romantic Poets: A Failed Religion. Lewiston, N.Y.: Edwin Mellen P, 1998.

Kimmer, Garland. "William Butler Yeats and Meditative Verse: 'Where Got I That Truth?'" Ph.D. diss., U of North Carolina at Chapel Hill, 1998, DAI, 59-08A (1998): 3001, 221 pages.

Yeats' "primary Romantic influence was neither Blake nor Shelley, but Wordsworth." Yeats' poetry revels in the local, like Wordsworth's; his interest in Nationalist politics, the occult, and reverie are compared with Wordsworth's.

Kipperman, Mark. "Coleridge, Shelley, Davy, and Science's Millennium." Criticism 40.3 (Summer 1998): 409-37.

"The model for Queen Mab's visionary science as well as for Coleridge's millennial optimism in his 1794 Religious Musings was Erasmus Darwin's enormously popular poem, The Botanic Garden, whose scientific footnotes ran to 100,000 words" (409). This essay explores the contrast between Shelley's and Coleridge's political responses to the usefulness of scientific knowledge and considers the relationship between idealism and the rejection or acceptance of scientific method and empirical knowledge. Kipperman's essay includes a consideration of the contributions of Dr. Andrew Ure in reviving an executed murderer using a voltaic pile (November 1818), Hans Christian Oersted's (1777-1851) belief that "electricity and magnetism were twin aspects of a single 'original' power," and André-Marie Ampère's (1778-1836) argument that "magnetic forces circled around current-carrying wires and that helixes of such wires could actually create magnets" (419).

Kitson, Peter J. "Beyond the Enlightenment: The Philosophical, Scientific, and Religious Inheritance." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 35-47.

Kitson, Peter J. "Romanticism and Colonialism: Races, Places, Peoples, 1785-1800." In Romanticism and Colonialism: Writing and Empire, 1780-1830, ed. Tim Fulford and Peter J. Kitson (Cambridge: Cambridge UP, 1998), 13-34.

Explores Marx's distinction between colonialism and imperialism, and notes that Romanticism and British imperialism emerged at roughly the same time. Discusses Captain James Cook's three voyages, Edmund Burke's speech which began the impeachment of the Governor of Bengal, Warren Hastings, and Sir William Jones' "translations [which] made Hinduism available to the Romantic poets" (16).

Klancher, Jon. "Godwin and the Genre Reformers: On Necessity and Contingency in Romantic Narrative Theory." In Romanticism, History, and the Possibilities of Genre: Re-forming Literature 1789-1837, ed. Tilottama Rajan and Julia M. Wright (Cambridge: Cambridge UP, 1998), 21-38.

This essay discusses Godwin's shift from political and moral philosophy to cultural inquiry and criticism by contrasting Enquiry Concerning Political Justice (1793) with The Enquirer (1797). Where previous critics see this change in genre as emblematic of "Godwin's shift from rationalism to empiricism or skepticism, radicalism to liberalism, or Enlightenment assuredness to Romantic ironism," Klancher views Godwin's shift in genres as an example of the "expansive early modern or Enlightenment category of 'literature'--the spacious universe of educated genres ranging from the scientific and the historiographic to the poetic and the critical" (21).

Kligerman, Karen Ruth. "The Ravishing Word: Modern Narrative and the Romantic Ode." Ph.D. diss., New York U, 1998, DAI, 58-12A (1998): 4666.

Knight, David M. Science in the Romantic Era. London: Ashgate, 1998.

Koenig-Woodyard, Chris. "A Hypertext History of the Transmission of Coleridge's 'Christabel,' 1800-1816." RoN 10 (May 1998): <http://www-sul.stanford.edu/mirrors/romnet/>.

Kroeber, Karl. "The Presence of Absences: Were the Other Two Wedding Guests William Wordsworth and Fletcher Christian?" WC 29.1 (Winter 1998): 3-8.

Kucich, Greg. "'A Haunted Ruin': Romantic Drama, Renaissance Tradition, and the Critical Establishment." In British Romantic Drama: Historical and Critical Essays, ed. Terence Allan Hoagwood and Daniel P. Watkins (Madison, N.J.: Fairleigh Dickinson UP; London: Associated UP, 1998), 56-83.

Kucich argues that the very success of London's nineteenth-century playhouse drove Romantic writers away from it (58). Among other topics, he explores the elitist implications of Shelley's and Byron's experiments in closet drama and seeks to explain why Beddoes and Keats felt "uneasy about their dramatic ambitions" (77).

Kuczynski, Ingrid. "Reading a Landscape: Ann Radcliffe's A Journey Made in the Summer of 1794, Through Holland and the Western Frontier of Germany, With a Return Down the Rhine." In British Romantics as Readers: Intertextualities, Maps of Misreading, Reinterpretations; Festschrift fur Horst Meller, ed. Michael Gassenmeier, Petre Bridzun, Jens Martin Gurr, and Frank Eric Pointner (Heidelberg: Universitatsverlag C. Winter, 1998), 241-58.

Kuczynski, Peter. "Intertextuality in Rip Van Winkle; Irving's use of Büsching's Folk Tale Peter Klaus in an Age of Transition." In British Romantics as Readers: Intertextualities, Maps of Misreading, Reinterpretations; Festschrift fur Horst Meller, ed. Michael Gassenmeier, Petre Bridzun, Jens Martin Gurr, and Frank Eric Pointner (Heidelberg: Universitatsverlag C. Winter, 1998), 295-318.

Labbe, Jacqueline M. "Charlotte Smith, Beachy Head." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 204-10.

Labbe, Jacqueline M. Romantic Visualities: Landscape, Gender, and Romanticism. Basingstoke and New York: Macmillan/St. Martin's P, 1998.

This study seeks "an enlarged and more dynamic understanding of what Karl Kroeber calls 'romantic landscape vision.' It is no longer enough to postulate a single or unified Romantic approach to landscape. To concede or even share the eminence would surely threaten to eliminate masculine dominance, yet the female voices inhabiting the landscape shape it, just as their male counterparts complicate their own expected stances" (xxi). Labbe's first chapter considers what the prospect view signifies for male and female poets. Chapter 2 considers whether women can apprehend the foundations of the sublime if they are considered antithetical to it. Her third chapter argues that the garden and bower occupy "gendered cases of seclusion and isolation" (xix). Chapter 4 considers "travel writing's adaptation" of the sublime and picturesque by considering Priscilla Wakefield's A Family Tour (1804) alongside of William Wordsworth's Guide through the District of the Lakes" (xx) (1810). Her fifth chapter contrasts Reynolds' "distaste for the detail" in his Discourses with Mary Delany's detailed flower pictures and Anna Seward's poetry. In her reading of "La Belle Dame sans Merci" (107-12), Labbe shows that Keats demonstrates how the bower is "subversively female" and points out "what happens when the bower is already inhabited by a feminine subject able to make some use of its subversive potential power" (107).

Lau, Beth. "Jane Austen, Pride and Prejudice." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 219-26.

Laughlin, Corinna Justine. "The Ossianic Novel." Ph.D. diss., U of Washington, 1998, DAI, 59-06A (1998): 2037.

Leask, Nigel. "Kubla Khan and Orientalism: The Road to Xanadu Revisited." Romanticism 4.1 (1998): 1-21.

Takes issue with McGann's assertion that Kubla Khan is concerned with "the poetical faculty itself . . . by considering the poem as it stood before the addition of the 1816 preface." Coleridge "subjected the poetry of his early, youthful radicalism to a revisionary process similar to that which McGann has dubbed 'the Romantic Ideology'" (2).

Leblanc, Jacqueline Christine. "Critique in Aesthetic Ideology: Aesthetic Politics in Romanticism and Critical Theory." Ph.D. diss., U of Massachusetts, 1996, DAI, 57-07A (1996): 3037.

Levin, Katherine Ann. "Rhetoric, Hypocrisy, and Greed: Utopian Thought and Its Representations in Six French and English Novels of the Nineteenth Century." Ph.D. diss., Brandeis U, 1998, DAI, 59-04A (1998): 1153.

Levin, Susan M. The Romantic Art of Confession: De Quincey, Musset, Sand, Lamb, Hogg, Frémy, Soulié, Janin. Columbia, S.C.: Camden House, 1998.

Levin argues that romantic confessions form a "distinct, literary mode" (2). Discusses Thomas De Quincey's Confessions of an English Opium Eater in light of Shelley's Defence of Poetry. Interesting account of Lamb's "Confessions of a Drunkard."

Lucas, John. "John Clare, The Shepherd's Calendar." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 301-12.

Lynch, Deidre. The Economy of Character: Novels, Market Culture, and the Business of Inner Meaning. Chicago: U of Chicago P, 1998.

Macdonald, D. L. "The Isle of Devils: The Jamaican Journal of M.G. Lewis." In Romanticism and Colonialism: Writing and Empire, 1780-1830, ed. Tim Fulford and Peter J. Kitson (Cambridge: Cambridge UP, 1998), 189-205.

"Utilizing James Clifford's notions of the allegorical basis of ethnolography," Macdonald "shows how Matthew Lewis views Jamaica through a gothic lens."

Maertz, Gregory. "Introduction." In Cultural Interactions in the Romantic Age: Critical Essays in Comparative Literature, ed. Gregory Maertz (Albany: State U of New York P, 1998), 1-9.

Maertz, Gregory. "Reviewing Kant's Early Reception in Britain: The Leading Role of Henry Crabb Robinson." In Cultural Interactions in the Romantic Age: Critical Essays in Comparative Literature, ed. Gregory Maertz (Albany: State U of New York P, 1998), 209-26.

Maertz' essay examines the critiques of Kant that were published by leading Romantic writers. Includes a discussion of William Taylor, William Hazlitt, and Thomas De Quincey, though the essay focuses on Henry Crabb Robinson (8).

Maertz, Gregory, ed. Cultural Interactions in the Romantic Age: Critical Essays in Comparative Literature. Albany: State U of New York P, 1998.

The first section contains essays on Richard Hurd and Friedrich Schlegel, by James Engell; on Hölderlin, Nerval, and Clare, by Frederick Burwick; on "Mapping a Geography of Gender," by April Alliston; on Romantic irony, by Roberta Johnson; on the salons of de Staël and Rachel Varnhagen, by Lilian Furst; on Rydal Mount Ladies' Boarding School, by John L. Maloney; on Rousseau and British Romanticism, by Annette Cafarrelli; on Valperga and Corinne, by Kari Lokke; on Richardson, Rousseau, and Kant, by David C. Hensley; on Kant's early reception in Britain and Henry Crabb Robinson's role, by Gregory Maertz; and on Kierkegaard's Either/Or, by Marc Katz.

Magnuson, Paul. Reading Public Romanticism. Princeton: Princeton UP, 1998.

The first chapter makes use of Jurgen Habermas' definition of the "public sphere" to define a "public discourse." The second chapter explores the genres and rhetoric of this public discourse with readings of Coleridge's "This Lime Tree Bower My Prison," first published in Southey's Annual Anthology, where it was framed as a public letter to Charles Lamb. Chapter 3 explores Coleridge's "Frost at Midnight" in Fears in Solitude (1798), defined by reviewers as a German poem. The word German meant "Jacobin" in the 1790s (9). The final two chapters "explore the issue of poetic and political legitimacy" with readings of the dedication to Don Juan and Keats's "Ode on a Grecian Urn." "Much of the poetry published between 1789 and 1830 is public poetry, but one cannot discover its public nature by reading individual works of literature apart from the public discourse that literature enters when it is published. Justice cannot be done to a work's literary and cultural significance by disregarding its various locations in collections of the author's own poetry, collaborative publications with several authors, reviews, newspapers, or anthologies" (3). Chapter 5 reads the "paratextual Dedication to Don Juan as an address to Southey composed from many of the reviews and parodies of Southey's laureate verse and the satire on him in the public press. Chapter 6 reads the 'leaf-fringed legend' in 'On a Grecian Urn' in the Annals of the Fine Arts, where it supports the aesthetics of Haydon, Hazlitt, and Richard Payne Knight--an esthetics that opposed not only the ideal art of Sir Joshua Reynolds, but the system of patronage that supported the Royal Academy and what Hazlitt called legitimacy" (10). Magnuson focuses on lyric poems considered nonpolitical because their public significance has been lost in the late-twentieth century.

Mahoney, John L. "The Rydal Mount Ladies' Boarding School: A Wordsworthian Episode in America." In Cultural Interactions in the Romantic Age: Critical Essays in Comparative Literature, ed. Gregory Maertz (Albany: State U of New York P, 1998), 105-22.

Drawing on archival research at the Wordsworth Library in Grasmere and in Boston-area archives, Mahoney's "The Rydal Mount Ladies' Boarding School" relates how the Rev. Henry K. Green and his wife, Sarah, served as agents of cultural interaction between England and America in the mid-1840s (6). Trans-Atlantic cultural interaction embraced contemporary social history, church politics, and educational theory and praxis.

Makdisi, Saree. Romantic Imperialism: Universal Empire and the Culture of Modernity. Cambridge: Cambridge UP, 1998.

Makdisi argues that England's process of universal empire has to be understood in global terms, beyond the British and European viewpoint, and that developments in India, Africa, and the Arab world (up to and including our own time) enable us to understand more fully the texts and contexts of British Romanticism. The book is divided as follows: "Introduction: Universal Empire," "Home Imperial: Wordsworth's London and the Spot of Time," "Wordsworth and the Image of Nature," "Waverley and the Cultural Politics of Dispossession," "Domesticating Exoticism: Transformations of Britain's Orient, 1785-1835," "Beyond the Realm of Dreams: Byron, Shelley, and the East," "William Blake and Universal Empire," and "Conclusions". "The Oriental space developed in Alastor represents a reclamation of an Oriental terrain from previous visions and versions of the East and its incorporation into the emergent space-time of modernity. Thus it not only anticipates the paradigms of Orientalist discourse associated both with James Mill [in History of British India] and with late nineteenth-century English Orientalists (many of whom were inspired by Mill's History) but it contributes to the historical production of the Orient as a space for European knowledge, discipline, and control. The version of the Orient that is produced in Childe Harold II--the Orient as refuge from and potential alternative to modernity--was contested and redefined in later spatial productions; its critical and imaginary terrain had to be seized, cleansed, and totally re-organized and re-invented. The Oriental space produced in Alastor symbolizes the beginning of that reclamation, the production of a new Orient that the poem 'discovers,' which would later be embellished, developed, augmented, and improved in succeeding visions and versions of the East" (123).

Mallory, Anne Boyd. "Acting Out: Theater, Revolution, and the English Novel, 1790-1848." Ph.D. diss., Cornell U, 1998, DAI, 59-07A (1998): 2523.

Matheson, C. S. "The Royal Academy and the Annual Exhibition of the Viewing Public." In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 280-303.

Mazzeo, Tilar J. "'Sporting Sketches during a Short Stay in Hindustane': Bodleian MS Shelley Adds. e.21 and Travel Literature in the Shelley/Byron Circle." Romanticism 4.2 (1998): 174-88.

Discusses Edward Ellerker Williams, a lieutenant in the British Army in India and later a member of the Shelley/Byron circle. His journal records events of March 1-12, 1814, including a visit to the ancient ruins, mosques, and harems of Delhi; Williams died on July 8, 1822, and Edward John Trelawny continued the notebook, which "provides significant information concerning the travel narrative as a Romantic genre" (174).

McCann, Andrew. Cultural Politics in the 1790s: Literature, Activism, and the Public Sphere. New York: St. Martin's P, 1998.

McEathron, Scott. "Wordsworth and Coleridge, Lyrical Ballads." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 144-56.

McFarland, Thomas. "Coleridge: Prescience, Tenacity and the Origin of Sociology." Romanticism 4.1 (1998): 40-59.

McGann, Jerome. "The Failures of Romanticism." In Romanticism, History, and the Possibilities of Genre: Re-forming Literature 1789-1837, ed. Tilottama Rajan and Julia M. Wright (Cambridge: Cambridge UP, 1998), 270-87.

"Hemans is able to exploit Byron's notoriety, the scandal of his erotic life, to underscore the meaning of Merope as yet another figure of the fallen woman. More important, by placing her in a context where the central subject is poetic fame, 'the lost Pleiad' becomes a sign of the poet--including the male poet--as woman" (279). Brief discussions of sections from Manfred, Childe Harold (III, st. 88; IV, sts. 151, 80), and Beppo (st. 14), which are contrasted with Felicia Hemans' "The Lost Pleiad," "whose memory fixates on loss and whose ironies do not flaunt or celebrate themselves" (Rajan 279; 277). McGann also discusses Charlotte Smith's Elegiac Sonnets and Mary Robinson's Sappho and Phaon (1796). "The Lost Pleiad" is a sympathetic reading of Byron, "one that points to what she takes to be [his] true genius and lost soul" (280). McGann argues that Byron's reading of women as emblems of perfection and a "byword of faithlessness" "has its immediate source . . . in eighteenth-century elegy" (274) by writers such as Charlotte Smith and Mary Robinson, whose Sappho and Phaon (1796) defines a tradition of the elegy that departs from tradition. Smith's Elegiac Sonnets (1784) argues that "poets serve a savage God" (275), and Byron followed Smith's sentimental tradition in Elegiac Sonnets (1784), rather than Wordsworth's romantic one (276), but made Smith's sentimental sufferings "meteoric" in such works as Manfred and Childe Harold III.

McKeon, Michael. "The Pastoral Revolution." In Refiguring Revolutions: Aesthetics and Politics from the English Revolution to the Romantic Revolution, ed. Kevin Sharpe and Steven N. Zwicker (Berkeley: U of California P, 1998), 267-89.

"In early modern England and in conjunction with material change pastoral underwent a fundamental transformation that should be seen as a radical intensification of its basic generic character rather than a qualitatively new departure" (289). Brief discussion of nationalism and imperialism as macro-pastoralism.

McKusick, James C. "'Wisely Forgetful': Coleridge and the Politics of Pantisocracy." In Romanticism and Colonialism: Writing and Empire, 1780-1830, ed. Tim Fulford and Peter J. Kitson (Cambridge: Cambridge UP, 1998), 107-28.

McKusick "explores the hitherto neglected context of accounts of the South Pacific in Coleridge and Southey's Pantisocratic project" (32).

Miall, David S. "The Alps Deferred: Wordsworth at the Simplon Pass." ERR 9.1 (Winter 1998): 87-102.

Miall, David S. "Gothic Fiction." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 345-54.

Miller, Christopher Robert. "The Romantic Lyric: Perception into Form." Ph.D. diss., Harvard U, 1998, DAI, 59-05A (1998): 1585.

Romantic poetry is read through thematic lenses such as Nature, transcendence, secularized Christianity, creative imagination, and history more often than through formal ones. Yet the Romantic writers drew on eighteenth-century landscape poetry and struggled to order poetic perception in characteristic ways. Miller examines lyrics by Coleridge, Wordsworth, and Keats as "narratives of perception enacted in formal inventions and revisions of earlier poetry, with particular attention [paid] to the shifting ratio between lyric self and phenomenal world." Discussing contemporary philosophical and aesthetic discourse, he addresses differences between "pre-Romantic" and Romantic poetry in nuances of poetic language and procedure. Close readings of evening poems by Wordsworth ("Tintern Abbey"), Coleridge ("This Lime Tree Bower"), and Keats ("To Autumn") are read against evening poems by Virgil and Milton (Il Penseroso and Paradise Lost). This study considers the "structure, syntax, and narrative shape of the Romantic lyric" by considering "the subtle design in each poet's synthesis of prior forms."

Monsman, Gerald Cornelius. Oxford University's Old Mortality Society: A Study in Victorian Romanticism. Lewiston, N.Y.: Edwin Mellen P, 1998.

Moore, Fabienne. "Chateaubriand's Alter Egos: Napoleon, Madame de Staël, and the 'Indian Savage.'" ERR 9.2 (Spring 1998): 187-200.

Morrison, Lucy Jane. "British Women Writers in the Public Sphere, 1800-1840." Ph.D. diss., U of South Carolina, 1998, DAI, 59-07A (1998): 2525.

Morton, Timothy. "Blood Sugar." In Romanticism and Colonialism: Writing and Empire, 1780-1830, ed. Tim Fulford and Peter J. Kitson (Cambridge: Cambridge UP, 1998), 87-106.

"Southey and Coleridge radicalized a topos already made familiar by the anti-slavery writing of Cowper, William Fox and Thomas Cooper, in which the sugar sweetening the tea of polite Englishmen and women was figuratively turned to the blood shed by the slaves who produced it." In the hands of the young Southey and Coleridge, Morton argues, "this topos . . . arouse[d] a shared guilt and compassion" and also "hinted that the poets vicariously enjoyed the prospect of revolutionary violence" (25).

Murley, Susan. "The Use of Marginalia in Coleridge's Aids to Reflection: Collaboration as Supplementation." ERR 9.2 (Spring 1998): 243-52.

Murray, Ciaran. Sharawadgi: The Romantic Return to Nature. San Francisco: International Scholars Publications, 1998.

Nachumi, Nora. "Acting Like a 'Lady': British Women Novelists and the Eighteenth-Century Stage." RoN 12 (Nov. 1998): <http://www.erudit.org/revue/ron/1998/v/n12/005816ar.html>.

Nachumi briefly discusses how the eighteenth-century theater shaped representations of gender by eighteenth-century women novelists.

Narayan, Gaura Shankar. "Split Subjectivity: Reconciling Gender Identity with Poetic Identity in British Romanticism." Ph.D. diss., Columbia U, 1998, DAI, 59-07A (1998), 2525.

This dissertation discusses Blake's Milton and his creation of the figure of the androgyne; Wordsworth's "Tintern Abbey" as an exemplary instance of "the androgynous plurality of the Wordsworthian subjectivity"; and the "conclusive and compensatory" addresses to Dorothy and Coleridge in The Prelude as "evidence of the poet's desire to relinquish the masculinist mode of historical epic in favor of domestic autobiography." Narayan discusses Keats's feminized imagination as evident in "Lamia" and "La Belle Dame sans Merci." "The unresolved narrative tension of Keats's circular narrative poems is a symptom of the inability of the narrative to contain the female presences in the poems who thereby gain power and poetic privilege which they share with the poet in order to produce a writing subject pluralized in the direction of androgyny."

Nemoianu, Virgil. "Robert Southey's The Doctor: The Conservatism of Voracious Reading." In British Romantics as Readers: Intertextualities, Maps of Misreading, Reinterpretations; Festschrift fur Horst Meller, ed. Michael Gassenmeier, Petre Bridzun, Jens Martin Gurr, and Frank Eric Pointner (Heidelberg: Universitatsverlag C. Winter, 1998), 223-40.

This essay explores the motivations for Southey's conservatism, which the author defines as characterized by nationalism, anti-industrialism, and an acceptance of social inequality. "Southey's writing (more than that of Coleridge or Shelley) became a paradigm for many key aspects of 19^th century British aesthetic, intellectual (and even political) behaviors" (227). For Nemoianu, The Doctor is Southey's great work, his "Prelude or Biographia" (230).

Neveldine, Robert Burns. Bodies at Risk: Unsafe Limits in Romanticism and Postmodernism. Albany: State U of New York P, 1998.

"Taking a fundamentally post-psychoanalytical approach, Bodies at Risk links philosophical and aesthetic issues in two distinct periods, with postmodernism continuing and amplifying the central concerns of romanticism, including subject formation, the disruptive effects of the human body, and the unique forms of textuality they enable through risky personal and artistic conflicts." Neveldine discusses Wordsworth's "Nutting" and Frankenstein (in the context of Godwin's writings), among other works (including Gregg Araki's film The Living End, Marquis de Sade's prose, and the autobiographical fiction of Thomas Bernhard). "Why does Western culture continue returning to the Frankenstein story so obsessively, and what is there about its protocyberneticism that captivates us?" (xv).

Nichols, Ashton. The Revolutionary "I": Wordsworth and the Politics of Self-Presentation. New York: St. Martin's P, 1998.

Six chapters on William Wordsworth, Dorothy Wordsworth, and Samuel Taylor Coleridge. Brief discussion of Wordsworth's recollection of the power of "false" poetry; comparisons between Wordsworth's verse, Byron's Childe Harold III, and Shelley's Laon and Cythna (146-47).

Nicolay, Claire. "Origins and Reception of Regency Dandyism: Brummell to Baudelaire." Ph.D. diss., Loyola U of Chicago, 1998, DAI, 58-12A (1998): 4640.

Nokes, David. Jane Austen: A Life. Berkeley: U of California P, 1998.

Nokes presents the novelist "not in the modest pose which her family determined for her, but rather, as she most frequently presented herself, as rebellious, satirical, and wild."

O'Neill, Michael. "General Studies of the Romantic Period." In Literature of the Romantic Period: A Bibliographical Guide, ed. Michael O'Neill. Oxford: Clarendon P, 1998.

"I draw highly selective attention to general studies of Romanticism and the Romantic period which may be regarded as significant, or particularly helpful for students, or both" (1); focus is on poetry, rather than fiction. Brief accounts of major works by M. H. Abrams, Harold Bloom, Marilyn Gaull, Carl Woodring, Karl Kroeber, Jerome McGann, Marilyn Butler, Susan Wolfson, and others. Major critical studies, such as Butler's response to Bloom, are seen in relation to one another. O'Neill's hostility to deconstruction is particularly evident in his account of De Man, Rajan, and Wolfson ("Wolfson's book is indebted to but not overpowered by deconstruction" [12]).

O'Quinn, Daniel. "Inchbald's Indies: Domestic and Dramatic Re-Orientations." ERR 9.2 (Spring 1998): 217-30.

O'Rourke, James. "'Goody Blake and Harry Gill,' 'The Thorn,' and the Failure of Philanthropy." ERR 9.1 (Winter 1998): 103-23.

Otter, A.G. den. "Displeasing Women: Blake's Furies and the Ladies of Moral Virtue." ERR 9.1 (Winter 1998): 35-58.

Pace, Joel. "'Gems of a Soft and Permanent Lustre': The Reception and Influence of the Lyrical Ballads in America." RoN 9 (Feb. 1998): <http://www.erudit.org/revue/ron/1998/v/n9/005782ar.html>.

Paley, Morton D. "Apocalypse and Millennium." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 470-85.

Patten, Janice. "Joanna Baillie, A Series of Plays." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 169-78.

Peer, Larry H., ed. Romanticism across the Disciplines. Washington, D.C.: Catholic UP of America, 1998.

This book brings together thirteen essays that discuss Romanticism's "presence outside of one national tradition or single discourse field. These scholars point out the relationship between Romanticism and the problems of history, the interpretation of the arts, science, philosophy, and culture. They show how the ideas and effects of Romanticism have entered every field of study through their place in life. The presence of many different approaches to Romanticism demonstrate its diversity as a philosophy and provide an opportunity for a wide, deep understanding of Romanticism and its place in the world." Includes essays by Gerhart Hoffmeister, Sante Matteo, Franca Barricelli, David L. Moseley, Marjean D. Purinton, Jean-Pierre Barricelli, Frederick Garber, Didier Maleurve, Scott Sprenger, Virgil Nemoianu, John Neubauer, Terryl L. Givens, and Anthony P. Russell.

Peer, Larry H., and Diane Long Hoeveler, eds. Comparative Romanticisms: Power, Gender, Subjectivity. Columbia, S.C.: Camden House, 1998.

This collection of essays is divided into three sections: power, gender, and subjectivity. The contributors include Peer and Hoeveler on "A Lens for Comparative Romanticisms" (1-11); Stephen C. Behrendt on "Remapping the Landscape: The Romantic Literary Community Revisited" (11-32); Clark Davis on Melville, money, and Romantic faith (33-46); Richard Kaplan on Dostoevsky's Poor Folk and Melville's Pierre (47-58); Margaret Reid on The Scarlet Letter and early American Romanticism (59-80); Karen Karbiener on Whitman's thoughts on Richard Wagner (81-102); Diane Long Hoeveler on "The Female Gothic, Beating Fantasies, and the Civilizing Process" (103-32); Donelle R. Ruwe on Felicia Hemans and Torquato Tasso's sister (133-58); Debbie Lopez on "'Ungraspable Phantoms': Keats's Lamia and Melville's Yillah" (159-70); Julie Costello on aesthetic discourses and Schlegelian revisions (171-90); Larry H. Peer on "Pushkin and Romantizm" (191-98); Fred V. Randel on "Romantic Poetry and Civic Space in the Wordsworthian Cave" (199-210); Michael J. Call on Girodet and the representation of Chateaubriand's Romantic Christianity (211-22); and Heather I. Sullivan on Ludwig Tieck's novel Franz Sternbalds Wanderungen (223-34).

Peer, Larry H., and Diane Long Hoeveler. "A Lens for Comparative Romanticisms." In Comparative Romanticisms: Power, Gender, Subjectivity, ed. Larry H. Peer and Diane Long Hoeveler (South Carolina: Camden House, 1998).

Perry, Seamus. "Romantic Literary Criticism." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 371-82.

Perry, Seamus. "Romanticism: The Brief History of a Concept." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 3-11.

Perry, Seamus. "Samuel Taylor Coleridge, Kubla Khan, The Ancient Mariner and 'Christabel.'" In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 131-43.

Pfau, Thomas. "Reading beyond Redemption: Historicism, Irony, and the Lessons of Romanticism." In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 1-37.

Pfau, Thomas, and Robert F. Gleckner, eds. Lessons of Romanticism: A Critical Companion. Durham, N.C.: Duke UP, 1998.

Essays from the 1994 conference on "The Political and Aesthetic Education of Romanticism" at Duke University, which was organized by the editors. An introduction by Thomas Pfau on historicism, irony, and the lessons of Romanticism, with sections entitled "Varieties of Bildung in European Romanticism and Beyond," "Images and Institutions of Cultural Literacy in Romanticism," and "Gender, Sexuality, and the (Un)Romantic Canon." Essays relevant for this bibliography include those by David S. Ferris, "Keats and the Aesthetics of Critical Knowledge; or, The Ideology of Studying Romanticism at the Present Time" (103-25), mainly a reflection on McGann's essay on Keats; Joel Faflak's "Romantic Psychoanalysis: Keats, Identity, and (The Fall of) Hyperion" (304-27); Steven Bruhm's "Reforming Byron's Narcissism" (429-47); and Greg Kucich's "'This Horrid Theatre of Human Sufferings': Gendering the Stages of History in Catharine Macaulay and Percy Bysshe Shelley" (448-66).

Phillips, Ivan. "Beyond the Marvellous Boy: The Subversive Scuffle and Kick of Chatterton's Verse-and His Particular Influence on the Romantics." TLS 4981 (Sept. 18, 1998): 17-18.

Philonoe. "The Unfuzzy Lam." American Scholar 67.3 (Summer 1998): 5-11.

Pinch, Adela. "Learning What Hurts: Romanticism, Pedagogy, Violence." In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 413-28.

Pinckneya, Tony. "Romantic Ecology." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 411-19.

Pipkin, John G. "The Material Sublime of Women Romantic Poets." SEL 38:4 (autumn 1998): 597-620.

Pointner, Frank Erik. "Bardolatry and Biography: Romantic Readings of Shakespeare's Sonnets." In British Romantics as Readers: Intertextualities, Maps of Misreading, Reinterpretations; Festschrift fur Horst Meller, ed. Michael Gassenmeier, Petre Bridzun, Jens Martin Gurr, and Frank Eric Pointner (Heidelberg: Universitatsverlag C. Winter, 1998), 117-36.

The sonnet, neglected in the Augustan age, received renewed attention during the Romantic era when readers "made no distinction between author and speaker" (120) and read Shakespeare's Sonnets as the Prelude was "meant to be read, as their author's autobiographical confessions" (120). Yet Romantic readers resisted the implications of the biographical approach to the sonnets which they themselves advocated. This essay explores how Coleridge's Table Talk and his Marginalia exhibit the romantic tendency to treat homoeroticism in Shakespeare's sonnets in a non-committal way, only tacitly admitting that Sonnet 20 describes "a passion that pertains to the physical" (131). Pointner notes how the word "nothing" was pronounced "noting," thus encouraging a homoerotic reading of Sonnet 20, a point which Coleridge may or may not have understood. For Coleridge, Sonnet 20 "is Shakespeare's means of veiling his sexual desire for a woman under a homoerotic disguise" (131).

Porter, Roy. "Medicine, Politics, and the Body in Late Georgian England." In Refiguring Revolutions: Aesthetics and Politics from the English Revolution to the Romantic Revolution, ed. Kevin Sharpe and Steven N. Zwicker (Berkeley: U of California P, 1998), 217-37.

Taking issue with a "disembodied historiographical tradition that tells us too little about the corporeal realities of the past," Porter considers a number of caricatures by Rowlandson, Hogarth, Gillray, and others to examine the health of the body as an icon in political debate.

Prickett, Stephen. "Jacob's Dream: A Blakean Interpretation of the Bible." In British Romantics as Readers: Intertextualities, Maps of Misreading, Reinterpretations; Festschrift fur Horst Meller, ed. Michael Gassenmeier, Petre Bridzun, Jens Martin Gurr, and Frank Eric Pointner (Heidelberg: Universitatsverlag C. Winter, 1998), 99-106.

This essay discusses Blake's water-colour, known as "Jacob's Dream," or "Jacob's Ladder," which was painted in 1808 and exhibited in the Royal Academy that same year. Blake follows Swedenborg, who follows Dante, in focusing on the absence of God in this narrative from Genesis 28:10-16. For Blake and Coleridge, the Bible was a representative literary form, "the paradigm by which other works were to be understood and judged" and the "'type' of wholeness" (105).

Purinton, Marjean D. "The English Pamphlet War of the 1790s and Coleridge's Osorio." In British Romantic Drama: Historical and Critical Essays, ed. Terence Allan Hoagwood and Daniel P. Watkins (Madison, N.J.: Fairleigh Dickinson UP; London: Associated UP, 1998), 159-81.

This essay situates Coleridge's Osorio amid the political pamphlet wars of the 1790s. Read in the context of the English pamphlet war, Osorio presents a response to the French Revolution; that response is critical of both the Jacobins and Royalists, on the grounds that "both sides pursue narrowly ideological programs that are prone to violence and that, therefore, inevitably impede true liberty" (18).

Purinton, Marjean D. "Revising Romanticism by Inscripting Women Playwrights." RoN 12 (Nov. 1998): <http://www.erudit.org/revue/ron/1998/v/n12/005822ar.html>.

Quinney, Laura. "Wordsworth's Ghosts and the Model of the Mind." ERR 9.2 (Spring 1998): 293-301.

Raizis, Marius Byron. "Romantic Readings of Homer." In British Romantics as Readers: Intertextualities, Maps of Misreading, Reinterpretations; Festschrift fur Horst Meller, ed. Michael Gassenmeier, Petre Bridzun, Jens Martin Gurr, and Frank Eric Pointner (Heidelberg: Universitatsverlag C. Winter, 1998), 55-70.

Though poems by Blake, Wordsworth, and Coleridge show "no obvious signs of creative contacts with the poetry of Homer" (54), the poetry of Byron, Shelley, and Keats exhibit signs of paramount importance. Byron's Don Juan and other works show explicit debts to Homer in plot and character; Shelley translated seven Hymns attributed to Homer; and Keats composed sonnets praising the Greek epic poet. Keats and Shelley preferred Chapman's English poetic versions; Byron preferred Pope's translations of The Iliad and The Odyssey. Raizis discusses Hermione de Almeida's superb reading of Byron and Joyce through Homer (1981). Keats's linear plotting in Endymion, Lamia, Hyperion, and The Fall of Hyperion owes more to Ovid and his imitators than to Homer (59). Shelley read Homer all his life and considered The Iliad a poem "that surpasses any other single production of the human mind"; he even considered the reading of Greek therapeutical. "I have employed Greek in large doses, and I consider it the only sure remedy for diseases of the mind" (64; Jones 2:360). Yet Shelley never wrote a heroic poem or national epic in the style or manner of Homer. Shelley's ethereal sprites differ from Homer's concrete and earthly descriptions of Odysseus' adventures (64).

Rajan, Balachandra. "Monstrous Mythologies: Southey and The Curse of Kehama." ERR 9.2 (Spring 1998): 201-16.

Rajan, Tilottama. "Autonarration and Genotext in Mary Hays' Memoirs of Emma Courtney." In Romanticism, History, and the Possibilities of Genre: Re-forming Literature 1789-1837, ed. Tilottama Rajan and Julia M. Wright (Cambridge: Cambridge UP, 1998), 213-39.

Rajan, Tilottama, and Julia M. Wright. "Introduction." In Romanticism, History, and the Possibilities of Genre: Re-forming Literature 1789-1837, ed. Tilottama Rajan and Julia M. Wright (Cambridge: Cambridge UP, 1998), 1-18.

Rajan, Tilottama, and Julia M. Wright, eds. Romanticism, History, and the Possibilities of Genre: Re-forming Literature, 1789-1837. Cambridge: Cambridge UP, 1998.

Includes essays by Jon Klancher, Kevin Gilmartin, Gary Handwerk, Ina Ferris, Don Bialostosky, Judith Thompson, Julia M. Wright, Jerrold E. Hogle, Tilottama Rajan, Mary Jacobus, and Jerome McGann. Three sections include "Genre, History, and the Public Sphere," "Genre and Society," and "Genre, Gender, and the Private Sphere." Reprints of essays by Rajan, McGann, Klancher, and Thompson. Most essays were delivered at NASSR, "Romanticism and the Ideologies of Genre," held at the University of Western Ontario in August 1993.

Randel, Fred V. "Romantic Poetry and Civic Space in the Wordsworthian Cave." In Comparative Romanticisms: Power, Gender, Subjectivity, ed. Larry H. Peer and Diane Long Hoeveler (South Carolina: Camden House, 1998), 199-210.

Raycroft, Brent. "From Charlotte Smith to Nehemiah Higginbottom: Revising the Genealogy of the Early Romantic Sonnet." ERR 9.3 (Summer 1998): 363-393.

Raycroft discusses Smith's contributions to the Romantic sonnet in light of contributions by William Lisle Bowles and Samuel Taylor Coleridge. "The recanonization of Charlotte Smith that has occurred in recent years opens up new ways of understanding the development of the early Romantic sonnet, and suspends some long-held and still functional certainties about the roles and the players in that development" (364).

Redfield, Marc. "Romanticism, Bildung, and the Literary Absolute." In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 41-54.

Redfield, Marc. "Spectral Romanticisms." ERR 9.2 (Spring 1998): 271-73.

Richardson, Alan. "Darkness Visible? Race and Representation in Bristol Abolitionist Poetry, 1770-1810." In Romanticism and Colonialism: Writing and Empire, 1780-1830, ed. Tim Fulford and Peter J. Kitson. (Cambridge: Cambridge UP, 1998), 129-47.

Richardson places "Southey's and Coleridge's writing in the contexts of other Bristol abolitionist poetry by Thomas Chatterton, Hannah More and Anne Yearsley" (33).

Richardson, Alan. "Slavery and Romantic Writing." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 460-69.

Riehl, Joseph. That Dangerous Figure: Charles Lamb and His Critics. Columbia, South Carolina: Camden House, 1998.

Eight chapters discuss criticism in Lamb's lifetime, reactions to his death, the canonization of "Saint Charles," the establishment of new humanism, and Lamb's reception in the postwar era.

Roberts, Adam. "Felicia Hemans, Records of Woman." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 313-19.

Roberts, Adam. "Letitia Landon (L.E.L.), The Improvisatrice." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 294-300.

Robertson, Fiona. "Walter Scott, Waverley." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 211-18.

Robinson, Roger. "The Origins and Composition of James Beattie's Minstrel." Romanticism 4.2 (1998): 224-41.

Robinson explores how Beattie came to write a work that was so influential on Cowper, Burns, Bowles, Rogers, Wordsworth, Byron, Shelley, Clare, Keats, and Tennyson.

Rosen, Charles. Romantic Poets, Critics, and Other Madmen. Cambridge: Harvard UP, 1998.

Dedicated to Robert Silvers, editor of the New York Review of Books, this volume reprints reviews that appeared in that journal. Articles of interest for this journal include "The Definitive Text: Honore de Balzac, George Gordon Byron, William Wordsworth" (3-30) and "Separating Life and Art: Romantic Documents, Romantic Punctuation; Gustave Flaubert, George Gordon Byron" (51-75). Some essays are not completely up to date. Rosen opens an essay by stating that "P" is "one of the rare allusions in Byron that has not been identified"; the identification is "Prince Regent" (Lady Melbourne's letter of November 6, 1812). Other chapters touch upon M. H. Abrams (who appears, unaccountably, as M. K. Abrams), Elisabeth` David, Caspar David Friedrich, Robert Schumann, William Cowper, Christopher Smart, Friedrich Hölderlin, German and English Baroque drama, Romantic aesthetics, and Symbolist theory of language. Includes a wide-ranging discussion or works by Heinrich Schenker, Ferdinand de Saussure, Roman Jakobson, William Empson, and George Bernard Shaw.

Rosen, Jeff. "Cameron's Photographic Double Takes." In Orientalism Transposed: The Impact of the Colonies on British Culture, ed. Julie F. Codell and Dianne Sachko Macleod (Hangs, Eng.; Brookfield, Vt.: Ashgate, 1998), 158-86.

Rosen notes how Cameron's Beatrice is modeled on the Beatrice Cenci created by Percy Shelley, who plots her father's murder after having been abused by him.

Rosenblum, Nancy L. "The Inhibitions of Democracy on Romantic Political Thought: Thoreau's Democratic Individualism." In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 55-75.

Discusses democratic individualism, consent, and obedience in Walden. "Thoreau's aversions to ordinary society and claims of exceptionalism are American variations on familiar romantic themes. Their interest for political theory is in the way Thoreau tempers his romantic criticism in deference to the inhibitions of American democracy" (55).

Roskelly, Hephzibah. Reason to Believe: Romanticism, Pragmatism, and the Possibility of Teaching. Albany: State U of New York P, 1998.

In this study, the authors explore how the work of teachers is currently connected with education, learning, and spiritual philosophy in the United States. The authors focus on American writers primarily, but raise pedagogical questions of interest to scholars of British Romanticism. The book discusses the representation of teaching in film (Dead Poet's Society) and the pedagogical theories of John Dewey, with attention paid to work by Barbara Herrnstein-Smith and Stanley Fish.

Ross, Catherine Elizabeth. "Rivals in the Public Sphere: Humphry Davy and Romantic Poets." Ph.D. diss., U of Texas at Austin, 1998, DAI, 59-06A (1998): 2040.

The Romantic era's "invention of modern science" was as important culturally as the French Revolution, the Napoleonic wars, and Industrialization. By tracing the circle of the popular chemical philosopher Humphry Davy, Ross shows how Romantic poets were "sibling rivals" of Regency scientists; examining their works in relation to one another opens Romantic literary texts to richer and more precise readings. "This project revises Habermas's theory of the public sphere to include the surprisingly democratic discourse and practice of natural philosophy and traces the professionalization of science and letters in the years from 1790 to 1807." Ross examines Humphry Davy's public lectures, poetry, notebooks, and letters; Percy Shelley's Defence of Poetry; and Coleridge's letters and Biographia Literaria, as well as both "Prefaces" to Lyrical Ballads. Ross views Wordsworth's career as a man of letters in contradistinction to Davy's: Wordsworth was "trying to find or make a place in his society as a Poet and Man of Letters in competition with the equally passionate, prophetic, and philanthropic Davy."

Ross, Marlon B. "Reading Habits: Scenes of Romantic Miseducation and the Challenge of Eco-Literacy." In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 126-56.

Russett, Margaret. De Quincey's Romanticism. Cambridge: Cambridge UP, 1997.

Russett, Margaret. The English Hymn: A Critical and Historical Study. Oxford: Clarendon P, 1997.

Ruwe, Donelle R. "The Canon-Maker: Felicia Hemans and Torquato Tasso's Sister." In Comparative Romanticisms: Power, Gender, Subjectivity, ed. Larry H. Peer and Diane Long Hoeveler (South Carolina: Camden House, 1998), 133-58.

Saglia, Diego. "'O My Mother Spain!': The Peninsular War, Family Matters, and the Practice of Romantic Nation-Writing." ELH 65.2 (1998): 363-93.

Sha, Richard. The Visual and Verbal Sketch in British Romanticism. Philadelphia: U of Pennsylvania P, 1998.

Sha's fifth chapter, "Resisting Monumentality: Wordsworth, Byron, and the Poetic Sketch," argues that Byron's Childe Harold's Pilgrimage and Wordsworth's Descriptive Sketches (1793) use the poetic sketch to challenge their own desire for monumentality (i.e. for the building of monuments to oneself and others). Sha draws on De Man's essay on Shelley's The Triumph of Life to discuss defacement in literature. Where women were prevented from displaying their intellectual gifts, male poets tried to make their works more self-reflexive, ironic, and canonical by showing their awareness of the limitations of seeking to canonize oneself. "Given Byron's penchant for revision (he was admittedly less obsessive about revision than Wordsworth) and reorganization as well as the complicated manuscript and textual histories of the poem, he at times found in the sketch a more appropriate and enabling metaphor for writing than the monument" (186). Discusses Childe Harold's Pilgrimage (179-93) as a series of sketches (179): "the analogy of writing to sketching . . . accounts for Byron's self-conscious visual presentation of this poem. This perspective also allows us to see how Byron envisaged the provisionality of the sketch as an important counter to monumentality" (180); brief discussion of Shelley's "Ozymandias" (167) juxtaposed with Wordsworth's "This Column Intended by Bonaparte for a Triumphal Edifice in Milan, Now Lying by the Wayside in the Simplon Pass" (1820) and Descriptive Sketches (1793).

Sharpe, Kevin. "'An Image Doting Rabble': The Failure of Republican Culture in Seventeenth-Century England." In Refiguring Revolutions: Aesthetics and Politics from the English Revolution to the Romantic Revolution, ed. Kevin Sharpe and Steven N. Zwicker (Berkeley: U of California P, 1998), 25-56.

Sharpe, Kevin, and Steven N. Zwicker. "Introduction: Refiguring Revolutions." In Refiguring Revolutions: Aesthetics and Politics from the English Revolution to the Romantic Revolution, ed. Kevin Sharpe and Steven N. Zwicker (Berkeley: U of California P, 1998), 1-21.

Sharpe, Kevin, and Steven N. Zwicker, eds. Refiguring Revolutions: Aesthetics and Politics from the English Revolution to the Romantic Revolution. Berkeley: U of California P, 1998.

Interesting historical discussions on the "failure of republican culture in seventeenth-century England" (Kevin Sharpe); George III and the language of sentiment (John Barrell); the politics of song in Wordsworth's Lyrical Ballads (Gerald Izenberg); the politics of cold bathing (Mark Jenner); gender difference and commercial culture in mid-eighteenth century England (Harriet Guest); garden politics in eighteenth-century England (Stephen Bending); and the pastoral revolution (Michael McKeon). Roy Porter's essay on "Medicine, Politics, and the Body" argues that "Romantic poets seized on the emblematic possibilities of the insane. William Blake rejoiced that he was himself divinely mad, while in his ode 'On Melancholy' Keats aspired to the condition of a melancholiac, implying that depression was the wellSpring of creativity and the deepest human experience. Ironically, it took another romantic, Charles Lamb, to challenge these attitudes" (221) and avoid glamorizing madness in his essay "The Sanity of True Genius."

Shaw, Philip. "Britain at War: The Historical Context." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 48-60.

Sider, Michael James. "Dialogic Approaches." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 431-441.

Simpson, David. "New Historicism." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 402-10.

Simpson, Michael. Closet Performances: Political Exhibition and Prohibition in the Dramas of Byron and Shelley. Stanford: Stanford UP, 1998.

This study treats Manfred, Sardanapalus, Prometheus Unbound, Marino Faliero, Hellas, and other plays by Byron and Shelley "as a species of political discourse" (205) and questions the extent to which they could create the taste by which they would be enjoyed. Simpson considers how Byron's and Shelley's dramas were received by the press, and draws on the work of Foucault, Sedgwick, and other theorists to consider the importance of historicism, homoeroticism, and the closet as metaphors for their efforts at political reform.

Smith, Christopher. "Robert Southey and the Emergence of Lyrical Ballads." RoN 9 (Feb. 1998): <http://www-sul.stanford.edu/mirrors/romnet/>.

Smith, Matthew Joseph. "The Manchester Massacre of 1819 and Chartist March of 1842: The Emergenc(y) of Working Class Identity, Representation, and History." Ph.D. diss., Purdue U, 1997, DAI, 58:12 (1998): 4672.

Matthew Smith follows the well-worn path of "new" historicism in this dissertation, embracing "the developing trend that aims to broaden the field of literary studies by applying literary analysis to historical narratives." He "demonstrates the ideological conflict concerning working-class agency among the working class, middle class, and aristocracy" that corresponded with the industrial revolution. The first chapter discusses the methodology of linking history and literature. The second discusses the Manchester Massacre as an event that "legitimated working-class concerns in England." The third chapter considers Shelley's "Mask of Anarchy." The poem "enacts a paternalistic response to working-class concerns in which Shelley embraces and creates a nostalgic version of harmonious class relations." The fourth chapter moves from Peterloo to the Chartist movement, discussing Chartism as "a moment of working-class resistance to the power of the middle class following the Reform Bill of 1832." Chartists offered "a working-class alternative to middle-class ideology." Chapter 5 discusses Disraeli's "(de)construction of a history in Sybil that explains England's political and economic crisis of the 1840s by attributing the country's decline to the rise of the middle class." In an epilogue, the author considers the value of "new" historicism within the discipline of literary studies.

Solomon, Maynard. "Some Romantic Images in Beethoven." In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 225-43.

Steinman, Lisa M. Masters of Repetition: Poetry, Culture, and Work in Thomson, Wordsworth, Shelley, and Emerson. New York: St. Martin's P, 1998.

This book traces whether poetry has a social or political role, and what that role might be (3); the term "repetition" is borrowed from Wallace Stevens' "Notes to a Supreme Fiction": the poet "is not the exceptional . . . /But he that of repetition is most master" (7). Steinman traces the influence of Thomson's career on Wordsworth, discussing Wordsworth's writings from 1790 to 1815, particularly The Ruined Cottage and The Excursion. Her aim is to show a "game of literary 'gossip,'" in which Thomson's echoes of Milton and the classics are reechoed by Wordsworth, who in turn sets the terms of a dialogue for Shelley and Emerson. "'The anxiety of influence' I explore thus is not primarily a Bloomian anxiety about individual predecessors but rather an anxiety occasioned by cultural changes" (2). Thomson aligns poetic power with political power, explicitly in The Seasons and The Castle of Indolence in his praises of British military might. "As The Ruined Cottage replaces Thomson's dreaming swain with Wordsworth's projected poet-storyteller, so poems from Shelley's Alastor volume address and revise Wordsworth's work in The Excursion (repeating Wordsworth's own revisions of The Ruined Cottage and of Thomson)" (6). Shelley's readings of Gothic novels (and of their readership) also informed his theories on the power of lyric as opposed to "the power of narrative" (6). Emerson cited "Wordsworth's poetry as a model of literary seductiveness" (3). Steinman discusses the view of Emerson as "a sort of Yankee Shelley" (Atlantic Monthly, 1897), and considers the use of an unreliable narrator and the theme of storytelling in Alastor (94-111, 129-33), while including a discussion of the essay "On Life," The Triumph of Life, and The Defence of Poetry (127-29).

Stones, Graeme. "Parody and Imitation." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 355-63.

Stones, Graeme and John Strachan. Parodies of the Romantic Age: The Poetry of the Anti-Jacobin and Other Parodic Writings. Brookfield, Vt.: Pickering and Chatto, 1998.

Strachan, John. "Poetry of the Anti-Jacobin." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 191-98.

Sutherland, John. "The Novel." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 333-44.

Suzuki, Ruriko. "The Idea of 'The Real Language of Men' in the 1800 'Preface' to Lyrical Ballads; or Enfield's Idea of Language Derived from Condillac." RoN 11 (Aug. 1998): <http://www-sul.stanford.edu/mirrors/romnet/>.

Swann, Karen. "The Strange Time of Reading." ERR 9.2 (Spring 1998): 275-82.

Swartz, Richard G. "'Their Terrors Came Upon Me Tenfold': Literacy and Ghosts in John Clare's Autobiography." In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 328-46.

Sweet, Nanora. "'Lorenzo's' Liverpool and 'Corinne's' Coppet: The Italianate Salon and Romantic Education." In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 244-60.

Taylor, Anya. Bacchus in Romantic England: Writers and Drink, 1780-1830. New York: St. Martin's P, 1998.

This is the first study to "describe the bulk and variety of writings about drink; to set these poems, novels, essays, letters and journals in a historical, sociological and medical context; to demonstrate the importance of drunkenness in the works of a number of major and minor writers of the period; and to suggest that during these periods, for a short time, the pleasures and pains of drinking are held in a vivacious balance" (1). After discussing the historical realities of drinking, Taylor turns to the drunkenness of Robert Burns as seen by William Wordsworth; of Charles Lamb, Samuel Taylor Coleridge and his son, Hartley; of Keats; and of women Romantic poets and writers, including Hannah More, Felicia Hemans, Charlotte Smith, Mary Wollstonecraft, and Maria Edgeworth, who criticize male drinking more directly than their male counterparts. Extended discussion of Keats's poems in a chapter titled "'Joy's Grape': Keats, Comus, and Paradise Lost IX": includes readings of Endymion (166-72), Hyperion (165), "To Autumn" (168), "Ode on a Grecian Urn" (161, 169), "Ode to a Nightingale" (176-77; 183-87), "Lamia" (183; 187-88), and "Ode on Melancholy" (164-65), with accounts of Byron's interactions with Sheridan.

Thompson, Judith. "'A Voice in the Representation': John Thelwall and the Enfranchisement of Literature." In Romanticism, History, and the Possibilities of Genre: Re-forming Literature 1789-1837, ed. Tilottama Rajan and Julia M. Wright (Cambridge: Cambridge UP, 1998), 122-48.

Thomson, Douglass H. "The Work of Art in the Age of Electronic (Re)Production." RoN 10 (May 1998): <http://www-sul.stanford.edu/mirrors/romnet/>.

Tolley, Michael J. "Preromanticism." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 12-22.

Treadwell, James. "Innovation and Strangeness; or, Dialogue and Monologue in the 1798 Lyrical Ballads." RoN 9 (Feb. 1998): <http://www-sul.stanford.edu/mirrors/romnet/>.

Tremper, Ellen. "Who Lived at Alfoxton?": Virginia Woolf and English Romanticism. Lewisburg, Pa.: Bucknell UP; London: Associated UP, 1998.

Chapters on Wordsworth's Guide to the Lakes, Mrs. Dalloway, To the Lighthouse, and The Waves. Discusses the influence of Shelley on modernists (211-14) and echoes of Keats's work in Woolf's writings (210). Primary focus on Wordsworth and Virginia Woolf.

Trott, Nicola. "Milton and the Romantics." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 520-34.

Trott, Nicola. "The Picturesque, the Beautiful, and the Sublime." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 72-90.

Turley, Richard Marggraf. "Handy Squirrels and Chapman's Homer: Hunt, Keats, and Romantic Philology." Romanticism 4.1 (1998): 104-19.

Negative reviews of Hunt's poetic diction are best understood in terms of Hunt's effort to emulate a pre-Restoration tradition of authors such as William Browne, Edmund Spenser, and George Chapman, who he hoped would displace Pope and Johnson. Hunt's ideas about pre-Restoration diction were borrowed from ideas proposed by Johann Gottfried Herder. Keats's "Specimen of an Induction to a Poem," published in his 1817 volume, signals a key movement in the form of his literary taste by reflecting his admiration of Hunt's The Story of Rimini. Concludes by discussing "On First Looking into Chapman's Homer" (115).

Verstraete, Ginette. Fragments of the Feminine Sublime in Friedrich Schlegel and James Joyce. Albany: State U of New York P, 1998.

"This book lifts Joyce out of the theoretical context with which he is normally associated--Vico, Hegel, Aquinas, Derrida, Lacan, Cixous" (ix) and discusses Joyce's work in relationship to Friedrich Schlegel's fiction and prose. Quotes Friedrich Schlegel's view of Shelley as a "poet of high, fanciful temper," rendering his verse "vague and misty" (20). Includes chapters on "Friedrich Schlegel's Theory of the Fragment," "A History of the Sublime," "Gender and Genre in Aristophanes," and "The Romantic Novel: Lucinde," with discussions of Joyce's Portrait (136-39), Ulysses (162-68 and passim), and Finnegan's Wake (202-14).

Viscomi, Joseph. "The Lessons of Swedenborg; or, The Origin of William Blake's The Marriage of Heaven and Hell." In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 173-212.

Vowe, Klaus W. "Monster and Machine: Romantic Misreadings of the Dawning of the Industrial Era." In British Romantics as Readers: Intertextualities, Maps of Misreading, Reinterpretations; Festschrift fur Horst Meller, ed. Michael Gassenmeier, Petre Bridzun, Jens Martin Gurr, and Frank Eric Pointner (Heidelberg: Universitatsverlag C. Winter, 1998), 259-70.

Ward, John Powell. "'Cannot Choose but Hear': The Figure of Reassurance in Coleridge's Major Poetry." Romanticism 4.1 (1998): 60-73.

Wat, Pierre. Naissance de l'Art Romantique: Peinture et Théorie de l'Imitation en Allemagne et en Angleterre. Paris: Flammarion, 1998.

Watkins, Daniel P. "Scott the Dramatist." In British Romantic Drama: Historical and Critical Essays, ed. Terence Allan Hoagwood and Daniel P. Watkins (Madison, N.J.: Fairleigh Dickinson UP; London: Associated UP, 1998), 182-207.

"Scott's plays--Macduff's Cross, Auchindrane, and The Doom of Devorgoil--are . . . historically charged dramas that are ambivalent about history"; they "tend to articulate a conservative vision of politics and culture" that "contains within it an anxious awareness of its own inevitable defeat" (18).

Wedd, Mary. "Literature and Religion." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 61-71.

Weisman, Karen A. "Between Irony and Radicalism: The Other Way of a Romantic Education." In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 76-88.

Weisman questions whether students of Romanticism are as naive as McGann and Levinson have claimed. Weisman explores Rousseau's Reveries of the Solitary Walker (1776), De Man's "Rhetoric of Temporality" in Blindness and Insight (1983), Marjorie Levinson's Rethinking Historicism: Critical Readings in Romantic History (1989), Alan Grossman's poem "Of the Great House," and Charles Bernstein's "Verdi and Postmodernism" (a parody of Byron's "She Walks in Beauty Like the Night") to criticize the preoccupations of new historicists. "By the late twentieth century, the search for the novel has itself reached a saturation point, and so if history repeats itself and New Historicism interrogates the false consciousness of cultural repetition, we may well become not only blunted by reiteration but downright bored by it" (80).

Weisman, Karen A. "Formal Charges: The Shaping of Poetry in British Romanticism." Criticism 40.1 (Winter 1998): 151-55.

Weisman, Karen A. "Provocation and Person-hood: Romanticism In Extremis." ERR 9.2 (Spring 1998): 177-86.

Wiley, Michael. Romantic Geography: Wordsworth and Anglo-European Spaces. New York: St. Martin's P, 1998.

Williams, Nicholas M. Ideology and Utopia in the Poetry of William Blake. Cambridge: Cambridge UP, 1998.

Wilson, Douglas B. "Psychological Approaches." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 420-30.

Wolfson, Susan J. "A Lesson in Romanticism: Gendering the Soul." In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 349-75.

Wolfson, Susan J. "Romanticism and Gender." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 385-96.

Wolfson, Susan J. "What Good Is Formalist Criticism? Or; Forms and Storms and the Critical Register of Romantic Poetry." SIR 37:1 (Spring 1998): 77-94.

Woodman, Thomas. Early Romantics: Perspectives in British Poetry from Pope to Wordsworth. London and Basingstoke: Macmillan/St. Martin's P, 1998.

Includes essays on Burke's Reflections and eighteenth-century poetry (David Fairer), Locke and the poetry of the early romantics (Steve Clark), early romantic poetics of Thomas Gray and Charlotte Smith (Daniel E. White), and the eighteenth-century Collins (Patricia Meyer Spacks), as well as essays on Goldsmith (Vincent Newey), Wordsworth and Cowper (Tim Fulford, Karen O'Brien), Smart (Marcus Walsh) and Blake (Chris Mounsey), women writers (Karina Williamson), Charlotte Smith and Anna Seward (Jacqueline M. Labbe), Ann Yearsley (Tim Burke), Thomas Chatterton (Jerome McGann), Thomas Rowlie Preeste (Nick Groom), and George Richards (Carolyn D. Williams).

Woof, Pamela. "Dorothy Wordsworth, Journals." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 157-68.

Wordsworth, Jonathan. "The Romantic Imagination." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 486-94.

Wordsworth, Jonathan. "William Wordsworth, The Prelude." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 179-90.

Wright, Julia M. "'I Am Ill Fitted': Conflicts of Genre in Eliza Fenwick's 'Secrecy.'" In Romanticism, History, and the Possibilities of Genre: Re-forming Literature 1789-1837, ed. Tilottama Rajan and Julia M. Wright (Cambridge: Cambridge UP, 1998), 149-75.

Wu, Duncan. "Charles Lamb, Elia." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 277-82.

Wu, Duncan, ed. A Companion to Romanticism. Oxford: Blackwell Publishers, 1998.

This book has been devised to assist both teachers and students of Romanticism (x). The first section, "Contexts and Perspectives 1790-1830," provides historical, intellectual, and literary contexts, including studies of reading patterns of the period. "Readings," the second section, offers critical introductions to canonical and non-canonical works, including Lyrical Ballads, Keats's odes, Shelley's Prometheus Unbound and Beachy Head, Mary Tighe's Psyche, Felicia Hemans' Records of Woman, and Joanna Baillie's A Series of Plays. The final section introduces the reader to "Issues and Debates," including feminism, gender criticism, new historicism, eco-criticism, and dialogic approaches. Essays also discuss topics such as imagination, the German influence, scientific developments, and apocalypse. Though clearly new historical in approach, this volume claims to embody "the range of critical thought" in Romanticism (x). Essays by Nelson Hilton, David Bromwich, Jonathan Wordsworth, and John Lucas; articles by Susan Wolfson, David Simpson, Morton D. Paley, Douglas B. Wilson, Angela Esterhammer, and Alan Richardson.

Wu, Duncan, ed. Romanticism: An Anthology. 2nd ed. Oxford: Blackwell Publishers, 1998.

Anthology of Romantic authors. Includes selections from Blake, Southey, Wordsworth, Coleridge, Byron, Keats, Hazlitt, Hunt, and the Shelleys.

Wylie, Ian. "Romantic Responses to Science." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 505-11.

Zlotnick, Susan. Women, Writing, and the Industrial Revolution. Baltimore: Johns Hopkins P, 1998.

The rising industrialism of the eighteenth and nineteenth centuries inspired deep fears and divisions among English men who feared loss of work. But women writers foresaw in the industrial revolution the prospect of real improvements and imagined the modernity it heralded in ways unique to their gender.

Zwicker, Steven. "Reading the Margins: Politics and the Habits of Appropriation." In Refiguring Revolutions: Aesthetics and Politics from the English Revolution to the Romantic Revolution, ed. Kevin Sharpe and Steven N. Zwicker (Berkeley: U of California P, 1998), 101-15.

Lord Byron

A more comprehensive 1998 Byron bibliography is available here.

Works: Collected, Selected, Single, Translated

Byron, George Gordon. Journal de Ravenne; accompagné de Pensées détachées; et suivi de Journal de Céphalonie et de Missolonghi. Paris: J. Corti, 1998.

Nicholson, Andrew, ed. Poems 1807-1824 and Beppo: A Facsimile of the Original Manuscripts in the British Library and in the Pforzheimer Collection of the New York Public Library. Vol. 12 of The Manuscripts of the Younger Romantics: Lord Byron, ed. Donald H. Reiman. New York & London: Garland P, 1998.

Books and Articles Relating to Byron

America's Intervention in the Balkans: A Collection of Papers Presented at the Lord Byron Foundation's Third Annual Conference Devoted to U.S. Policy in Southeast Europe Held in Chicago in March 1997. London; Aiken, S.C.: The Foundation, 1998.

Bruhm, Steven. "Reforming Byron's Narcissism." In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 429-47.

Explores the relationship between homosexuality and narcissism in Manfred and The Deformed Transformed, as well as "To Thyrza," "Epitaph to a Friend," and Byron's translation of the Nisus and Euryalus episode from Virgil's Aeneid. As Freud would write, homosexuals "are plainly seeking themselves as a love object" (14:88). Bruhm takes issue with Mellor and Christensen. In Manfred, "Byron may not be demonstrating his masculine Romanticism or his narcissistic 'murder' of his sister so much as he may be singling a destructive version of heterosexual desire that is predicated on a denial of same-sexual desire; in Byron's book-learned sexuality, love of the other sex is a late adjunct to the love of the same" (432). Discusses the legend of Narcissus in Ovid and Plato.

Bruhm argues for the "homophilic narcissism of Manfred's first part, and the heterosexual passion in parts 2 and 3 (although the binary opposition between homo and hetero identity was not operative for Byron)" (442).

Buttery, David. "Lord Byron's Account at Hoare's Bank." BJ 26 (1998): 98-103.

Chalk, Aidan. "'Childe Harold's Pilgrimage: A Romaunt' and the Influence of Local Attachment." TSLL Language 40.1 (Spring 1998): 48-77.

Childe Harold's Spenserian stanza reflects local affiliations with poets he admired. Chalk discusses the popularity of the Spenserian form, leading up to the date that Byron began his Romaunt: "for Byron the form carried ambivalent local associations of status and identity."

Cheeke, Stephen. "Shelley, Byron, and the Maniac Poetics." KSR 12 (1998): 131-46.

Cheeke discusses Byron's The Lament of Tasso, Shelley's fragment of a drama based on Tasso, "To Byron," and "Julian and Maddalo" in order to explore each poet's treatment of madness as a metaphor and reality; specific reference is made to Plato's Ion, which also explores the trope of madness. Both writers were interested in the "self-dispossessing inspiration" connected with poetic creation (134).

Clubbe, John. "Dramatic Hits: Napoleon and Shakespeare in Byron's 1813-1814 Journal." In British Romantics as Readers: Intertextualities, Maps of Misreading, Reinterpretations; Festschrift fur Horst Meller, ed. Michael Gassenmeier, Petre Bridzun, Jens Martin Gurr, and Frank Eric Pointner (Heidelberg: Universitatsverlag C. Winter, 1998), 271-94.

Clubbe examines Byron's 1813-1814 Journal to show how his references to Shakespeare are influenced by Napoleon's Campaign of France, which took place between February and March 1814, and by Byron's awareness of Shakespeare as represented on the stage by Edmund Kean. "By his spectacular 'hits' on the world stage, both in life and in art, Napoleon redefined and pricked forward Byron's own image of greatness" (289).

Crawford, Barry Craig. "Saul among the Prophets: The Thematology of King Saul (David, Samuel 1)." Ph.D. diss., U. of California, Riverside, 1998, DAI, 59-09A (1998): 3441, 286 pages.

This dissertation uses revisionist and structural methodologies to explore themes raised by Samuel 1 in music, the fine arts, and literature. Includes a discussion of works by John Lydgate, Jean de la Taille, fresco painters at Dura Europos, Byzantine book illuminators, G. F. Handel, Voltaire, Vittorio Alfieri, Lamartine, Byron, Browning, Gide, Rilke, and D. H. Lawrence.

Crompton, Louis. Byron and Greek Love: Homophobia in 19th-Century England. 1985. Reprint. Swaffham, Eng.: Gay Men's P, 1998.

Daly, Kirsten. "'Worlds beyond England': Don Juan and the Legacy of Enlightenment Cosmopolitanism." Romanticism 4.2 (1998): 189-202.

Daly reads Byron's Don Juan as a licentious version of Montesquieu's L'Esprit des Lois (1748); Byron presents the reader with an "ironic cosmopolitanism," thus reflecting on the demise of the Enlightenment ideal after the French Revolution. "An attempt to justify his existence as a citizen of the world to English society at a time when the dominant mode of national identity was sober and patriotic" (198). "I situate L'Esprit des Lois as one of the poem's Edenic origins, to which the narrative of Juan is counterpoised as a fallen reality in both an absolute and historical sense" (192). The poem "reenacts the fantasy of freedom embedded in Enlightenment cosmopolitanism, and, reinterpreting this as a comic transcription of national identity, it deftly negotiates the complexities of Byron's position as one of Romanticism's last world citizens" (199).

Dunning, Jennifer. "A Ballet Whose Finale Is a Rousing Shipwreck." New York Times, June 19, 1998, E6.

Review of the American Ballet Theater's production of Le Corsaire, a three-act Russian ballet based on Byron's poem.

England, A. B. "Byron's Don Juan and the Quest for Deliberate Action." KSJ 47 (1998): 33-62.

England takes issue with Jerome Christensen's reading of Fitz-Fulke's indeterminacy in Lord Byron's Strength. For England, Juan is a figure who becomes progressively more deliberate in his actions, following Godwin's dictum that a man "ought to be upon all occasions prepared to render a reason" for his actions (England, 33; Enquiry Concerning Political Justice, 127-28).

Fleming, Anne. The Myth of the Bad Lord Byron. Cuckfield: Old Forge P, 1998.

Goldweber, David E. "Byron and Gifford." KSR 12 (1998): 105-30.

Goldweber notes how Byron's return to satire in The Vision of Judgment and Don Juan follows Gifford's example. Gifford's "An Essay on the Roman Satirists" appeared alongside his "Life of Juvenal" (1802) and Byron is in partial agreement with Gifford when he writes English Bards, a poem closer to Juvenal than to Horace, and Hints from Horace (1811). Byron sees himself as an English Horace. "Both Byron and Gifford . . . attack their critic-foes for what might be considered any critic's greatest vice: bias towards their subjects that is indulged so as to attain personal stature" (111). Massinger's The Renegado (1629) is explored for its influence on Byron's use of the term in Don Juan, The Siege of Corinth, and The Vision of Judgment.

Goldweber, David E. "'Without Losing the Past': Byron and the Conservative Critic (Lord Byron, Poetry)." Ph.D. diss., New York U, 1998, DAI, 58-12A (1998): 4665, 279 pages.

This dissertation compares Byron's critical judgments with those of Burke, Gifford, Jeffrey, and the Anti-Jacobin satirists in order to illuminate Byron's attitudes towards his fellow poets and towards himself. "The mature Byron values tradition over newness, experience over speculation, society over isolation, reform over revolution. He aims at preserving and improving old ideas, not at discarding or subverting them."

Graham, Peter W. Lord Byron. New York: Twayne Publishers, 1998.

Graham's book places Byron's works in biographical, historical, and social context. After briefly sketching Byron's life, Graham considers Byron's works in six chapters according to their genre. He updates Trueblood's previous study (1977) and draws on Marchand's edition of Byron's letters and McGann's edition of his poetry. Interesting reference is made to a double portrait by Joni Pienkowski titled "Byron East and West." Chapters on "Byron's Life and Legend," "Lyric Poems," "Satires," "Tales," "Dramatic Poems," "Childe Harold's Pilgrimage," and "Don Juan," as well as a "Selected Bibliography."

Grime, Jeffrey J. "Byron's 'The Destruction of Sennacherib.'" Exp 56.2 (Winter 1998): 70-72.

The writer traces the theme of homosexuality in Byron's "The Destruction of Sennacherib." He pays particular attention to meter and imagery.

Gross, Jonathan David, ed. Byron's "Corbeau Blanc": The Life and Letters of Lady Melbourne. 2^nd ed.. College Station: Texas A&M UP, 1998.

Gross, Jonathan David. "Byron's Gay Narrator in Don Juan." ERR 9:3 (summer 1998): 323-50.

A previously unpublished poem in the Morning Chronicle, written "To the Memory of Charles Skinner Matthews," provides insight into Byron's complex narrative devices in Don Juan. Gross argues that Byron uses coded language to subvert the heterosexual myth his poem ostensibly celebrates. Byron's narrator betrays an erotic relationship to the very hero whose adventures he describes.

Hawkins, Ann Rachelle. "Order, Community, and Astarte: Revising Shakespeare in Byron's Manfred." Ph.D. diss., U of Kentucky, 1997, DAI, 58-9 (1998): 3537.

Places Manfred not "in a biographical context, but in the intertextual contexts the poem's internal allusions create." Explores Manfred's relationship to Renaissance forebears: examines the alchemical basis of Byron's use of the magus, spirit realms, and destinies, particularly Shakespeare's Macbeth and The Tempest; explores the "interplay between Renaissance politics of hierarchy and Romantic dramas of the individual"; discusses the relationship between Manfred's soliloquies and Hamlet's; and discusses the importance of Astarte as a reflection of "the relationship between the male-self and the female-other in the search for peace or reconciliation."

Jones, Chris. "The Sensual Side (Only) of Lord Byron." Chicago Tribune, June 20, 1998, 23.

Review of a local production of Romulus Linney's play, Childe Byron, which follows the sexual exploits of Byron.

Kelsall, Malcolm. "'Once Did She Hold the Gorgeous East in Fee . . .': Byron's Venice and Oriental Empire." In Romanticism and Colonialism: Writing and Empire, 1780-1830, ed. Tim Fulford and Peter J. Kitson (Cambridge: Cambridge UP, 1998), 243-61.

Kelsall discusses Beppo, Childe Harold IV, and "Venice: An Ode." "If we are to 'rethink historicism,' one of our first tasks should be to read history. It is clear that the foundations of education for the ruling orders in Britain . . . were in the literatures of classical imperialism" (247). In discussing Byron's work, one must "jettison the kind of baggage with which terms like 'imperial' or 'colonial' are now loaded, and to remain aware how contested they were then" (248). The Venetian republic was "one frontier between Occidental and Oriental imperialisms" (248). Byron's "Venetian poems are a series of meditations on the extinction of the republic" (248).

Kutcher, Matthew Lawrence. "Flowers of Friendship: Gift Books and Polite Culture in Early Nineteenth-Century Britain." Ph.D. diss., U of Michigan, 1998, DAI, 59:10 (1998): 3830.

This dissertation explores the ways in which gift books and annuals shaped "class-based reformation of Christmas and New Year's celebrations." Rudolph Ackermann's Forget Me Not was the first gift book to appear in London and influenced readers in the rhetoric and ideological norms of "a polite gift-giving culture." Later versions appealed to "the imperial, racial, and class ideologies of the British bourgeoisie." Kutcher explores the use of humor in a second generation of annuals and the poets who define that second generation, particularly Lord Byron. A final chapter explores Letitia Elizabeth Landon's efforts to subvert the cultural practice of gift books when gift book editors tried to expand the size of their bourgeois readership.

LaChance, Charles. "Calvinistic Naturalism in Byron's Corsair & Manfred." BJ 26 (1998): 57-67.

LaChance, Charles. "Don Juan, 'A Problem, Like All Things.'" PLL 34.3 (Summer 1998): 273-301.

"The writer discusses George Byron's Don Juan as a burlesque romance along the theme of unmitigated skeptical nihilism. He points out that the main difficulty with the text is nihilism, the devaluation of all values. All of the major Western ideologies, such as materialistic naturalism, liberal sentimentality, Calvinistic Protestantism, Roman Catholicism, and platonic rationality and heroics ... are subverted in Byron's text. He contends that this subversion voices unmitigated nihilism, an erosion of all received values, indicating no objective or universal ground is possible by which any value could be favored and held sacrosanct."

Lloyd-Jones, Ralph. "The 'Boatswain' Mystery." BJ 26 (1998): 91-103.

Loewe, Carl. Lieder & Balladen. Vol. 9. CPO, 1998. Sound recording. Includes musical settings for poems by Byron.

Meritt, Mark D. "Natural History, Manfred, and the Critique of Knowledge." ERR 9.3 (Summer 1998): 351-62.

Merritt reads Byron's Manfred alongside an 1817 article on natural historical societies in Blackwood's Magazine to show their "common concern with the perception, interpretation, and naming of natural data by the individual subject" (351).

Michael, Jean Catherine Vincent. "Shrines and Sacred Architecture in Childe Harold's Pilgrimage." Ph.D. diss., City U of New York, 1997, DAI, 58:9 (1998): 3539.

Mielsch, Hans-Ulrich. Sommer 1816: Lord Byron und die Shelleys am Genfer See. Zurich: NZZ, 1998.

Minta, Stephen. On a Voiceless Shore: Byron in Greece. New York: Henry Holt and Company, 1998.

Biographical treatment of Byron and Hobhouse's several literal and imaginative encounters with Greece, filtered through the lens of one English writer's late-twentieth-century visit.

Moyle, Jo. "'A New Byronism'? T.S. Eliot's 'Bored but Courteous' Poetry." BJ 26 (1998): 74-81.

Nicholson, Andrew. "Lord Byron." In Literature of the Romantic Period: A Bibliographical Guide, ed. Michael O'Neill (Oxford: Clarendon P, 1998), 90-117.

Cogent summaries of major studies of Byron's poetry, including books by Jerome McGann, Jerome Christensen, Caroline Franklin, Andrew Elfenbein, Peter Graham, and others.

Nicholson, Andrew. "'That Suit in Chancery': Two New Byron Letters." BJ 26 (1998): 74-81.

Oueijan, Naji B. A Compendium of Eastern Elements in Byron's Oriental Tales. New York: Peter Lang, 1998.

Peach, Annette. "Controlling an Image: Two Venetian Miniatures of Byron." BJ 26 (1998): 13-28.

Phillipson, Mark Loren. "Byronic Exile (Lord Byron)." Ph.D. diss., U of California, Berkeley, 1998, DAI, 59-08A (1998): 3004, 203 pages.

Childe Harold presents a "proto-exilic sensibility: the fundamental alternation of inspiration and disenchantment fueled by steady passage across borders." Phillipson focuses on this sensibility in order to discuss the poem's "exploitation of the anachronistic tradition of 18th century Spenserianism." Mazeppa (1819) is addressed as a "parable of exile"; his repudiation of the Byronic hero "invites a paradoxical haunting of that figure in later work." Displacement also shapes Don Juan, where language is disrupted by the location of the author in Italy at the time of its composition.

Poole, Gabriele. "Byron's Heroes and the Byronic Hero (Lord Byron, Characterization, Narrative)." Ph.D. diss., U of Notre Dame, 1998, DAI, 59-06A (1998): 2039.

This dissertation discusses the Byronic hero as a Weberian ideal-type. Byron "increasingly sought to articulate his reservations towards his own creation by modifying the traits of his heroes and/or by adopting various dialogic devices, which serve to detach the perspective of the hero from that of the work as a whole." This dissertation explores the relationship between the hero and heroines, antagonists, minor characters, the narrator or narrators, the plot, the imagery, and the story at large. Poole explores "discursive tensions" in Byron's The Giaour, "Bride of Abydos," The Corsair, and "Lara"; two later works, Mazeppa and Sardanapalus, are also discussed.

Porter, Andrew. "The Aspern Papers." Opera Rev. TLS 4968 (June 19, 1998): 21.

"Dominick Argento's opera of The Aspern Papers intercuts his own invented 1835 plot with the scenes of Henry James's story. Some of it is lush, and some very spare. In all, it is a score for today, re-creating for post-Schoenberg ears the romance of Bellini and Pasta, Shelley and Byron, a score that would be well understood by James and that is generously evoked by Argento."

Prochazka, Martin. "'But He Was Phrenzied': Rousseau's Figures and Text in the Third Canto of Byron's Childe Harold's Pilgrimage." In British Romantics as Readers: Intertextualities, Maps of Misreading, Reinterpretations; Festschrift fur Horst Meller, ed. Michael Gassenmeier, Petre Bridzun, Jens Martin Gurr, and Frank Eric Pointner (Heidelberg: Universitatsverlag C. Winter, 1998), 171-82.

This essay questions whether references to Rousseau and Napoleon in the third canto of Byron's Childe Harold's Pilgrimage can be read as "figurae": "can we understand references to Napoleon and Rousseau as stages in what McGann calls [Byron's] 'special variation upon the traditional poetic use of the pilgrimage as a process of renewal'" (300)? The author argues that "inherent problems of McGann's approach become manifest when these mentions of historical characters and related literary fictions or rhetorical figures are treated as signs with a single, central referent-Byron's self" (171). McGann's sense of a "unified authorial self" cannot be maintained by the evidence of the poem (174). Harold becomes a "fit metaphor of the fictitious nature and evanescence of the author's self in the text" (176).

Saglia, Diego. "Matrimonial Politics: Two References to Marie Louise of Austria in Byron's Poetry." BJ 26 (1998): 112-15.

Stabler, Jane. "George Gordon, Lord Byron, Don Juan." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 247-58.

Stabler, Jane. "Pisan Theatricals: Byron and Othello in 1822." BJ 26 (1998): 39-49.

Stauffer, Andrew M. "Byron's Monumental Epitaph for His Dog Boatswain." BJ 26 (1998): 82-90.

Stauffer, Andrew M. "Fits of Rage: Anger and Romantic Poetry (William Blake, Percy Bysshe Shelley, Lord Byron)." Ph.D. diss., U of Virginia, 1998, DAI, 59-02A (1998): 0498, 232 pages.

"This dissertation attends to the generic transformations of anger between Augustan satire and Victorian dramatic monologue." It focuses on the "dialogue between anger and truth as Blake, Shelley, and Byron imagined it." Anger "encourages the transgression of forms and boundaries, and the poets who yield to it produce an art marked by generic experimentation, as they search for ways to incarnate the disembodied voice, and convey the alienated perspective, of anger." Explores Blake's use of apocalyptic spectacle, Shelley's use of the masque, and Byron's use of the curse. "Blake, Shelley, and Byron write themselves towards the poetic forms of the Victorians and Moderns by way of anger."

Vail, Jeffery. "Byron's 'Impromptu on a Recent Incident': A New Text of a Regency Squib." KSJ 47 (1998): 29-31.

Vail, Jeffery. "The Literary Relationships of Lord Byron and Thomas Moore." Ph.D. diss., U. of Delaware, 1998, DAI, 59-09A (1998): 3471.

This dissertation discusses the formal, ideological, political, intellectual, and psychological influences of Thomas Moore and Lord Byron upon each other. They were "the most significant that either poet shared with any of the living poets of his day." Byron's friendship with Moore "led him to firmly associate himself with the Whig party"; Byron's imitation of "Moore's satirical and political poetry led him to his own innovative satirical forms." Byron's Hebrew Melodies were modeled on Moore's Irish Melodies. After Byron's departure, Moore's "Lallah Rookh" was clearly influenced by Byron's "oriental" narrative poems; his "Loves of the Angels" was influenced by Byron's relationship with Augusta Leigh. Finally, Moore's "voluminous and psychologically acute biography" helped "guard his friend's legacy, and still shapes modern conceptions of Byron."

Vail, Jeffery. "'My Bright Twin Sisters of the Sky': Manfred, Moore's Loves of the Angels, and the Shadow of Augusta Leigh." BJ 26 (1998): 29-38.

Victory, Nancy Clark. "'To Play with Fixities and Definites': Byron's Fanciful Real World Games in 'Don Juan' (Lord Byron)." Ph.D. diss., Louisiana State U and Agricultural and Mechanical College, 1998, DAI, 59-08A (1998): 3005, 254 pages.

This dissertation explores Juan and Haidee's relationship in Don Juan; Victory views their relationship as "a startlingly Romantic expression of poetic activity," wherein they transform a hostile world into a "natural playworld" by using "a fourth variety of Romantic imagination": Byronic Fancy. Julia's idea of romantic love is trapped in a Petrarchan model; Gulbeyaz views love as a mere strategy of control, while English women value an inauthentic, intellectual "feeling" that they have gleaned from sentimental literature. "In their attempts to find personal value through the love games they devise, Juan's amours cannot get beyond the most basic level of creative play--that of the Coleridgean Fancy." While many of the characters in Don Juan respond mechanically to their surroundings, the reader finds himself enriched by interacting with a "playfully shifting text, narrator, and poet."

Wandling, Timothy John. "Byron, Agency, and Transgressive Eloquence: The Fate of Readers in Nineteenth-Century British Literature." Ph.D. diss., Stanford U, 1997, DAI, 58-9 (1998): 3543-44, 279 pages.

Wood, Gillen D'Arcy. "Mourning the Marbles: The Strange Case of Lord Elgin's Nose." WC 29.3 (Summer 1998), 171-77.

William Hazlitt and Leigh Hunt

A more comprehensive 1998 Hazlitt bibliography is available here,
and a more comprehensive 1998 Hunt bibliography is available here.

Works: Collected, Selected, Single, Translated

Wu, Duncan, ed. The Selected Writings of William Hazlitt. 9 vols. London: Ashgate Publishing, 1998.

Books and Articles Relating to Hazlitt and Hunt

Bromwich, David. "Thinking in Public." American Literary History 10.1 (Spring 1998): 12-14.

Bromwich participates in a symposium on the role of the intellectual in public life. He answers six questions about his audience, the diverse cultures within American intellectual life, the role of contemporary American culture in sustaining intellectual work, whether and how his critical methods changed, how he measures success, and whether he feels contemporary writers have lost their cultural authority. Bromwich discusses the influence of Hazlitt and Adorno and the visibility of black intellectuals in America.

Jones, Stanley. "Further Quotations and Allusions in Hazlitt: The Bible, Milton, Pascal, Gray, Churchill, Burke, Cowper, "Peter Pindar," and "Tiddy-doll" (Smollett and Gillray)." N&Q 45.2 (June 1998): 208-11.

Jones traces the origin of seven allusions and quotations in the work of William Hazlitt.

Leask, Nigel. "'Wandering through Eblis': Absorption and Containment in Romantic Exoticism." In Romanticism and Colonialism: Writing and Empire, 1780-1830, ed. Tim Fulford and Peter Kitson (Cambridge: Cambridge UP, 1998), 165-68.

Natarajan, Uttara. Hazlitt and the Reach of Sense: Criticism, Morals, and the Metaphysics of Power. New York: Oxford UP, 1998.

Natarajan, Uttara. "One Undivided Spirit: Hazlitt, Coleridge, and the Unity of the Imagination." SIR (1998): 235-58.

Distinguishes between Hazlitt's and Coleridge's philosophical positions and principles of criticism. This essay is divided into three parts: "Unitarianism and Coleridge," "Hazlitt and Associationism," and "The Unity of the Imagination." "In Hazlitt's view of the imagination as a single and indivisible presence and in his development from this notion of a theory of association and imaginative unity, we perceive the manner in which he at once incorporates and transcends his Unitarian background and the Coleridgean influence" (257).

Paulin, Tom. The Day-Star of Liberty: William Hazlitt's Radical Style. London: Faber, 1998.

Whale, John. "Indian Jugglers: Hazlitt, Romantic Orientalism, and the Difference of View." In Romanticism and Colonialism: Writing and Empire, 1780-1830, ed. Tim Fulford and Peter J. Kitson (Cambridge: Cambridge UP, 1998), 206-20.

Woodbery, Bonnie. "William Hazlitt, The Spirit of the Age." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 283-93.

John Keats

A more comprehensive 1998 Keats bibliography is available here.

Works: Collected, Selected, Single, Translated

Oliván, Lorenzo, ed. Belleza y Verdad. Madrid: Pre-Textos, 1998.

English and Spanish translations of selected poems by Keats

Thompson, Edward, ed. John Keats: A Collection of Poems. London: Crumb Elbow Publishers, 1998.

Books and Articles Relating to Keats

Bate, Walter Jackson. Negative Capability: The Intuitive Approach in Keats. 1977. Cambridge: Harvard UP, 1998.

Bedell, Jack Bryant. "The One Thing That Sticks (Original Writing, Poetry)." Ph.D. diss., U of Southwestern Louisiana, 1998, DAI, 58-10 (1999): 3466, 58 pages.

Poems reflect Bedell's life as a native of southeastern Louisiana, one who is "deeply influenced by the people, topography, and culture of the region." In "Telling It: A Critical Introduction," Bedell traces the narrative techniques that produced his collection and criticizes the self-absorbed poetry produced in America since World War II. "From Keats' theory of 'Negative Capability,' to Olson's 'Field Poetics,' to Dickey's 'Presentational Immediacy,' and finally to the 'New Narrative' movement of the last decade," this collection charts Bedell's effort to place different aspects of poetry "in seamless and unobtrusive perspective."

Bode, Christoph. "Keats as a Reader of Myth: Endymion." In British Romantics as Readers: Intertextualities, Maps of Misreading, Reinterpretations; Festschrift fur Horst Meller, ed. Michael Gassenmeier, Petre Bridzun, Jens Martin Gurr, and Frank Eric Pointner (Heidelberg: Universitatsverlag C. Winter, 1998), 43-54.

This essay focuses on the use Keats made of the myth of Endymion, how he read it and transformed it for his own purposes from such sources as Horne Tooke's Pantheon, Lemprière's Classical Dictionary, Drayton's The Man in the Moone (1606) and Ovid's Metamorphoses.. Bode sketches Book III and examines the fourth book of Endymion, in order to solve the mystery of the poem's "supposedly unsatisfactory and garbled ending" (46). He attempts to answer the question of "why allegorical readings of keep cropping up [even in the work of Jack Stillinger] in spite of all the contrary textual evidence" (46), which the author claims was convincingly established by Newell F. Ford in Journal of English History 14 (1947, pp. 64-76 and PMLA 62 (1947), pp. 1061-1076.

Bruss, Glen M. Profiles in Medical History. Pittsburgh: Dorrance Publishing, 1998.

Includes a profile of John Keats's case of tuberculosis.

Chandler, James. "Concerning the Influence of America on the Mind: Western Settlements, 'English Writers,' and the Case of US Culture." American Literary History 10.1 (Spring 1998): 84-123.

Creaser, John. "John Keats, Odes." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 237-46.

Faflak, Joel. "Romantic Psychoanalysis: Keats, Identity, and (The Fall of) Hyperion." In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 304-27.

Faflak discusses how Hyperion and The Fall of Hyperion upset critical expectations of Marjorie Levinson and Jerome McGann; Faflak agrees with Tilottama Rajan that Keats was more aware of his relationship to history than Levinson and McGann give him credit for being. The "new Keats" of the new historicists is no less fictional than the earlier, "aestheticized versions of him" (305). Keats's Hyperion and The Fall of Hyperion "negotiate Romanticism through a type of Lacanian mirror stage by tracing a complex narrative, from the Romantic subject's Imaginary (albeit conflicted) sense of her own omnipotence in Hyperion, to The Fall of Hyperion, a text symptomatic of Romanticism's emerging awareness of its own contingency within the Symbolic order of history" (305).

Ferris, David S. "Keats and the Aesthetics of Critical Knowledge; or, The Ideology of Studying Romanticism at the Present Time." In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 103-25.

Using two poems by Keats to support his claim, Ferris argues that the aesthetic need not be opposed to the political, since the aesthetic is the "rhetoric of the political rather than an ideology opposed to history" (123). He discusses moments of "visual reference" in Keats's "On First Looking into Chapman's Homer," which "compares the effect of hearing Chapman's translation of Homer to the arrival of Cortez on the isthmus of Panama" (119). The poem "takes up the question of . . . transforming literature into the aesthetic representation of a critical subject" (115). Ferris then discusses "Ode on a Grecian Urn," which "develops out of the sequence of questions that dominates its first verse" (120): "there is no visual reference other than what Keats tells us in the poem" (121).

Gaillard, Theodore L., Jr. "Keats's 'To Autumn.'" Exp 56.4 (Summer 1998): 183-88.

Glaister, Dan. "Fade Far Away, Dissolve . . . to Dylan the Rhymes They Are A-Changin." Guardian, Mar. 27, 1998, 1, 3.

Feature article comparing Bob Dylan and Keats.

Hanke, Michael. "Keats Reading Spenser." In British Romantics as Readers: Intertextualities, Maps of Misreading, Reinterpretations; Festschrift fur Horst Meller, ed. Michael Gassenmeier, Petre Bridzun, Jens Martin Gurr, and Frank Eric Pointner (Heidelberg: Universitatsverlag C. Winter, 1998), 107-16.

Charles Cowden Clarke read Spenser's "Epithalamion" (1595) with Keats, and lent him the first volume of The Faerie Queene (1790). Hanke discusses stylistic influences of Spenser on Keats: chiastically placed adjectives ("Sleep and Poetry", 195fr; Endymion, 910; "Lamia" I,327); nouns surrounded by adjectives ("The Eve of St. Agnes", 57; "Lamia" I, 98); and the accumulation of synonyms or near-synonyms (Endymion, 637f), which had been banned by the classicists. Keats turned Spenser's love of parallelisms into mannerisms. He concludes the essay by considering differences between the poets in order to show "how independent a Spenserian Keats, in fact, was" (109). Keats explores the theme of appearance and reality in "Lamia" (a theme absent from Spenser's writings, according to Hanke) and rejects Spenserian didacticism; he also differs from Spenser in refusing to distinguish between lust and love, or love and religion in poems such as "The Eve of St. Agnes."

Hopkins, Robert W. The Religious Searching of John Keats. Amherst: n.p., 1998.

Kucich, Greg. "John Keats." In Literature of the Romantic Period: A Bibliographical Guide, ed. Michael O'Neill (Oxford: Clarendon P, 1998), 143-66.

Kucich prefers Bate's biography to Ward's, and makes a number of evaluative assessments of biographical works which are "of mixed quality" (146). "The time is ripe for a major new scholarly biography," Kucich writes, with no mention made of Andrew Motion's new study (unfortunately, these probably passed in the press). Kucich traces the earliest published reactions to Keats in the periodical press and the focus on his intellectual depth, irony, deconstructive poetics, psychology, style, and influences, which "placed Keats at the centre of Romantic studies for several decades" (148). "Shaw's delightfully iconoclastic essay, which claims that Keats would have become a 'fullblooded modern revolutionist,' is required reading for anyone working on Keats and politics" (150). Kucich discusses the perceived gap in new historicist work between Levinson's (1988) and Watkins' (1989) studies and Roe's 1995 Keats and History and his 1997 John Keats and the Culture of Dissent.

Lau, Beth. Keats's Paradise Lost. Gainesville: UP of Florida, 1998.

Lau's book begins with three chapters that set forth the historical circumstances surrounding the practice of textual annotation in the Romantic period, and, more specifically, an analysis and categorization of the notes and markings Keats jotted in the margins of his copy of Paradise Lost. These chapters are followed by a transcription of all of the relevant marginalia. The book thus expands on earlier editors' efforts in that it includes Keats's underlinings and markings, not just the notes themselves. The result is a much clearer picture not only of Keats as a reader but also of the creative processes by which Milton's epic exerted a transformative influence on Keats's poetry and poetics. [KG]

Lewis, Dearing. "A John Keats Letter Rediscovered." KSJ 47 (1998): 14-18.

Lewis, Deborah Ellen. "Engendering Death: Keats and the Female Figure (John Keats)." Ph.D. diss., U of Alabama, 1998, DAI, 59-09A (1998): 3466, 199 pages.

This dissertation explores Keats's interest in creative success, the feminine, and death, as well as the evolution of his philosophical stance on these concepts. The study considers how gender was constructed in the early nineteenth century; Freud and Lacan's account of the relationship between death and the feminine; and Luce Irigary's more contemporary variety of feminist thought. "These perspectives on gender, death, and the psychoanalytic fuel an intensive look at those of Keats's works, dated 1818-1819, that are related to the romance genre, particularly 'Isabella; or, The Pot of Basil,' 'The Eve of St. Agnes,' 'La Belle Dame sans Merci,' and 'Lamia.'" Keats acknowledged the "feminine" in his own psyche, and the price of such an acknowledgment is male death.

Lopez, Debbie. "'Ungraspable Phantoms': Keats's Lamia and Melville's Yillah." In Comparative Romanticisms: Power, Gender, Subjectivity, ed. Larry H. Peer and Diane Long Hoeveler (South Carolina: Camden House, 1998), 159-71.

Lopez imagines an encounter with "a hideously fat Byron (now reconciled with his wife), a politically converted Shelley, and a dead Wordsworth" to show Keats's struggle in writing "Lamia." Keats's Lamia is not only a female demon but also a fabulous monster, perhaps the "monster" of Romanticism itself (6).

Moise, Edwin. "Madeline's Dragons." N&Q 45.2 (June 1998): 200

Moise focuses on stanza 40 of Keats's"The Eve of St. Agnes."

Motion, Andrew. Keats. 1st American ed. New York: Farrar, Straus, and Giroux, 1998.

Motion, Andrew, narr. The Last Journey of Keats. Videocassette. Films for the Humanities and Sciences, 1998.

O'Rourke, James L. Keats's Odes and Contemporary Criticism. Gainesville: UP of Florida, 1998.

This book is "indebted to the deconstructive methods of reading that flourished in Romantic studies in the 1970s and 1980s" and takes "the dominant critical paradigms of the present to be the New Criticism" (ix, x). O'Rourke questions the validity of McGann's critique of deconstruction as the culmination of a "text-only" criticism ("Keats," MLN 94 [1979]) and shows how Derrida led to interdisciplinarity in literature departments in North America. A chapter on "Ode to a Nightingale" shows "the limits of . . . modes of formalist criticism in conveying the affective valence of literary language"; by contrast, Kristevan semiotique captures "the aesthetic power of the poem" (x). In his chapter on "Ode on a Grecian Urn," O'Rourke argues that "close study of the controversies over Greek sculpture in Regency England shows that Keats engages precisely [and more subtly] the same questions regarding the relation between the individual artwork and its cultural context that now inform the ode's most recent critical history" (xi); "Ode on Melancholy" compares "the exaggerated posturing of the ode with the explanatory power of psychoanalytic texts . . . Keats was well aware of the artifice behind the ode's turn to sensuous excess" (xi). In "To Autumn," O'Rourke argues that "the poem's own negative dialectic, between a nostalgic celebration of organic presence and an awareness of the unbridgeable gap between the unmoored activity of consciousness and the inexorable predictability of nature, is a more nuanced treatment of its central themes than is found in either the formalist celebrations of its perfection or the political critique of its supposedly reactionary intentions" (xi).

Payling, Catherine. "Report from Rome." KSR 12 (1998): xi.

The Internet site for Keats-Shelley Memorial House is http://www.demon.co.uk/heritage/Keats.House.Rome/Visitors. "Visitors to the site can see the interior of the museum, read about the lives and works of the poets, and the history of the Association itself. The site also carries information about the activities of the Association in London and Rome."

Ragusa, Daniela Antonina. "The Dialectic of Romance and Imagination in John Keats's'The Eve of St. Agnes.'" M.A. thesis, Southern Connecticut State U, 1998. MAI, 37-01 (1998): 0072, 51 pages.

This essay explores the interaction between romance and imagination in Keats'spoem, exploring how Medieval codes of courtship function through Romantic ideals of love. Madeline and Porphyro acquire "tragic vision," the ability to see each other as separate from themselves. "Subjecting his characters' ideal dreams of romance to the tragic realities of mortality in 'The Eve of Saint Agnes,' Keats modernizes ideas of love and death by criticizing certain elements of Medieval ideology while simultaneously praising others through Romantic imagination."

Rajan, Tilottama. "Keats, Poetry, and 'The Absence of the Work.'" MP 95.3 (Feb. 1998): 334-51.

Reeves, Lisa Malaine. "'Straining at Particles of Light in the Midst of a Great Darkness': Desire and Dissolution in the Poetry of John Keats (Zen Buddhism, Edmund Husserl, Martin Heidegger)." Ph.D. diss., U of Georgia, 1998, DAI, 59-06A (1998): 2039, 202 pages.

This dissertation explores Keats's changing relationship with desire, by making use of the phenomenological ideas of Edmund Husserl and Martin Heidegger. Reeves uses Husserl's concepts to explicate Endymion; Endymion's desire to transcend the everyday world, the theme of the mind's relation with other minds, and the exploration of the Other are connected with Husserlian concepts of spatial and temporal awareness. The sonnet "On Seeing the Elgin Marbles" illustrates the transition between Endymion and Hyperion. Hyperion is discussed in terms of Heidegger's Being and Time. Themes in Keats'sfive odes parallel the direction Heidegger's interests took after finishing Being and Time. The Fall of Hyperion mirrors Heidegger's interest in eastern thought; "To Autumn" "finds dissolution of desire by accepting the present moment."

Robinson, Jeffrey C. Reception and Poetics in Keats: My Ended Poet. New York: St. Martin's P, 1998.

Ryan, Robert M., and Ronald A. Sharp, eds. The Persistence of Poetry: Bicentennial Essays on Keats. Amherst: U of Massachusetts P, 1998.

Sandy, Mark. "'To See as a God Sees': The Potential Ubermensch in Keats's Hyperion Fragments." Romanticism 4.2 (1998): 212-23.

Sider, Michael. The Dialogic Keats: Time and History in the Major Poems. Washington, D.C.: Catholic U of America P, 1998.

Divided into two parts, this book discusses Wordsworth's "Vaudracour and Julia," Samuel Rogers' Jacqueline, Leigh Hunt's The Story of Rimini (50-65), and Keats's "Isabella" (66-88), Endymion (97-113), Hyperion (114-27), and The Fall of Hyperion (128-44), with an epilogue on "Keats's'Ode on a Grecian Urn' and the Political Theory of Art" (145-64). "Although we have lately seen the emergence of Bakhtinian studies within the confines of Romantic studies, no one has ventured to develop a full-length Bakhtinian reading of Keats," though McGann and Marilyn Butler encouraged such readings. A dialogic approach to Keats "emphasizes the culturally responsive nature of his poems" (4).

Sühnel, Rudolf. "Keats's 'On First Looking into Chapman's Homer.'" In British Romantics as Readers: Intertextualities, Maps of Misreading, Reinterpretations; Festschrift fur Horst Meller, ed. Michael Gassenmeier, Petre Bridzun, Jens Martin Gurr, and Frank Eric Pointner (Heidelberg: Universitatsverlag C. Winter, 1998), 35-42.

This essay places Keats's poem in the context of his emotional and intellectual life at the time, focusing on Charles Cowden Clarke's memory of inviting Keats to examine a rare folio edition of Chapman's The Whole Works of Homer, Prince of Poets (1816). Sühnel discusses how reading Ovid and translating the Aeneid influenced the composition of the poem. The questing poet of Keats's sonnet is compared, in lines 9 and 10, to an astronomer searching the heavens with his telescope. This is a reference to F. W. Herschel's discovery of Uranus in 1781 which Keats read about in a book he received as a school prize, John Bonnycastle's Introduction to Astronomy. "The plate of the book's frontispiece by the Swiss painter Henry Fuseli shows an allegory of astronomy as the celestial msue Urania" (41). Sources for the reference to Balboa, such as Robertson's History, are also discussed.

Thomson, Heidi. "Eavesdropping on 'The Eve of St. Agnes': Madeline's Sensual Ear and Porphyro's Ancient Ditty." JEGP 97.3 (July 1998): 337-51.

Thomson takes issue with Earl Wasserman and Jack Stillinger's reading of "The Eve of St. Agnes," noting that "Madeline's desire is largely ignored" (340). Instead, she emphasizes how Porphyro's song, "La Belle Dame sans Mercy," is played into Madeline's ear in "The Eve of St. Agnes" (337) and becomes a test for her feelings for Porphyro (349).

Wagenheim, Lavanda Caldwell. "Keats's 'Ode on a Grecian Urn' and 'Ode to a Nightingale': A Kristevan Reading of the Speaker as 'Subject-in-Process' (John Keats)." M.A. thesis, U of South Alabama, 1998, MAI, 37-01 (1998): 0073, 82 pages.

Previous studies "overlook the odes' textual aporia and privilege the texts rather than the voice of the poems or the identity of their speaker." This study traces "the semiotic drive and symbolic order of poetic language." It concentrates on "the identity of the speaker in the odes as the Kristevan 'subject-in-process/on trial,' the abject subject who perpetually strays from a unified ego state to the ambiguous state of 'negative capability.'" The reader, text, and speaker are viewed as "incomplete, ambiguous, divided, and subjective by nature."

White, R. S. "'Like Esculapius of Old': Keats's Medical Training." KSR 12 (1998): 15-51.

White examines two copies of a guide to students entering Guy's Hospital, by an author writing under the name of "Aesculapius." "The Preface to both editions is dated 'this 20th day of Aug. 1816," when Keats was still in residence at Guy's" (17). Examining the guides gives insight into Keats's reading as a medical student.

Wootton, Sarah. "Keats in Early Pre-Raphaelite Art." KSR 12 (1998): 3-14.

Wootton explores Stephen Prickett's assertion that Keats was "the most potent single influence upon the art of the Victorian era" by examining his influence on the Pre-Raphaelite Brotherhood. Their enthusiasm for Keats shocked the art establishment because of his reputation as a "coarse, effeminate, and presumptuous" writer. William Holman Hunt acquired an edition of Keats'sverse in 1847 and acquainted John Everett Millais and Dante Rossetti with the "discovery." Wootton discusses Keats's"The Flight of Madeline and Porphyro," subsequently known as "The Eve of St. Agnes"; Millais' Isabella and Lorenzo; and Hunt's sketch, Lorenzo at His Desk in the Warehouse, which was completed after Hunt and Millais observed a Chartist demonstration (9).

Yuan, Changming. "Politics and Poetics: A Comparative Study of John Keats and Li-He." Ph.D. diss., U of Saskatchewan, 1996, DAI, 58-12 (1998): 4643.

This dissertation compares Keats and Li-He, a Chinese writer during the T'ang dynasty period (600-899). In his first chapter, Yuan explores "romanticism" as a term with crosscultural literary value; he then considers the biographical and sociopolitical milieux of these poets; his third chapter discusses patriotism as a theme in Keats'sand Li's work: Keats is concerned with issues of freedom, while Li discusses problems of national reunification; chapter 4 considers Keats'stendency to satirize conservative governments and reactionary institutions; Li comments on the "decadence of the ruling classes and the darkness in his political reality." Chapter 5 discusses each poet's concern with human suffering, while chapter 6 considers Keats'sand Li's quests for the ideal in the world of art, nature, myth, and dream.

Percy and Mary Shelley

A more comprehensive 1998 M. W. Shelley bibliography is available here, and
a more comprehensive 1998 P. B. Shelley bibliography is available here.

Works: Collected, Selected, Single, Translated

Butler, Marilyn, ed. Frankenstein, or, The Modern Prometheus: The 1818 Text, by Mary Wollstonecraft Shelley. Oxford: Oxford UP, 1998.

Curran, Stuart, ed. Valperga, or, The Life and Adventures of Castruccio, Prince of Lucca, by Mary Shelley. London: Oxford UP, 1998.

Not printed since its first edition, Mary Shelley's second novel is a major "discovery" of the Mary Shelley bicentenary of 1997. "The novel's lack of success as a follow-up to Frankenstein was the result of its subject matter and unconventional approach to the genre of historical fiction, attributes that can only delight the twentieth-century reader. Shelley's mastery of the details of thirteenth-century Tuscan politics is unique among women of her time, and her resolute filtering of the bloody heroics of the age through the sensibilities of two women who are destroyed by them reveals the feminist perspective missing so conspicuously from her first novel."

Dalby, Richard, ed. Twelve Gothic Tales. Oxford: Oxford UP, 1998.

Includes "The Dream," by Mary Wollstonecraft Shelley.

Davreu, Robert, trans. Ode au vent d'Ouest: Adonaïs et autres poèmes. Paris: J. Corti, 1998.

Includes English and French translations of "Ode to the West Wind" and other poems by Shelley.

Joseph, M. K., ed. Frankenstein, or, The Modern Prometheus, by Mary Wollstonecraft Shelley. Oxford: Oxford UP, 1998.

Munch, Philippe, ill. Frankenstein, by Mary Wollstonecraft Shelley. New York: Viking, 1998.

Rajan, Tilottama, ed. Valperga, or, The Life and Adventures of Castruccio, Prince of Lucca, by Mary Wollstonecraft Shelley. Peterborough, Ont.: Broadview P, 1998.

A third edition of Mary Shelley's novel, one that will take its place alongside Nora Crook's for Pickering & Chatto (1996) and Stuart Curran's for Oxford UP (1997).

Shelley, Mary Wollstonecraft. Maurice, or, The Fisher's Cot: A Tale. New York: Knopf, 1998.

Shelley, Percy Bysshe. Poèmes. Paris: Textuel, 1998.

English and French translations of selected poems by Shelley.

Stevens, David, ed. Frankenstein, or, The Modern Prometheus, by Mary Wollstonecraft Shelley. Cambridge: Cambridge UP, 1998.

Thompson, Edward, ed. Percy Bysshe Shelley: A Collection of Poems. London: Crumb Elbow Publishers, 1998.

Walter, Nicolas, ed. The Necessity of Atheism, by Percy Bysshe Shelley. London: G. W. Foote, 1998.

Webb, Timothy, ed. Percy Bysshe Shelley: Selected Poems. London: J. M. Dent, 1998.

Books and Articles Relating to the Shelleys and Their Circle

Baldick, Chris. "Monsters of Empire: Conrad and Lawrence." In Critical Essays on Mary Wollstonecraft Shelley, ed. Mary Lowe-Evans (New York: G. K. Hall; London: Prentice, 1998), 185-202. Reprinted from In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing, by Chris Baldick (Oxford: Oxford UP, 1987).

Baldick explores similarities between Heart of Darkness and Frankenstein, but sees Conrad as limited compared to D. H. Lawrence. Baldick "discovers in Lawrence an abiding, culturally induced mistrust of polar exploration that directly opposes the enthusiasms of Frankenstein's narrator Robert Walton" (17). In Women in Love, Lawrence seems to employ a "vocabulary of geographical symbols derived from the Shelley-Byron circle's Alpine obsessions to attack modern imperialism" (17).

Beer, John. "Mary Shelley, Frankenstein." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 227-36.

Behrendt, Stephen. "Mary Shelley, Frankenstein, and the Woman Writer's Fate." In Critical Essays on Mary Wollstonecraft Shelley, ed. Mary Lowe-Evans (New York: G. K. Hall; London: Prentice, 1998), 133-51. Reprinted from Romantic Women Writers: Voices and Countervoices, ed. Paula R. Feldman and Theresa M. Kelley (Hanover, N.H.: UP of New England, 1995), 69-87, 278-80.

Stephen Behrendt "examines Frankenstein from the perspective of the lessons it teaches about the 'hazards of authorship,' especially for the romantic woman author. Coming to us second or thirdhand, the action of Frankenstein is always kept offstage, a strategy that, for Behrendt, renders the violence of the novel 'powerfully imminent.'" Frankenstein is "a construct of words" rather than a "direct representation of actions" (15).

Bennett, Betty T. "Finding Mary Shelley in Her Letters." In Critical Essays on Mary Wollstonecraft Shelley, ed. Mary Lowe-Evans (New York: G. K. Hall; London: Prentice, 1998), 118-32.

Reprinted from Romantic Revisions, ed. Robert Brinkley and Keith Hanley (Cambridge: Cambridge UP, 1996), 291-306. Bennett "demonstrates how the physical properties of the letters (postmarks, watermarks), together with the subjects addressed, sentence structure, changes in handwriting and tone of voice, and use of eccentric punctuation all provide evidence that allows us 'to revise Mary Shelley's image from . . . a passive, conventional Victorian lady into a multidimensional, complex Romanticist'" (14).

Bennett, Betty T. Mary Wollstonecraft Shelley: An Introduction. Baltimore: Johns Hopkins UP, 1998.

Blyton, Carey. Lachrymae: In Memoriam John Dowland: Five Songs for High Voice and String Orchestra, Op. 23: Composed 1956/1960. Modus Music, 1998. Musical score. Includes musical settings for poems by Shelley.

Bonca, Teddi Chichester. Shelley's Mirrors of Love: Narcissism, Sacrifice, and Sorority. New York: SUNY, 1999.

Discusses Shelleyan narcissism and "discovers an artist fiercely engaged with problems of (gender) identity, self-idolatry, and the nature of love itself." Psychobiographical in approach, this book makes use of Heniz Kohut and Jessica Banjamin to analyze Shelley's fiction, poetry, and letters. Discusses scientific theories of Shelley's day that helped the poet envision how the energy of electricity, sympathy, and sexuality converge to create the kind of erotically interpenetrating universe that occurs at the close of Prometheus Unbound.

Brewer, William D. "Mary Shelley on the Therapeutic Value of Language." In Critical Essays on Mary Wollstonecraft Shelley, ed. Mary Lowe-Evans (New York: G. K. Hall; London: Prentice, 1998), 152-65. Reprinted from PLL 30.4 (Fall 1994), 387-408.

Brewer discusses Matilda's "failure to speak the name of the sin that causes her suffering" (15). He explores "the predicament of a suffering human being torn between the impulse to communicate and the urge to retreat into isolation and death" (15).

Brewer, William D. "Unnationalized Englishmen in Mary Shelley's Fiction." RoN 11 (Aug. 1998): <http://www-sul.stanford.edu/mirrors/romnet/>.

Discusses Mary Shelley's novels Lodore (1835), Mathilda (1819), Falkner (1837), and The Fortunes of Perin Warbeck (1830), and Godwin's Fleetwood. Brewer sees Lord Raymond as a Byron-surrogate in Shelley's The Last Man (1826) and Clairmont saw Lodore as a "<beastly> modification of the beastley character of Lord Byron." Brewer argues that Valperga, The Last Man, Lodore, and Falkner "take the Byronic hero as their central characters" (31).

Brown, James. "'Ozymandias': The Riddle of the Sands." KSR 12 (1998) 51-76.

"The manner in which one's view of the poem can develop, and even invert itself, is among its most striking characteristics" (51).

Campbell Orr, Clarissa. "Mary Shelley's Rambles in Germany and Italy, the Celebrity Author, and the Undiscovered Country of the Human Heart." RoN 11 (Aug. 1998): <http://www-sul.stanford.edu/mirrors/romnet/>.

Campbell Orr discusses Shelley's Rambles in Germany and Italy (1844) as a "portrait of her personal landscape" and discusses the work in the context of her parents, peers, and progeny, and also in relation to her mother's Letters from Norway (1796), Wollstonecraft's most commercially successful work; to travel writing by Lady Morgan, Frances Trollope, and Samuel Rogers; and to "strategies for self-promotion available to nineteenth-century authors of famous literary offSpring." Discusses Madame de Staël's De L'Allemagne, Corinne, and The Wild Irish Girl (1805); Lady Morgan's Diary of an Ennuyee; Trollope's Charles Chesterfield (1841) and its influence on Shelley; and other works.

Canuel, Mark. "Acts, Rules, and The Last Man." NCL 53:2 (Sept. 1998): 147-71.

"Disease--the whittling down of human populations--does not merely signify an absence of population: it reconfigures the meaning of populations as well as the meaning of other persons to the self" (151). The novel is about "the formation of less restrictive patterns of social cooperation . . . that would . . . characterize the logic of the liberal state" in the remaining decades of the nineteenth century (152).

Carissimi, Giacomo. Hymnum Cantemus Domino from Quattro Pezzi Sacri/Giuseppe Verdi. Three Motets, Op. 39/Felix Mendelssohn Bartholdy. Winter Cantata: (Cantata No. 2, Op. 97)/Vincet Perischetti. In Praise of Music/David Conte. No distributor given, 1998. Sound recording. Includes musical settings for poems by Shelley.

Chandler, James. "Concerning the Influence of America on the Mind: Western Settlements, 'English Writers,' and the Case of U.S. culture." American Literary History 10.1 (Spring 1998): 84-123.

Chandler considers Morris Birkbeck and John Keats in this article in order to discuss how U.S. culture "problematizes notions of ordinary character and ordinary life." Percy Shelley believed that American culture represents the incarnation of the doctrine of utility as developed in eighteenth-century social theory; Shelley's judgment "impressively anticipates the larger implications of the issue."

Chatterjee, Ranita. "Dialogues of Desire: Intertextual Narration in the Works of Mary Shelley and William Godwin." Ph.D. diss., U of Western Ontario (Canada), 1998, DAI-A, 59-10 (1998): 3826, 287 pages.

Using Kristeva's notion of intertextuality and Lacan's theory of desire, this study argues for an invented term, "psychonarration," which "describes the intertextual connections that arise from within an intimate collective, such as the father-daughter relationship of Godwin and Shelley." The study examines "what I argue are Godwin's and Shelley's most personal, yet textually constructed works: the former's recollections of and tribute to Mary Wollstonecraft in Memoirs of the Author of 'A Vindication of The Rights of Woman' (1798) and Mary Shelley's originally unpublished fictional autobiographical confession of father-daughter incest in Mathilda (composed in 1819)." Chatterjee states that Godwin's Caleb Williams, Memoirs, Fleetwood, and his last novel, Deloraine, and Shelley's Frankenstein, Mathilda, "The Mourner," and her last novel, Falkner, portray father-daughter intimacy. Chatterjee argues for a "libidinal interaction between the historical lives of authors and the textual inscriptions of these histories."

Cheeke, Stephen. "Shelley's The Cenci: Economies of a 'Familiar' Language." KSJ 47 (1998): 142-60.

Clemit, Pamela. "Mary Wollstonecraft Shelley." In Literature of the Romantic Period: A Bibliographical Guide, ed. Michael O'Neill (Oxford: Clarendon P, 1998), 284-97.

Conger, Syndy McMillen. "Multivocality in Mary Shelley's Unfinished Memoirs of Her Father." ERR 9:3 (Summer 1998): 303-22.

Conger considers the question of why Mary Shelley did not complete the posthumous memoirs of her father, William Godwin, that she promised in early 1837. Her letters written between 1836 and 1841 show her increasingly ill health, her disappointment in the poor sales of an edition of Percy Bysshe's works, and her fear of an ensuing scandal that would vitiate the professional prospects of her son, Percy. Conger detects a struggle among three authorial personae in Mary Shelley's letters (a Victorian biographer, a scholarly biographer, and a speculative biographer), though no single personae predominates. "At every turn, Shelley's keen awareness of her contemporaries' ethical and aesthetic preferences compels her to defend her parents from imagined attacks: to revise, to protest, to delete, to delimit. At every turn, too, she surely confronts the ghosts of her parents, who are visible and audible in her writing to the end of her life" (318).

Cox, Tracy. "Frankenstein and Its Cinematic Translations." In Critical Essays on Mary Wollstonecraft Shelley, ed. Mary Lowe-Evans (New York: G. K. Hall; London: Prentice, 1998), 214-29.

Discusses Thomas Edison Company's 1910 production (the first Frankenstein film), Universal's 1931 production starring Boris Karloff (the classic Hollywood version, which remains the locus classicus of all Frankenstein films), and Kenneth Branagh's 1994 production (which declares its intentions to faithfully represent the novel). All of these versions "exploit the novel's thrill and gore potentials, at the cost of its more subtle arguments about education, sympathy, and social intolerance" (216).

Dane, Joseph A. "On the Instability of Vessels and Narratives: A Nautical Perspective on the Sinking of the Don Juan." KSJ 47 (1998): 63-86.

Examines the accident in which Shelley was killed, while sailing on his boat, the Don Juan.

Davenport, Diana. The Shelleys at Nantgwillt 1812. Chipping Norton: D. Davenport, 1998.

Discusses Percy Shelley's "homes and haunts" in Nantgwillt, Wales, and his relations with Harriet Westbrook Shelley.

Ferriss, Suzanne. "Percy Bysshe Shelley's The Cenci and the Rhetoric of Tyranny." In British Romantic Drama: Historical and Critical Essays, ed. Terence Allan Hoagwood and Daniel P. Watkins (Madison, N.J.: Fairleigh Dickinson UP; London: Associated UP, 1998), 208-28.

Ferriss "studies Shelley's depiction of events from the Italian renaissance to show how Shelley's departures from his antecedent texts identify the French Revolution as the subtext of The Cenci" (19). Shelley uses the example of Beatrice in The Cenci to question whether any revolutionary actions are possible following the example of the terror in France. Ferriss contrasts The Cenci with the "perpetual Orphic song" of the "great Republic" in Prometheus Unbound.

Florescu, Radu. In Search of Frankenstein: Exploring the Myths Behind Mary Shelley's Monster. New York: Robson Books/Parkwest, 1998.

Foreman, William John. "Finding a Way That Can Be Spoken: The Poetic Activity of Metaphor Twisting in the Rhetoric of Politics (Jonathan Swift, Percy Bysshe Shelley, Mario Cuomo)." Ph.D. diss., U of New Mexico, 1998, DAI, 59-07A (1998): 2480, 222 pages.

This dissertation examines "a certain kind of metaphor innovation--an innovation I call twisting--that occurs when one rhetor coopts the metaphor of another, turning the entailments of the original metaphor sour. I argue that this rhetorical metaphor innovation is not only a political, but a poetic act, since innovation on metaphor is a central activity in poetics." Foreman makes use of Aristotle's theory of metaphor, as well as theories by I. A. Richards, Colin Turbayne, George Lakoff, Mark Turner, and Mark Johnson.

Fraistat, Neil. "Whose Sadak Is Wandering? P. B. Shelley and a Problem of Attribution." KSJ 47 (1998): 18-28.

Franco, Dean. "Mirror Images and Otherness in Mary Shelley's Frankenstein." Literature and Psychology 44.1-2 (Spring/Summer 1998): 80-95.

Franklin, George Siesel, Jr. "In Pursuit of the Real: Skepticism in the Poetry of Eliot, Hardy, and Stevens (T. S. Eliot, Thomas Hardy, Wallace Stevens)." Ph.D. diss., Brandeis U, 1998, DAI, 59-04A (1998): 1157.

Eliot, Hardy, and Stevens each had strong affinities to Shelley, and responded to his assertion that "nothing exists but as it is perceived." "The concern of poetry is always meaning . . . and radical skepticism" challenges poetry's purpose in denying that we can ever know reality. Eliot's turn to religion, Hardy's cultivation of heuristic belief, and Stevens' search for a supreme fiction are viewed as replies to Shelley's challenge. Eliot uses characters who speak from a condition of greater knowledge than the human, such as the "familiar compound ghost" in "Little Gidding" and Rousseau in The Triumph of Life.

Gilbert, Sandra. "Horror's Twin: Mary Shelley's Monstrous Eve." In Critical Essays on Mary Wollstonecraft Shelley, ed. Mary Lowe-Evans (New York: G. K. Hall; London: Prentice, 1998), 39-61.

Reprinted in part from Feminist Studies 4.2 (Summer 1978), 48-73, which explores Frankenstein as a reading of Paradise Lost. "In making their case for the work as female fantasy, though, critics like Moers have tended to evade the problems posed by what we must define as Frankenstein's literariness. Yet, despite the weaknesses in those traditional readings of the novel that overlook its intensely sexual materials, it is still undeniably true that Mary Shelley's 'ghost story,' growing from a Keatsian (or Coleridgean) waking dream, is a romantic novel about--among other things--Romanticism, as well as a book about books and perhaps, too, about the writers of books" (40).

Gillespie, Robert Windsor. "'Like Lamps into the World's Tempestuous Night': The Development of Shelley's Concept of Evolutionary Revolution." M.A. thesis, San Diego State U, 1998.

Goldberg, Brian. "'A Sea Reflecting Love': Tennyson, Shelley, and the Aesthetics of the Image in the Marketplace." MLQ 59.1 (Mar. 1998): 71-97.

"Percy Shelley, whose work exemplified difficulty and abstraction, was pivotal to formulations of aesthetic value that described 'taste' as special and rare. However, in his account of love, Shelley acted as the potentially democratic defender of a socially unifying sensibility, providing Alfred Tennyson and Arthur Hallam with a vocabulary for reconciling commercialism, aesthetic distinction, and the moral responsibility of the poet. Tennyson's close work with Shelley's imagery had among its aims the preservation of representation's moral meaning as well as its heterogeneous appeal. Two of Tennyson's works that are marked by Shelleyan images-'The Lady of Shalott' and the Palace of Art--criticize the perniciousness of a marketplace that elevates the illustrative over the linguistic and robs visual experience of its transformative power."

Gurr, Jens Martin. "Shelley's Misreading of Aeschylus' Prometheus." In British Romantics as Readers: Intertextualities, Maps of Misreading, Reinterpretations; Festschrift fur Horst Meller, ed. Michael Gassenmeier, Petre Bridzun, Jens Martin Gurr, and Frank Eric Pointner (Heidelberg: Universitatsverlag C. Winter, 1998), 71-82.

Shelley's debt to Aeschylus's drama is far greater than critics have previously realized. His rejection of Aeschylus in the preface to Prometheus Unbound can be read as a defence against "an overwhelming precursor" (81). Gurr appropriates Harold Bloom's thesis in The Anxiety of Influence (1973) while rejecting the "esoteric jargon" that characterizes Poetry and Repression (1976). "If applied not to the evasive phenomenon of style as Bloom does-despite claims to the contrary-but to the treatment of subject matter, The Anxiety of Influence can fruitfully be used to analyze the relationship of Shelley's Prometheus to that of Aeschylus" (73).

Harpold, Terence. "'Did You Get Mathilda from Papa?': Seduction Fantasy and the Circulation of Mary Shelley's Mathilda." In Critical Essays on Mary Wollstonecraft Shelley, ed. Mary Lowe-Evans (New York: G. K. Hall; London: Prentice, 1998), 101-17. Reprinted from SIR 28.1 (Spring 1989), 49-67.

Like Frankenstein, Mathilda "refigures Mary Shelley's family dramatic personae" (14).

Hogle, Jerrold E. "Frankenstein as Neo-Gothic: From the Ghost of the Counterfeit to the Monster of Abjection." In Romanticism, History, and the Possibilities of Genre: Re-forming Literature 1789-1837, ed. Tilottama Rajan and Julia M. Wright (Cambridge: Cambridge UP, 1998), 176-210.

Hogle explores how "gothic" Frankenstein is by tracing it to Horace Walpole's The Castle of Otranto; his essay "explores this fragmentation through a psychoanalysis of capitalism as it is (dis)figured in the Gothic from Walpole to Mary Shelley" (13).

Hogle, Jerrold E. "Percy Bysshe Shelley." In Literature of the Romantic Period: A Bibliographial Guide, ed. Michael O'Neill (Oxford: Clarendon P, 1998), 118-42.

Hogle notes that two Shelleys have emerged from nineteenth-century criticism: "those who would turn him into the ethereal 'pure poet' safe for developing middle-class tastes (including Mary Shelley, the first of his posthumous editors) and those who would retain him as a voice for radical social reform (from Horace Smith to Bernard Shaw)" (118).

Höhne, Horst. "Shelley's Banquet: Strategies of Reading." In British Romantics as Readers: Intertextualities, Maps of Misreading, Reinterpretations; Festschrift fur Horst Meller, ed. Michael Gassenmeier, Petre Bridzun, Jens Martin Gurr, and Frank Eric Pointner (Heidelberg: Universitatsverlag C. Winter, 1998), 83-98.

Shelley's Banquet, while initially undertaken for want of poetic inspiration, became a central element in his "passion for reforming the world" (84) by improving that world's understanding of eros, love, and sexuality. Shelley's letters show that he believed some fundamental change in English institutions was necessary to prevent a social and political catastrophe (86). "The very speed with which he managed to render the text into a universally praised English Banquet-it took him only eight days to do the job-and the further plans he had with the finished product show that the effort was central to Shelley's poetic and political creed" (86).

Kallerud, Mauritz Royce. "The Genre of Conjectural History: Jean-Jacques Rousseau, Mary Shelley, and William Blake in the New World (Language, Science, Society)." Ph.D. diss., State U of New York at Buffalo, 1998, DAI, 59-09A (1998): 3450, 242 pages.

"Conjectural history" is a genre which permeated European thought from the seventeenth to the early nineteenth centuries; it discussed subjects such as the origin of language, the sciences, and society not covered by recorded history. Rousseau, Mary Shelley, and Blake "called into question the anthropological fictions upon which this genre was founded." Kallerud discusses Rousseau's Essay on the Origin of Languages, The Social Contract, and Reveries of the Solitary Walker; Mary Shelley's strategic revision of contract theory in Frankenstein and The Last Man; and Blake's substitution of a "pedagogic approach to human relations for conjectural history's legal approach" in Visions of the Daughters of Albion and The Marriage of Heaven and Hell.

Keach, William. "Cythna's Subtler Language." SIR 37:1 (Spring 1998): 7-17.

Kearney, Anthony. "Reading Shelley: A Problem for Late Victorian Studies." VP 36.1 (Spring 1998): 59-74.

Komisaruk, Adam Carl. "Private Persons: Class and the Construction of Sexuality in British Romanticism." Ph.D. diss., U of California, Los Angeles, 1998, DAI, 59-09A (1998): 3466, 228 pages.

Komisaruk examines sexual self-regulation among the eighteenth-century bourgeoisie, noting how "hostility toward sex was construed as a prerequisite of social privilege." Moral, legal, and scientific discourses sought to "proscribe sexual practices" that "contradicted the bourgeois standard of the reproductive marriage." Komisaruk examines the "Vaudracour and Julia" tale in Wordsworth's Prelude, book 9; Wordsworth's nostalgia for "patrimonial honor" is more hostile to consummated love than the tyranny of the ancien-regime which he and his protagonist condemn. Mary Shelley's Frankenstein provides a more ironic view of domestic ideology and conservative sexual politics; "gentle" homes of major characters are "breeding-grounds of alienation." By including contemporary politics in her novel, she compares familial to global preoccupation with private interests. Blake's pagan fertility-cults in The Four Zoas reflect his work as an engraver to the London antiquarians, "genteel libertines who epitomized the link between sexual and sociopolitical chauvinism."

Kraus, Carolyn Wells. "A Discourse of Female Bastardy (Flora Tristan, Violette Leduc, Carolyn Steedman, Dorothy Allison, Mary Shelley, Bastardy)." Ph.D. diss., U of Michigan, Ann Arbor, 1998, DAI, 59-10 (1999): 3466, 228 pages.

This dissertation explores the lives and books of Flora Tristan, nineteenth-century utopian feminist who wrote Peregrinations of a Pariah, 1838; Violette Leduc, author of a 1964 autobiography, La Batarde; Carolyn Steedman, author of Landscape for a Good Woman (1987); Dorothy Allison, author of Bastard out of Carolina (1992); and Mary Shelley, author of Frankenstein (1818), which takes up the theme of bastardy and illegitimacy. Kraus focuses on "the peculiar logic of bastardy, the bastard quest, the impasse created by bastardy's radical contradictions, and the struggle to unlock that impasse through literary re-conceptions of lives." This study includes autobiographical segments and examinations of female bastardy and power in the lives of Flora Tristan, American ambassador and playwright Clare Booth Luce, and Argentinean first lady Eva Peron. "These bastard women straddle two realities: the culture into which they were born and the sense of being external to it, which is like another culture."

Kucich, Greg. "'This Horrid Theatre of Human Sufferings': Gendering the Stages of History in Catherine Macaulay and Percy Bysshe Shelley." In Lessons of Romanticism: A Critical Companion, ed. Thomas Pfau and Robert F. Gleckner (Durham, N.C.: Duke UP, 1998), 448-65.

"The transformative impact of Macaulay's feminism on Percy Shelley is particularly revealing, especially considering our recent tendencies to find Shelley a principal upholder of romanticism's masculinist poetic ideologies--a 'cannibaliz[er]' of 'female attributes' (Mellor, 'On Romanticism and Feminism,' 7). Our attention to his engagement with Macaulay's revisionary historicism should complicate our developing sense of his own gender positioning and its capacity for fluid change" (451). Kucich discusses Shelley's "incorporation" of Macaulay's eight-volume republican History of England (1764-83) into his own historical drama, Charles the First.

Laplace-Sinatra, Michael. "Science, Gender, and Otherness in Shelley's Frankenstein and Kenneth Branagh's Film Adaptation." ERR 9.2 (Spring 1998): 253-70.

Levine, George. "The Ambiguous Heritage of Frankenstein." In Critical Essays on Mary Wollstonecraft Shelley, ed. Mary Lowe-Evans (New York: G. K. Hall; London: Prentice, 1998), 25-38. Reprinted from Endurance of Frankenstein: Essays on Mary Shelley's Novel, ed. George Levine and U. C. Knoepflmacher (Berkeley: U of California P, 1979), 3-30.

Levine explores the following themes in Shelley's novel: birth and creation; the overreacher; rebellion and moral isolation; the unjust society; the defects of domesticity; the double; and technology, entropy, and the monstrous.

Lew, Joseph W. "The Plague of Imperial Desire: Montesquieu, Gibbon, Brougham, and Mary Shelley's The Last Man." In Romanticism and Colonialism: Writing and Empire, 1780-1830, ed. Tim Fulford and Peter J. Kitson (Cambridge: Cambridge UP, 1998), 261-78.

Lew argues against an autobiographical reading of The Last Man, claiming that the novel was not composed solely because of Byron's death. Such a reading "cannot account for Shelley's marvelous transformation of Byron's rather inglorious death at Missolonghi"; Shelley allows this character's death to introduce the plague into Europe. Lew examines writings by Montesquieu, Gibbon, and Brougham, eighteenth-century theorists of corruption, despotism, and imperialism, "to elucidate Shelley's specifically Romantic anxieties about the dangers of Oriental 'infection' for individual bodies and for the body politic" (262).

Lokke, Kari. "Sibylline Leaves: Mary Shelley's Valperga and the Legacy of Corinne." In Cultural Interactions in the Romantic Age: Critical Essays in Comparative Literature, ed. Gregory Maertz (Albany: State U of New York P, 1998), 157-73.

Lokke extends Furst's discussion of the salons of Rachel Varnhagen and Madame de Staël. Discusses how Corinne influenced Valperga and The Last Man in its use of "visionary images of the woman writer" and "allegorical strategies" (158).

Lowe-Evans, Mary. "Introduction." In Critical Essays on Mary Wollstonecraft Shelley, ed. Mary Lowe-Evans (New York: G. K. Hall; London: Prentice, 1998), 1-21.

Lowe-Evans, Mary. "Sweetheart of Darkness: Kurtz's Intended as Progeny of Frankenstein's Bride." In Critical Essays on Mary Wollstonecraft Shelley, ed. Mary Lowe-Evans (New York: G. K. Hall; London: Prentice, 1998), 203-13.

Responding to essays by Stephen Behrendt and Chris Baldick ("Monsters of Empire: Conrad and Lawrence," in In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing [1987]), Lowe-Evans's essay argues that "the separate spheres represented as so inimical to male-female equality and communication in Frankenstein become thoroughly uncivilizing in Heart of Darkness" (17).

Lowe-Evans, Mary, ed. Critical Essays on Mary Wollstonecraft Shelley. New York: G. K. Hall; London: Prentice Hall International, 1998.

Essays by George Levine, Sandra Gilbert, Ellen Herson Wittmann, Terence Harpold, Betty T. Bennett, Stephen Behrendt, William D. Brewer, Victoria Middleton, Mary Lowe-Evans, Tracy Cox, and Emily W. Sunstein.

Magarian, Barry. "Shelley's Alastor, The Mutability of Identity." KSR 12 (1998): 77-104.

Alastor is indeterminate "because it never offers the reader anything approaching a view of the meaning and significance of the Poet who is at its centre" (77). The author explores the suggestion that Alastor was modeled on Rousseau, particularly on Confessions and Reveries of the Solitary Walker.

Mallory, Anne Boyd. "Acting Out: Theater, Revolution, and the English Novel, 1790-1848 (Edmund Burke, Jane Austen, Elizabeth Inchbald, Mary Shelley, William Makepeace Thackeray)." Ph.D. diss., Cornell U, 1998, DAI, 59-07A (1998): 2523, 194 pages.

Theater emerges in literature as the antithesis of the great house. This dissertation discusses how revolutionary passion circulates in houses and novels in "disguised, theatricalized form." For Mallory, the novel is a "stage" on which ambivalence--manifested as boredom, melancholia, and mania--assumes theatrical form. Austen's Mansfield Park (1814) makes reference to Inchbald's adaptation of Kotzebue's Lovers' Vows: Fanny Price "acts out" by becoming a source of theatrical and revolutionary disturbance in the household. Mary Shelley's The Last Man is the self-dramatization of a bored, post-revolutionary moderate. Close readings of Inchbald's A Simple Story and of the theatrical and Napoleonic protagonist Becky Sharp, in Thackeray's Vanity Fair, comprise separate chapters.

Mellor, Anne K. "A Feminist Critique of Science." In Critical Essays on Mary Wollstonecraft Shelley, ed. Mary Lowe-Evans (New York: G. K. Hall; London: Prentice, 1998), 62-87. Reprinted from Mary Shelley: Her Life, Her Fiction, Her Monsters, by Anne K. Mellor (New York: Routledge, 1988), 89-114.

Middleton, Victoria. "Exile, Isolation, and Accommodation in The Last Man: The Strategies of a Survivor." In Critical Essays on Mary Wollstonecraft Shelley, ed. Mary Lowe-Evans (New York: G. K. Hall; London: Prentice, 1998), 166-82. Reprinted from Elektra in Exile: Women Writers and Political Fiction, ed. Victoria Middleton (New York: Garland, 1988), 32-76.

Middleton identifies the theme of writing as therapy in Mary Shelley's The Last Man, where "the self-reflexive action of writing nullifies the pain of consciousness" for Lionel Verney, the title character. Middleton argues that "after Percy Shelley's death--and in large part because of his death--Mary Shelley became increasingly conservative in her life, works, and politics. Lionel Verney is transformed from a Romantic to a Victorian narrator in The Last Man, echoing Mary Shelley's own increasing conservatism. This view is challenged by Betty T. Bennett and Emily Sunstein" (16).

Milford, Lauri K. "Putting Out the Fire: Visions of Science in Shelley's Prometheus Unbound and Triumph of Life." M.A. thesis, U of Wyoming, 1998.

Morrison, Lucy Jane. "British Women Writers in the Public Sphere, 1800-1840 (Mary Shelley, Jane Austen, Letitia Elizabeth Landon, Women Writers, Conduct Literature)." Ph.D. diss., U of South Carolina, 1998, DAI, 59-07A (1998): 2525, 316 pages.

Jane Austen, Letitia Landon, and Mary Shelley evaded restrictions placed on them and were part of "a larger movement of indirect defiance." Conduct books demonstrate how women writers "could successfully evade masculine discourse's limitations from within its boundaries." Close readings of Mansfield Park (1814) and Emma (1816) consider the significance of Austen's intertextual use of Kotzebue's Lovers' Vows (1799) and The Birth-Day (1798). Landon's commentaries on Felicia Hemans show that Landon perceived herself and Hemans in a complex relationship to the masculine literary sphere. Morrison discusses Madame de Staël's Corinne; ou, l'Italie (1807) as a hitherto unexplored source for Mary Shelley's Valperga. Shelley confirms de Staël's depiction of women artists' dependency upon the male gaze, but "challenges a society which alienates women artists by privileging physical appearance over individual integrity." Morrison questions the validity of the literary "sisterhood" of nineteenth-century women writers that Ellen Moers and Elaine Showalter have posited.

Nichols, Joan K. Mary Shelley, Frankenstein's Creator: First Science Fiction Writer. Berkeley, Calif.: Conari P, 1998.

Nichols, Joan K. Mary Shelley: Frankenstein's Mother. Berkeley, Calif.: Conari P, 1998.

O'Neill, Michael. "Percy Bysshe Shelley, Prometheus Unbound." In A Companion to Romanticism, ed. Duncan Wu (Oxford: Blackwell Publishers, 1998), 259-68.

Payling, Catherine. "Report from Rome." KSR 12 (1998): xi.

Payling notes the importance of the discovery, during Mary Shelley's actual bicentenary, of the lost manuscript of a short story by her: Maurice, or, The Fisher's Cot. "The owners, descendants of the child for whom the story had originally been written, found it in a chest while reorganising their house in Tuscany. The Curator was asked to help with establishing its authenticity. She inspected the MS with Ms Claire Tomalin, the biographer and historian, making reference to the handwriting in manuscripts of Mary Shelley in the Keats-Shelley Memorial House, as well as to watermarks and other criteria, and both were confident that it was genuine. Their authentication was subsequently confirmed by the scholar Dr. Nora Crook. The Association decided to bring the owners to London at the time of the exhibition at the National Portrait Gallery on Mary Wollstonecraft and Mary Shelley-Hyeneas in Petticoats--to talk to interested publishers. It is now to be published in September 1998 by Viking Penguin in association with KSMA" (KSR viii). See also entry under Keats.

Peterfreund, Stuart. "Two Romantic Poets and Two Romantic Scientists 'on' Mont Blanc." WC 29.3 (Summer 1998): 152-61.

Plotnitsky, Arkady. "A Dancing Arch: Formalization and Singularity in Kleist, Shelley, and De Man." ERR 9.2 (Spring 1998): 161-76.

Rogers, Jane Susan. "Ekphrasis in Robert Browning's Men and Women." Ph.D. diss., U of Alabama, 1998, DAI, 59-04A (1998): 1180, 222 pages.

Browning's 1855 volume, Men and Women, represents the culmination of his immersion in the painting, sculpture, and architecture of Italy, as well as the relationship between the verbal and visual arts. Browning's "Essay on Shelley" (1851) demonstrates the degree to which Browning's poetic theories were molded by ekphrasis, the "effort to import visual elements into the verbal medium." Browning's "Old Pictures in Florence," "Fra Lippo Lippi," and "Andrea del Sarto" show the poet using historical painters to explore their psyches and the relationship between artists and their creations.

Seymour, Miranda. "Tales from the Boxroom (Exhibition: Hyenas in Petticoats)." TLS 4945 (Jan. 9, 1998): 17.

This article discusses the exhibition at the National Portrait Gallery, which focuses on Mary Wollstonecraft and her daughter Mary Shelley. Mary Shelley occupies the first room, with much of the display devoted to Frankenstein. "A thematic treatment based on circles of friendship works well for Wollstonecraft, but works less well for her daughter. Although captions in the exhibition are not always accurate, and the catalog illustrations often vary in quality, the show does contain many fascinating items." See Claire Tomalin's review of the same exhibition.

Silver, James Perry. "History and the Form of the Dream Vision: Shelley's Poetic Confrontations with Material Reality (Percy Bysshe Shelley, England, Romanticism)." Ph.D. diss., Tulane U, 1998, DAI, 59-09A (1998): 3470, 265 pages.

This genre study reads poems of Shelley as examples of a "kind of narrative that dramatizes visionary insight but places the experience in the context of a paradoxical fixation on materiality." Queen Mab, Laon and Cythna, and The Triumph of Life are pseudo-historical discourses, adaptations of the dream vision which Shelley used to resolve conflicts between his poetic and political ambitions. Shelley's visionary narratives engage the same aesthetic dilemmas as Scott's historical novels; Shelley is "credited with the rise of realism as a dominant mode of expression in nineteenth-century literature."

Smith, Jessica. "Tyrannical Monuments and Discursive Ruins: The Dialogic Landscape of Shelley's Queen Mab." KSJ 47 (1998): 108-41.

Sng, Zachary. "The Construction of Lyric Subjectivity in Shelley's 'Ozymandias.'" SIR 37:2 (Summer 1998): 217-34.

Sng makes use of Northrop Frye's "Approaching the Lyric," Shelley's essay "On Life," and Martin Buber's I and Thou to explain "the illocutionary failure of Ozymandias' inscription and the physical destruction of his statue" as "doubles of each other" (231). "The authorial veracity of the lyric 'I' holds itself apart but yet remains grounded in the linguistic failure of Ozymandias as a speaking subject" (232).

Sunstein, Emily W. "Mary Shelley: Romance and Reality." In Critical Essays on Mary Wollstonecraft Shelley, ed. Mary Lowe-Evans (New York: G. K. Hall; London: Prentice, 1998), 230-45. Reprinted from Mary Shelley: Romance and Reality, by Emily W. Sunstein (Boston: Little, 1989), 387-403, 455-56.

Emily W. Sunstein discusses the difficulty of constructing a biography of Mary Shelley, based on her 1989 biography Mary Shelley: Romance and Reality. Sunstein explores the reputation of Shelley from idealization to defamation; "the low critical regard that Shelley suffered for decades readily explains previous lack of interest in Frankenstein's origins" (19). She becomes "a martyr sacrificing herself at the altar of Percy Shelley's fame in one era and a virago hindering his poetic progress in another" (19).

Thoman, Charles J. "Sir Humphry Davy and Frankenstein." Journal of Chemical Education 75.4 (Apr. 1998): 495-96.

Todd, Janet. "Mary Wollstonecraft and Enlightenment Desire." WC 29.3 (Summer 1998): 186-92.

Tomalin, Claire. "A Tale of Two Marys." History Today 48.2 (Feb. 1998): 29-30.

Discusses the exhibition Hyenas in Petticoats at the National Portrait Gallery, England, which presents Mary Wollstonecraft and her daughter Mary Shelley as central figures in the Byron/Shelley circle. Tomalin comments upon the extraordinary range in the work of Mary Wollstonecraft and Mary Shelley: both women produced novels, travel books, children's stories, and essays, as well as translations and edited volumes.

Touma, Mireille G. "Shelley and His Contemporary Readers." M.A. thesis, Montclair State U, 1998.

Vicario, Michael III. "Virgil's Tenth Eclogue and Shelley's Adonais." KSJ 47 (1998): 161-83.

Williams, Nicholas M. Ideology and Utopia in the Poetry of William Blake. Cambridge: Cambridge UP, 1998.

The third chapter and conclusion of this work may interest Mary Wollstonecraft and Mary Shelley scholars. Chapter 3 is titled "The Discourse of Women's Liberation in Vindication of the Rights of Woman, Europe, and Visions of the Daughters of Albion" (71-97). The conclusion is titled "Conclusion: The Function of Utopianism at the Present Time" (207-19).

Wittmann, Ellen Herson. "Mary Shelley's Daemon." In Critical Essays on Mary Wollstonecraft Shelley, ed. Mary Lowe-Evans (New York: G. K. Hall; London: Prentice, 1998), 88-100.

Wittmann compares "the position of Mary Shelley's Creature with that of Diotima-especially with regard to the Creature's experience of mixed pain and pleasure as he observes the loving gestures of the De Lacy family" (13).

Wohlpart, A. James. "A Tradition of Male Poetics: Mary Shelley's Frankenstein as an Allegory of Art." Midwest Quarterly 39.3 (Spring 1998): 265-79.

The writer argues that the critique of artistic creativity apparent in Mary Shelley's Frankenstein finds its locus in the male-dominated artistic arena of her time. The novel criticizes not only Byron and Shelley, but also "the tradition that led up to this period, suggesting that artistic creativity had predominantly become a male pursuit. He contends that at the heart of Shelley's critique is the way in which male creativity omits any feminine influence and thus creates a series of monsters. He concludes that Shelley does not suggest that a sudden acceptance of the feminine will alleviate the overwhelming male dominance of art, but shows how such a domination insidiously inscribes the female in such a way that responsibility for the monster's actions is unfairly forced on her as she becomes a semblance of the monster himself."