Romantic Ireland Volume 2
Romantic Ireland Volume 2

Author: M. F. and B. McM. Mansfield

Publisher: Lulu.com

Published: 2018-01-21

Total Pages: 164

ISBN-13: 1387533606

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QUEENSTOWN has been called a mere appendage to its harbour, and, truly, it is a case of the tail wagging the dog, though the residents of Cork will tell you it is Cork Harbour, anyway, and Queenstown is nothing but a town that was made by the American War of Independence, and by the emigration rush that, during the past sixty years, has deprived Ireland of more than half her population. Be this as it may, the harbour dwarfs everything else about the town. Above the enormous expanse of sheltered water, the little town piles itself up on the overhanging cliffs, pink houses, yellow houses, white houses, like a veritable piece of Italy. It is always warm here, or almost always. In the winter time, the temperature is seldom severe, and, in the summer, it is one of the finest yachting centres in the United Kingdom. The ñBeachî of Queenstown is truly Irish, since it is not a beach at all, but a fenced street full of shops, occupying the place where a narrow strand once ran.

Shakespeare and the Culture of Romanticism
Shakespeare and the Culture of Romanticism

Author: Joseph M. Ortiz

Publisher: Routledge

Published: 2016-12-05

Total Pages: 476

ISBN-13: 135190079X

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The idea of Shakespearean genius and sublimity is usually understood to be a product of the Romantic period, promulgated by poets such as Coleridge and Byron who promoted Shakespeare as the supreme example of literary genius and creative imagination. However, the picture looks very different when viewed from the perspective of the myriad theater directors, actors, poets, political philosophers, gallery owners, and other professionals in the nineteenth century who turned to Shakespeare to advance their own political, artistic, or commercial interests. Often, as in John Kemble’s staging of The Winter’s Tale at Drury Lane or John Boydell’s marketing of paintings in his Shakespeare Gallery, Shakespeare provided a literal platform on which both artists and entrepreneurs could strive to influence cultural tastes and points of view. At other times, Romantic writers found in Shakespeare’s works a set of rhetorical and theatrical tools through which to form their own public personae, both poetic and political. Women writers in particular often adapted Shakespeare to express their own political and social concerns. Taken together, all of these critical and aesthetic responses attest to the remarkable malleability of the Shakespearean corpus in the Romantic period. As the contributors show, Romantic writers of all persuasions”Whig and Tory, male and female, intellectual and commercial”found in Shakespeare a powerful medium through which to claim authority for their particular interests.

Scottish and Irish Romanticism
Scottish and Irish Romanticism

Author: Murray Pittock

Publisher: OUP Oxford

Published: 2008-01-24

Total Pages: 306

ISBN-13: 0191528382

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Scottish and Irish Romanticism is the first single-author book to address the main non-English Romanticisms of the British Isles. Murray Pittock begins by questioning the terms of his chosen title as he searches for a definition of Romanticism and for the meaning of 'national literature'. He proposes certain determining 'triggers' for the recognition of the presence of a national literature, and also deals with two major problems which are holding back the development of a new and broader understanding of British Isles Romanticisms: the survival of outdated assumptions in ostensibly more modern paradigms, and a lack of understanding of the full range of dialogues and relationships across the literatures of these islands. The theorists whose works chiefly inform the book are Bakhtin, Fanon and Habermas, although they do not define its arguments, and an alertness to the ways in which other literary theories inform each other is present throughout the book. Pittock examines in turn the historiography, prejudices, and assumptions of Romantic criticism to date, and how our unexamined prejudices still stand in the way of our understanding of individual traditions and the dialogues between them. He then considers Allan Ramsay's role in song-collecting, hybridizing high cultural genres with broadside forms, creating in synthetic Scots a 'language really used by men', and promoting a domestic public sphere. Chapters 3 and 4 discuss the Scottish and Irish public spheres in the later eighteenth century, together with the struggle for control over national pasts, and the development of the cults of Romance, the Picturesque and Sentiment: Macpherson, Thomson, Owenson and Moore are among the writers discussed. Chapter 5 explores the work of Robert Fergusson and his contemporaries in both Scotland and Ireland, examining questions of literary hybridity across not only national but also linguistic borders, while Chapter 6 provides a brief literary history of Burns' descent into critical neglect combined with a revaluation of his poetry in the light of the general argument of the book. Chapter 7 analyzes the complexities of the linguistic and cultural politics of the national tale in Ireland through the work of Maria Edgeworth, while the following chapter considers of Scott in relation to the national tale, Enlightenment historiography, and the European nationalities question. Chapter 9 looks at the importance of the Gothic in Scottish and Irish Romanticism, particularly in the work of James Hogg and Charles Maturin, while Chapter 10, 'Fratriotism', explores a new concept in the manner in which Scottish and Irish literary, political and military figures of the period related to Empire.