Criticism

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Criticism
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Criticism
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Criticism

Masks of An-Archy: Shelley, Rancière, and the Anarchist Turn

This essay reads Percy Bysshe Shelley's The Mask of Anarchy in the context of the resurgence of critical interest in anarchist theory. The essay meditates on how recent developments in anarchist-related critical theory, specifically the work of Jacques Rancière, make visible an aesthetics of anarchism. Using Rancière's re-contextualization of the Romantic aesthetic philosophies of Immanuel Kant and Friedrich Schiller, the essay argues that Shelley's protest poem can be read as an anarchism not only in terms of its political content, but, perhaps more radically, with respect to its form. In so doing, the essay attempts to think beyond the critical impasse in which The Mask is understood as sacrificing aesthetics for politics, or politics for aesthetics, by asking how The Mask might be read as expressing an anarchic politics, in Rancière's words, "simply by being literature."

September 2015

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Introduction

The introduction to The Politics of Shelley: History, Theory, Form begins by returning to a 2001 volume in the Romantic Circles Praxis Series that addressed Shelley's politics. Homing in on the complexity of the possibility of a poem intervening in its immediate political context, the introduction frames the volume as sustaining the necessity of seeing through and beyond the antinomy of commitment and autonomy by rereading and reimagining the political in Shelley’s writings and his legacy.

September 2015

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Shelley’s Aesthetic Dimension: The Politics of Resistance and Reform

Given the resurgence of interest in the relation between Shelley’s political essays and poetry, what concept of relationality can be posed to move beyond an old, entrenched opposition between the social commitment of prose and the abstract withdrawal of poetry to theorize a novel form of “political poetics”? In what ways do Shelley’s reflections on the history of modern revolution inform his ideas of literary experience and political subjectivity? How, moreover, does Shelley’s work provoke what he outlines in A Defence of Poetry (1821) as “a beneficial change in opinion or institution” through aesthetic experience, without falling prey to an escapist flight into inwardness? Taking these questions as points of departure, this essay traces within Shelley’s work a theory of aesthetic resistance by reading between his historical-political reflections on the British reform movement in A Philosophical View of Reform (1819-20) and his critical aesthetics. The essay also explores how Shelley’s appeal to an aesthetic dimension in politics creates new modes of experience that resist forms of inhumanity by making visible the otherwise invisible wrongs suffered by groups who remain excluded from participation in the public commons.

September 2015

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The Politics of Shelley: History, Theory, Form

This volume takes as its starting point a 2001 volume in the Romantic Circles Praxis Series, Reading Shelley’s Interventionist Poetry, 1819-1820, in which volume-editor Michael Scrivener, employing Theodor Adorno's terminology, interrogates a potential binary in our understanding of Shelley's "interventionist" work: the "antinomy of commitment and autonomy." Asking what it means for a work of art to intervene in its immediate political context, the present volume asserts the necessity of seeing through and beyond the antinomy of political commitment and artistic autonomy by rereading and reimagining the political in Shelley’s writings and his legacy. Indeed, the essays in this volume chart new political possibilities in our estimation of Shelley’s body of work—pathways that take us back to post-Peterloo repression through to the Victorian Shelleyans, and then forward to Jacques Rancière’s post-Marxism.

Date published: 

October, 2015

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Romantic Systems

The essays in this volume probe the way that Romantic writers explored the limits and possibilities of thinking in terms of systems. The purpose of the collection is not to provide a single perspective adopted by Romantic authors, any more than it is to provide a single theoretical perspective with which to view those authors. Instead, the essays collectively convey a sense that Romantic writers viewed systems with a distinctive mixture of skepticism, anxiety, and enthusiasm.

Date published: 

March, 2016

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A Place at the (Seminar) Table for Austen’s Popular Readers

Date published: 

April, 2015

This essay takes account of the author’s evolving approach to incorporating popular culture materials and historic editions into her teaching of Austen. It outlines a philosophy of teaching Austen to a broad undergraduate population in liberal-arts colleges, as well as practical classroom strategies for undergraduate courses on writing and literature at all levels. Also included are students’ responses to encounters with historic editions.

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Austen Unbound: Teaching Persuasion in Prison

Date published: 

April, 2015

This essay explores the challenges of teaching literature in the unique setting of higher education programs in correctional institutions. Based on the author's experience teaching a romantic-literature course in prison, it explores some of the cultural and logistical obstacles at play in prison education and possibilities for how these obstacles can be successfully negotiated. Finally, it suggests possible examples of how to adapt Austen for other nontraditional audiences.

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Sensible Shoes and Suitable Husbands: Teaching Austen with Children’s Literature

Date published: 

April, 2015

This article argues that Romantic-era children’s literature provides a useful means of introducing first-year students to Austen’s novels. By comparing children's decision-making processes in texts for young readers to the dilemmas faced by novel heroines, students better understand Austen’s era and the stakes of her heroines’ choices.

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