Romantic Circles Publications

Romantic Circles Publications displays all the peer-reviewed content published by Romantic Circles.
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March 2013

This electronic edition of Mary Robinson’s Nobody (Drury Lane, 1794), based on the only surviving manuscript of the play (LA 1046) housed in the Larpent collection at the Henry E. Huntington Library, is the first to present a widely-available and searchable transcript of the play along with a comprehensive introduction, extensive notes by the editor, and contexts of the drama, including contemporary commentaries, poems, puffs, and reviews, an account of the public reaction to the play from the Memoirs of the Late Mrs. Robinson (1801), and relevant excerpts from Mary Robinson’s 'Present State of the Manners, Society, &c. &c. of the Metropolis of England' (1800) and James Boaden’s The Life of Mrs. Jordan (1831).

December 2012

This collection of articles is intended to initiate a conversation about and between biopolitics and romanticism. Its broad contention is that the study of biopolitics reanimates the question of romanticism in two senses. First, the set of conceptual resources provided in recent work on biopolitics opens up inventive lines of inquiry that enable scholars to re-think the already established awareness that the literature, philosophy, and culture of romanticism displays an obsession with life. In another sense biopolitics reanimates romanticism insofar as the current scholarly concern with life as an object of power marks the radical survival of romanticism. If romanticism responds well when examined in the light of contemporary biopolitical theory, then a constitutive part of this response is a certain resistance to biopolitical theory. The contributors to this volume demonstrate that the biopolitical intervention on life engages paradoxes, predicaments, and aporias that have been widely or fully appreciated neither by theorists of biopolitics nor by critics who take up their work. Romanticism, we suggest, is a privileged locus for the awareness that even the most assured representation of life turns upon an irreducible “literariness.” Edited and introduced by Alastair Hunt and Matthias Rudolf, with essays by Marc Redfield, Emily Sun, and Sara Guyer, along with a response by Eva Geulen.

October 2012

Published here for the first time, The Gipsy Prince (Haymarket, 24 July 1801), was the collaboration of Thomas Moore who composed the libretto and lyrics and Michael Kelly who provided the musical score. Though it had the second longest run of Haymarket's summer season, the censoring authorities had not recognized the ploy of introducing the Irish under English rule as Gipsies during the Spanish Inquisition. Although the play could not be revived the following season, publisher John Roach supported Moore by publishing the hoaxing "source," a prose narrative from which Moore pretended to have derived his play. With an introduction by Frederick Burwick, this edition includes his transcription of the previously unpublished manuscript, the prose narrative ostensibly translated from the Spanish, the sheet music as published by Michael Kelly, recordings of the overture and songs as performed under the musical direction of Stephen Pu, and a variorum of the lyrics to facilitate side-by-side comparisons of all versions of the songs. The edition also provides page-by-page images of the original materials.
This article serves as an online supplement to Laon and Cythna as edited by Michael J. Neth in Volume III of The Complete Poetry of Percy Bysshe Shelley. It contains a record of every known draft variant of the poem, from surviving first draft through intermediate stages to surviving press copy, with the exception of stray letters and marks. The italicized editorial apparatus gives a description of the context of each line and will help textually-inclined readers with access to the published facsimile transcriptions listed locate any passage they wish to examine in greater depth.
Originally intended to introduce a study of William Blake’s later prophecies, the late Karl Kroeber’s Blake in a Post-Secular Era: Early Prophecies is an accessible and astute survey of the prophetic work that Blake executed between 1788 and 1794. For Kroeber (1926-2009), former Mellon Professor of the Humanities at Columbia University, the post-secular era we are now entering should be prepared to recognize Blake’s centrality in academic literary humanism, which—in its secular phase—excluded Blake on account of his radical Christianity. Such exclusion, Kroeber points out, has not diminished Blake’s immense—and still growing—impact on popular culture, on our music, fiction, film, and graphic novels, as well as on our ideas of creativity, spirituality, and individuality. In stark contrast to the idea of a “universal heart” and to the ideal rational societies envisioned by other Romantic writers, Blake argued that each individual was unique and that only complex social structures based, not on reason, but on the imagination, like Golgonooza, the City of Art, can realize and sustain the individual’s innate divinity.

August 2012

In the absence of a full biography, this resource fulfills an urgent need to gather, collate, and circulate existing biographical and bibliographical information on the notoriously under-documented career of Romantic polymath John Thelwall in an accessible location and format. This chronology and bibliography charts what is thus far known about Thelwall’s residences and travels, his chief activities, his writings and lectures, and his correspondence, along with related events, and locations where primary texts can be found.
This resource documents the first full production of a John Thelwall play. It contains an introductory essay by Judith Thompson and a full performance video of the 2009 Dalhousie/Zuppa Theatre production of Thelwall’s 1801 “dramatic romance,” as well as a series of series of short video documentaries by student filmmaker Brooke Fifield, exploring the creative challenges, practical considerations and unexpected delights involved in bringing a long-neglected piece of radical Romantic theatre from dusty page to modern stage.

July 2012

This edition presents the first scholarly edition of Robert Southey’s various writings about the prophetic movements of Romantic-era Britain. Its aim is to throw new light on two related areas: the nature and history of millenarian prophecy in the late eighteenth and early nineteenth centuries—especially William Bryan, Richard Brothers, and Joanna Southcott—, and the significance of prophecy in Southey’s social, political analysis of his times. A fascinated commentator upon what he termed ‘enthusiasm’, Southey published two of the earliest accounts of Southcott and her predecessors ever written, accounts derived both from personal acquaintance with some of the major figures involved and from a detailed study of their writings. These accounts are reproduced here, collated with the manuscripts on which they were based, and with explanatory notes. In addition, a selection of Southey’s remarks on millenarians in his private manuscript correspondence is presented, and an introduction comprising a brief history of the prophetic movements in the Romantic era and a critical discussion of Southey’s writings on the subject.
An edition of Robert Bloomfield's multimedia picturesque tour of the Wye valley. Poem, tour journal, sketchbook. This edition presents a rare surviving example of the kind of multimedia production that arose from one of the new cultural activities of the late eighteenth century—the picturesque and antiquarian tour. It comprises a facsimile of the manuscript sketch- and scrap-book that Robert Bloomfield made after his 1807 tour of the Wye, an annotated transcription of the prose tour-journal that he incorporated into his scrap book, and a collated and annotated text of the poetic versions of the tour that were published (as The Banks of Wye) in 1811, 1813, and 1823. Also included are reproductions of the engravings that illustrated the 1811 and 1813 publications, deleted or unadopted passages from the manuscript of the poem, and a selection of reviews from journals of the time.

March 2012

This edition collects twenty-one British writers from c. 1760–1830, a period which is today associated with the rise of Romantic sensibilities. A number of literary works in Britain were inspired by Old Norse manuscripts, collections of Danish folklore or similar such texts from Scandinavia. This electronic edition is a selection of these by canonical authors (such as Thomas Gray, William Blake, William Wordsworth, Robert Southey, Walter Scott, and Ann Radcliffe), as well as selections by lesser known writers, whose texts have not previously been available to modern readers. This edition provides the contextual framework and necessary commentary to explain the ways in which these writers repurpose Norse material.

February 2012

The aim of this volume is to explore the Romantic credit crisis of 1797-1821. The decision to end cash payments and flood the economy with low denominational banknotes led to a spectacular increase in executions for banknote forgery. Many Romantic writers saw this bloody debacle as a sensational illustration of the dangers of an economic system based on mere "paper" value. While some critical attention has been given to the cultural history of credit (Brantlinger, Poovey), the issue of forgery has been overlooked. Yet, as the essays in this volume show, the impact of the credit crisis and its thousands of victims affected literature, journalism and art in often profound ways. Ian Haywood edits and contributes to the volume, along with Robert Miles, Alex Benchimol, Alex J. Dick, and Nick Groom.

January 2012

Romanticism and Disaster considers and responds to the timely concept of devastated life by thinking about how the capacity to read, interpret, and absorb disaster necessitates significant changes in theory, ethics, and common life. What if the consequences or "experience" of a disaster were less about psychic survival than an unblinking desire to face down the disaster as a challenge to normative structures? The essays in this volume attend to the rhetorical, epistemological, political, and social effects of romantic critique, and reflect on how processes of destruction and reconstitution, ruination and survival, are part and parcel of romanticism's grappling with a negativity that haunts its corners. Put in this way, "disaster" does not signal a referential event, but rather an undoing of certain apparently prior categories of dwelling, and forces us to contemplate living otherwise. In confronting the end of things, what are the conditions or possibilities of existence amidst catastrophe? What is a crisis, and what kinds of challenges does it occasion? What can be philosophically gained or lost by analyzing disaster in its multiple sites, contexts, and instances? This volume is edited and introduced by Jacques Khalip and David Collings, with essays by Scott J. Juengel, William Keach, Timothy Morton, and Rei Terada.
Robert Bloomfield's letters document one artist’s struggles (and sometimes his victories) to share his unique voice and vision; the online publication of his extant letters (a companion to this collection of essays) reveals new and exciting insights into Bloomfield the artist and the man. The essays included in this collection highlight and draw attention to aspects of Bloomfield's literary production that would likely not be possible without the full access to his letters that the edition provides, and make a strong case for why Bloomfield continues to be worthy of study. They suggest how much more remains to be said about this prolific poet. This volume is edited and introduced by John Goodridge and Bridget Keegan, with essays by Tim Fulford, Peter Denney, Ian Haywood, and Bridget Keegan.

October 2011

This Romantic Circles Praxis Volume moves the perspective of critical inquiry into British Romanticism from the Island (England) to the Islands (West Indies), considering the particular significance of the Atlantic—watery vortex of myriad economic and cultural exchanges, roaring multiplicity of agencies, and vast whirlpool of creative powers. Black Romanticism remembers a forgotten ancestry of British culture, recovering the vital agencies of diasporic Africans and creole cultures of the West Indies. It does so by practicing counter-literacy, reading the works of nation, empire, and colony against themselves to liberate the common cultures they occlude. The five essays presented here examine texts by or about Jean Jacque Dessalines, Juan Manzano, Jack Mansong, Mary Prince, and John Gabriel Stedman, following a circuitous route that begins in Africa and travels from Haiti, Jamaica, Cuba, Suriname, Bermuda, and Antigua to corresponding points in England, America, and the continent. The circulation of radically different adaptations of the “same” material provides new ways to understand the colonial Caribbean. This volume is edited and introduced by Paul Youngquist and Frances Botkin, with essays by Lindsay J. Twa, Lissette Lopez Szwydky, Joselyn Almeida, Dustin Kennedy, and Michele Speitz.

September 2011

The essays in Romantic Frictions find in Romanticism what philosophical modernity has often found there: a disposition to recognize oppositions that cannot be squared or resolved precisely because they constitute the ongoing work of culture and writing. Such frictions are embedded in a shifting temporal moment whose inner complexity is similarly textured such that neither history nor philosophy assumes a master (and fictional) disguise. Both are instead crosscut and assembled in ways that sustain an inner friction that invites being read. Rather than reify the critical tendency, stubbornly at issue since the 1980s, to suppose that Romanticism belongs either to deconstructive philosophy or to new historicism, the essays in this volume understand romanticism as a cultural and literary terrain where these and other disciplinary affiliations exist together, not as easy companions but as productive antagonists. This volume is edited and introduced by Theresa M. Kelley, with essays by Ian Duncan, Mary A. Favret, Daniel O'Quinn, Matthew Rowlinson, Colin Jager, and Jacques Khalip.
Capitalizing on the conjunction of renewed scholarly interest in Thelwall and new archival finds, this collection of essays addresses the central question of the coherence and continuity of Thelwall's diverse pursuits—literary, political, scientific, therapeutic, elocutionary, and journalistic—across the four decades of his career (c. 1790-1830), and provides new insight into Thelwall's eclipse and persistence in the nineteenth century. The volume includes an introduction by Yasmin Solomonescu and essays by Nicholas Roe, Mary Fairclough, Molly Desjardins, Emily Stanback, Steve Poole, Angela Esterhammer, and Patty O'Boyle.

August 2011

Robert Southey was one of the best-known, controversial and innovative writers in late eighteenth- and early nineteenth-century Britain. Based upon extensive new archival research, this Collected edition makes available for the first time all his surviving letters, freshly edited, annotated and introduced. Part Two covers 1798-1803, a turbulent and crucial time for Southey. It encompasses his public and private responses to Lyrical Ballads (1798); his reaction to the rise of Napoleon and the continuing conflict between Britain and revolutionary France; his second and final visit to Portugal and the resultant hardening of his anti-Catholicism; his unhappy stint as a secretary to the Irish Chancellor Isaac Corry, and his emotional bludgeoning by the deaths in relentless succession between 1801-1803 of three Margarets, his cousin, mother and first child.

May 2011

The Romantic Circles Pedagogy Commons is a peer-reviewed online journal dedicated to the presentation of essays about teaching that offer sample teaching materials as well, from printable handouts to "digital-born" teaching materials.
This special issue of Romantic Circles Pedagogies extends a conversation about teaching Romantic drama that has been a part of the larger reevaluation of Romantic-era drama and theatre over the past fifteen years or so. While there have been many scholarly publications, conference panels, and digital and print dramatic publication initiatives to advance work in British theatre and drama studies of the Romantic era, most of the conversation about teaching Romantic drama has been a matter of occasional collegial sharing and listserv posting. It seemed a good time to develop a special issue that would illustrate the many different ways of framing curriculum, working out instructional ideas, and engaging students with British Romantic theatre and drama in ways suited to different programmatic and curricular contexts.

April 2011

Romantic-era fans collected autographs, souvenirs, portraits and relics of celebrity writers, artists, performers and athletes; pored over gossip-filled periodicals and newspaper notices; imitated celebrities' fashion statements; fantasized about becoming friends or lovers with celebrities; got caught up in "crazes" for persons and texts; created fan fiction, wrote fan mail and formed communities of like-minded devotees. Analyzing fan practices across a range of cultural contexts, the essays in this volume will explore how the concept of "fandom" can help us make sense of the role of various audiences in the cultural activity and cultural productions of the Romantic period. The volume includes an introduction by Eric Eisner and essays by Nicola J. Watson, Clara Tuite, Mark Schoenfield, and David A. Brewer.

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