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Thesis (Ph.D.) - University of Glasgow, 2008. / Ph.D. thesis submitted to the Department of English Literature, Faculty of Arts, University of Glasgow, 2008. Includes bibliographical references. Print version also available.

In Romantic studies, Romanticism is regarded as a reaction against modernity, or more accurately, a self-critique of modernity. There have been critical debates over the nature of the preoccupation of the Romantics with the past and the natural world, whether such concern is an illustration of the reactionary tendency of Romanticism, or an aesthetic innovation of the Romantics. This study tries to approach this problem from the perspective of space. It draws from the spatial theory of Henri Lefebvre, discussed in the Production of Space, in which Lefebvre conceives a spatial history of modernity, and sees Romanticism as the cultural movement that took place at the threshold of the formation of abstract space. The poetry of three British Romantic writers, William Wordsworth, S. T. Coleridge and Joanna Baillie, is examined. This study analyses how the writers’ thinking and poetry writing are interactive with the formation of social space during the Romantic period. Their poetry embodies the lived experience of the time. The writers show an awareness of the performative aspect of poetry, that poetry is a kind of linguistic creation instead of mere representation, which can be used to appropriate the lived space of reality. This awareness is particular to these Romantic writers because their poetic tactics are socially contextualized. Poetry is their method, as well as manner of life, for confronting the unprecedented social changes brought by modernity. By using Merleau-Ponty’s phenomenology, an examination of the significance of the body and perception in Romantic poetry is also employed to show how, through the use of performative poetic language, the writers re-create their lived space so as to counter the dominance of abstract space.

Essa dissertação é o resultado dos questionamentos e das inquietações suscitadas a partir do encontro das narrativas de ficções científicas e das ideias feministas. Esses pulsares teóricos transpassam em alguns momentos minha trajetória acadêmica, tentando, concomitantemente, conciliar e incorporar essas duas formas literárias. A discussão basilar advém da leitura de The Female Man, de Joanna Russ, em um encadeamento sutil com a minha perspectiva enquanto sujeito mulher em contato com esses universos. Por fim, busca-se desvendar os fragmentos narrativos que estão impregnados de poderosas imagens subversivas e palavras transgressoras que convocam as leitoras e leitores a repensar, resistir e reformular a realidade ao seu redor. / This thesis is the result of questioning and restlessness raised by the encounter of science fiction narratives and feminist ideas. These theoretical pulses trespass at some moments my academic trajectory, trying concomitantly to harmonize and to embody these two literary types. The underlying discussion comes from the reading of The Female Man, by Joanna Russ, inside a sutil chaining with my perspective as woman subject in contact with these universes. Lastly, It seeks to unravel the narrative fragments that are impregnated with powerful subversive images and transgressive words that invite male and female readers to rethink, resist and reshape the reality around them

Book Summary: Provides a comprehensive overview of all aspects of the poetry, drama, fiction, and literary and cultural criticism produced from the Restoration of the English monarchy to the onset of the French Revolution Comprises over 340 entries arranged in A-Z format across three fully indexed and cross-referenced volumes Written by an international team of leading and emerging scholars Features an impressive scope and range of subjects: from courtship and circulating libraries, to the works of Samuel Johnson and Sarah Scott Includes coverage of both canonical and lesser-known authors, as well as entries addressing gender, sexuality, and other topics that have previously been underrepresented in traditional scholarship Represents the most comprehensive resource available on this period, and an indispensable guide to the rich diversity of British writing that ushered in the modern literary era

Joanna Baillie, a drama critic as well as a dramatist, began during the last decade of the eighteenth century to develop her own theory of tragedy and comedy, based on human emotions, the elemental instincts that prompted Shakespeare's characters to action over two hundred years before. Baillie could not escape Shakespeare's early influence; even if she had tried, critics and colleagues regularly reminded her of her debt. While Baillie admitted her poetical debt to Ossian and to Robert Burns, her Romantic "naturalness" was indeed fresh and original. Her dramatic writing, however, followed many of the themes of Shakespeare — love, hate, revenge, jealousy, ambition — and she defended and defined her focus on such passions in her "Introductory Discourse" to A Series of Plays, whereas Shakespeare was tacit about his scheme if, in fact, he had one.

Book Summary: The Encyclopedia of Romantic Literature is an authoritative three-volume reference work that covers British artistic, literary, and intellectual movements between 1780 and 1830, within the context of European, transatlantic and colonial historical and cultural interaction. Comprises over 275 entries ranging from 1,000 to 6,500 words arranged in A-Z format across three fully cross-referenced volumes Written by an international cast of leading and emerging scholars Entries explore genre development in prose, poetry, and drama of the Romantic period, key authors and their works, and key themes Also available online as part of the Wiley-Blackwell Encyclopedia of Literature, providing 24/7 access and powerful searching, browsing and cross-referencing capabilities

<p>This study critically reviews four works of the artist Joanna Rytel with the intention to find out if and how she is provocative. In order to do that I have studied the reactions on these works, mainly through press material, which differs from letters to the editors and comments posted on discussion forums that's also been used. My conclusion is that Rytel provokes not just because of her choice of subject, but because of her concept of 'art' doesn't agree with the general public's, i.e. 'art' is supposed to be something merely beautiful. The journalists sometimes seems provoked by Rytel's ability to draw attention and have claimed that to be her main aim.</p>

This study critically reviews four works of the artist Joanna Rytel with the intention to find out if and how she is provocative. In order to do that I have studied the reactions on these works, mainly through press material, which differs from letters to the editors and comments posted on discussion forums that's also been used. My conclusion is that Rytel provokes not just because of her choice of subject, but because of her concept of 'art' doesn't agree with the general public's, i.e. 'art' is supposed to be something merely beautiful. The journalists sometimes seems provoked by Rytel's ability to draw attention and have claimed that to be her main aim.

In the later decades of the nineteenth century and the early decades of the twentieth, large numbers of Canadian women were stepping out of the shadows of private life and into the public world of work and political action. Among them, both a cause and an effect of these sweeping social changes, was the first generation of Canadian women to work as professional authors. Although these women were not unified by ideology, genre, or date of birth, they are studied here as a generation defined by their time and place in history, by their material circumstances, and by their collective accomplishment. Chapters which focus on E. Pauline Johnson (Tekahionwake), the Eaton sisters (Sui Sin Far and Onoto Watanna), Joanna E. Wood, and Sara Jeannette Duncan explore some of the many commonalities and interrelationships among the members of this generation as a whole. This project combines archival research with analytical bibliography in order to clarify and extend our knowledge of Johnson’s and Duncan’s professional lives and publishing histories, and to recover some of Wood’s “lost” stories. This research offers a preliminary sketch of the long tradition of the platform performance (both Native and non-Native) with which Johnson and others engaged. It explores the uniquely innovative ethnographic writings of Johnson, Duncan, and the Eaton sisters, among others, and it explores thematic concerns which relate directly to the experiences of working women. Whether or not I convince other scholars to treat these authors as a generation, with more in common than has previously been supposed, the strong parallels revealed in these pages will help to clarify and contextualize some of their most interesting work. / Thesis (Ph.D, English) -- Queen's University, 2011-10-14 20:59:21.45