Del 113 i serien Cambridge Studies in Nineteenth-Century Literature and Culture

Poetry, Media, and the Material Body

Autopoetics in Nineteenth-Century Britain

Inbunden, Engelska, 2018

AvAshley Miller

1 949 kr

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From the Romantic fascination with hallucinatory poetics to the turn-of-the-century mania for automatic writing, poetry in nineteenth-century Britain appears at crucial times to be oddly involuntary, out of the control of its producers and receivers alike. This elegant study addresses the question of how people understood those forms of written creativity that seem to occur independently of the writer's will. Through the study of the century's media revolutions, evolving theories of physiology, and close readings of the works of nineteenth-century poets including Wordsworth, Coleridge and Tennyson, Ashley Miller articulates how poetry was imagined to promote involuntary bodily responses in both authors and readers, and how these responses enlist the body as a medium that does not produce poetry but rather reproduces it. This is a poetics that draws attention to, rather than effaces, the mediacy of the body in the processes of composition and reception.

Produktinformation

Utgivningsdatum2018-08-09
Mått157 x 235 x 15 mm
Vikt490 g
FormatInbunden
SpråkEngelska
SerieCambridge Studies in Nineteenth-Century Literature and Culture
Antal sidor210
FörlagCambridge University Press
ISBN9781108418966

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Litteraturvetenskap inom Skönlitteratur

Introduction: the material muse in nineteenth-century poetry; 1. Striking passages: vision, memory, and the romantic imprint; 2. Internal impressions: self-sympathy and the poetry of sensation; 3. Listening with the mouth: Tennyson's deaths of Arthur; 4. Poetic afterlives: automatic writing and the mechanics of quotation; Conclusion: the autonomous poem: new criticism and the stock response; Bibliography.

'Miller's book is consistently insightful, imaginative, and well written, brimming with virtuosic readings that range across a wide variety of texts and disciplines … A valuable contribution to nineteenth-century scholarship, it brilliantly recalibrates the connections not only among literary texts, somatic experience, and emerging technology, but also among writers, readers, and critics.' Veronica Alfano, Victorian Studies