Dante Gabriel Rossetti, Pre-Raphaelite extraordinaire, is unique as Victorian proto-expressionistic painter-poet, who relentlessly sought representation of a tormented personified-self through the communicative relationship between image and word. In this interdisciplinary study is considered the narrative interaction that unifies ideas and forms into a self-expressive dialectical that informs of autonomous individualism and gender politics as a social problematic. Rossetti, known universally as a charismatic and vibrantly passionate man, is tangibly revealed in the most tenderly transparent narratives to be a haunted and socially subjugated man who searched for self-definition as a man and as an artist. By an intricate analysis of key textual and visual narratives Yildiz Kilic provides an insightful and wholly original interpretation of Rossetti as Victorian victim and innovator.

Dante Gabriel Rossetti, Pre-Raphaelite extraordinaire, is unique as Victorian proto-expressionistic painter-poet, who relentlessly sought representation of a tormented personified-self through the communicative relationship between image and word. In this interdisciplinary study is considered the narrative interaction that unifies ideas and forms into a self-expressive dialectical that informs of autonomous individualism and gender politics as a social problematic. Rossetti, known universally as a charismatic and vibrantly passionate man, is tangibly revealed in the most tenderly transparent narratives to be a haunted and socially subjugated man who searched for self-definition as a man and as an artist. By an intricate analysis of key textual and visual narratives Yildiz Kilic provides an insightful and wholly original interpretation of Rossetti as Victorian victim and innovator.

In Victorian Poetry: Poetry, Poetics and Politics, Isobel Armstrong rescued Victorian poetry from its longstanding sepia image as ‘a moralised form of romantic verse' and unearthed its often subversive critique of nineteenth-century culture and politics. In this uniquely comprehensive and theoretically astute new edition, Armstrong provides an entirely new preface that notes the key advances in the criticism of Victorian poetry since her classic work was first published in 1993. A new chapter on the alternative fin de siècle sees Armstrong discuss Michael Field, Rudyard Kipling, Alice Meynell and a selection of Hardy lyrics. The extensive bibliography acts as a key resource for students and scholars alike.