Reinventing Romantic Poetry offers a new look at the Russian literary scene in the nineteenth century. While celebrated poets such as Aleksandr Pushkin worked within a male-centered Romantic aesthetic—the poet as a bard or sexual conqueror; nature as a mother or mistress; the poet’s muse as an idealized woman—Russian women attempting to write Romantic poetry found they had to reinvent poetic conventions of the day to express themselves as women and as poets. Comparing the poetry of fourteen men and fourteen women from this period, Diana Greene revives and redefines the women’s writings and offers a thoughtful examination of the sexual politics of reception and literary reputation. The fourteen women considered wrote poetry in every genre, from visions to verse tales, from love lyrics to metaphysical poetry, as well as prose works and plays. Greene delves into the reasons why their writing was dismissed, focusing in particular on the work of Evdokiia Rostopchina, Nadezhda Khvoshchinskaia, and Karolina Pavlova. Greene also considers class as a factor in literary reputation, comparing canonical male poets with the work of other men whose work, like the women’s, was deemed inferior at the time. The book also features an appendix of significant poems by Russian women discussed in the text. Some, found in archival notebooks, are published here for the first time, and others are reprinted for the first time since the mid-nineteenth century.

"Reinventing Romantic Poetry offers a new look at the Russian literary scene in the nineteenth century. While celebrated poets such as Aleksandr Pushkin worked within a male-centered Romantic aesthetic - the poet as a bard or sexual conqueror; nature as a mother or mistress; the poet's muse as an idealized woman - Russian women attempting to write Romantic poetry found they had to reinvent poetic conventions of the day to express themselves as women and as poets. Comparing the poetry of fourteen men and fourteen women from this period, Diana Greene revives and redefines the women's writings and offers a thoughtful examination of the sexual politics of reception and literary reputation." "The fourteen women considered wrote poetry in every genre, from visions to verse tales, from love lyrics to metaphysical poetry, as well as prose works and plays. Greene delves into the reasons why their writing was dismissed, focusing in particular on the work of Evdokiia Rostopchina, Nadezhda Khvoshchinskaia, and Karolina Pavlova. Greene also considers class as a factor in literary reputation, comparing canonical male poets with the work of other men whose work, like the women's, was deemed inferior at the time. The book also features an appendix of significant poems by Russian women discussed in the text. Some, found in archival notebooks, are published here for the first time, and others are reprinted for the first time since the mid-nineteenth century."--BOOK JACKET.

In The Reinvention of Love Anthony Low argues that cultural, economic and political change transformed the way poets from Sidney to Milton thought and wrote about love. Examining the interface between social, political and economic practices and individual psyches, as reflected in literary texts, Professor Low illuminates the connections between material circumstances, perceptions, and ideals. Through detailed readings of the work of Sidney, Donne, Herbert, Crashaw, Carew, and Milton, he shows how from the late sixteenth century poets struggled to replace the older Petrarchan tradition with a form of love in harmony with a changing world, and to reconcile human love and sacred devotion. Donne fled the social world; Carew made new accommodations with it; Milton revised it. For Milton, sacred love, cut off from communal norms, verges on hatred, while married love takes on the burden of assuaging loneliness in a threatening world.

When Charles Sainte-Beuve, a French journalist, met Victor Hugo, an ambitious young writer, he was swept into a world of grand emotions, a world where words can become swords. But Charles' attraction moves on from Victor, to his wife Adèle. Soon the two lovers are on the edge of a great scandale and a wounded Victor must exact his price for betrayal.Set during the tumultuous reign of Napoleon III, this mesmerising novel draws a rich portrait of old Paris, where duels were fought and cholera-ridden bodies float in the Seine. An atmospheric story of delicacy and emotion, The Reinvention of Love brings together the voices of two women destroyed by Victor Hugo's ferocious ambition, and the unique, acerbic and heart-breaking voice of Charles Sainte-Beuve, first Hugo's friend and then his unlikely competitor in love.

. The contributors are Stephen C. Behrendt, Don H. Bialostosky, Jerome Christensen, Richard W. Clancey, Klaus Dockhorn, James Engell, David Ginsberg, Bruce E. Graver, Scott Harshbarger, Theresa M. Kelley, J. Douglas Kneale, John R. Nabholtz, Lawrence D. Needham, Marie Secor, Nancy S. Struever, Leslie Tannenbaum, and Susan J. Wolfson.

The canon of Russian poetry has been reshaped since the fall of the Soviet Union. A multi-authored study of changing cultural memory and identity, this revisionary work charts Russia’s shifting relationship to its own literature in the face of social upheaval. Literary canon and national identity are inextricably tied together, the composition of a canon being the attempt to single out those literary works that best express a nation’s culture. This process is, of course, fluid and subject to significant shifts, particularly at times of epochal change. This volume explores changes in the canon of twentieth-century Russian poetry from the 1991 collapse of the Soviet Union to the end of Putin’s second term as Russian President in 2008. In the wake of major institutional changes, such as the abolition of state censorship and the introduction of a market economy, the way was open for wholesale reinterpretation of twentieth-century poets such as Iosif Brodskii, Anna Akhmatova and Osip Mandel′shtam, their works and their lives. In the last twenty years many critics have discussed the possibility of various coexisting canons rooted in official and non-official literature and suggested replacing the term "Soviet literature" with a new definition – "Russian literature of the Soviet period". Contributions to this volume explore the multiple factors involved in reshaping the canon, understood as a body of literary texts given exemplary or representative status as "classics". Among factors which may influence the composition of the canon are educational institutions, competing views of scholars and critics, including figures outside Russia, and the self-canonising activity of poets themselves. Canon revision further reflects contemporary concerns with the destabilising effects of emigration and the internet, and the desire to reconnect with pre-revolutionary cultural traditions through a narrative of the past which foregrounds continuity. Despite persistent nostalgic yearnings in some quarters for a single canon, the current situation is defiantly diverse, balancing both the Soviet literary tradition and the parallel contemporaneous literary worlds of the emigration and the underground. Required reading for students, teachers and lovers of Russian literature, Twentieth-Century Russian Poetry brings our understanding of post-Soviet Russia up to date.

WINNER OF THE 2021 PULITZER PRIZE IN POETRY FINALIST FOR THE 2020 NATIONAL BOOK AWARD FOR POETRY Natalie Diaz’s highly anticipated follow-up to When My Brother Was an Aztec, winner of an American Book Award Postcolonial Love Poem is an anthem of desire against erasure. Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality. Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—in it, a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.

This volume explores the idea of decadence through readings of major modernist writers such as Ezra Pound and T. S. Eliot.

Reading Romantic Poetry introduces the major themes and preoccupations, and the key poems and players of a period convulsed by revolution, prolonged warfare and political crisis. Provides a clear, lively introduction to Romantic Poetry, backed by academic research and marked by its accessibility to students with little prior experience of poetry Introduces many of the major topics of the age, from politics to publishing, from slavery to sociability, from Milton to the mind of man Encourages direct responses to poems by opening up different aspects of the literature and fresh approaches to reading Discusses the poets' own reading and experience of being read, as well as analysis of the sounds of key poems and the look of the poem on the page Deepens understanding of poems through awareness of their literary, historical, political and personal contexts Includes the major poets of the period, Blake, Wordsworth, Coleridge, Byron, Shelley, Keats, Burns and Clare —as well as a host of less familiar writers, including women

This book offers a comprehensive and original reading of Australian poetry, from the colonial period to the present, through the dual lenses of Romanticism and negativity. Paul Kane argues that the absence of Romanticism functions as a crucial presence in the poetry of all the major Australian poets. This absence or negativity is both thematic and structural, and Kane's scrupulous analyses uncover important relations between Romanticism and negativity. Chapters on nine individual poets explore and substantiate the theoretical claims informed by the work of contemporary critics of Romanticism and by various philosophers of negativity. These chapters can serve as a series of self-contained readings of Australian poets for the use of students, scholars, and informed general readers. Australian Poetry is unique in its sustained argument and theoretical sophistication.