Passion, peril and a princess in hiding Forced into hiding after a threat to her life, Princess Gabriella St. Pierre must protect both herself and her unborn child. Working at an orphanage, the princess tries to suppress memories of a passionate night long ago with Whit Howell—her father's royal bodyguard and a man she never thought she'd see again. When an attempted abduction occurs as Princess Gabriella is leaving the orphanage, Whit rescues her and vows to keep her safe. But how can he shepherd the princess back to her country without knowing who is orchestrating these attacks…and why? It is the most important mission of his life—and he'd risk everything to save the one woman he can't live without.

The Early Romantics met resistance from artists and academics alike in part because they defied the conventional wisdom that philosophy and the arts must be kept separate. Indeed, as the literary component of Romanticism has been studied and celebrated in recent years, its philosophical aspect has receded from view. This book, by one of the most respected scholars of the Romantic era, offers an explanation of Romanticism that not only restores but enhances understanding of the movement's origins, development, aims, and accomplishments--and of its continuing relevance. Poetry is in fact the general ideal of the Romantics, Frederick Beiser tells us, but only if poetry is understood not just narrowly as poems but more broadly as things made by humans. Seen in this way, poetry becomes a revolutionary ideal that demanded--and still demands--that we transform not only literature and criticism but all the arts and sciences, that we break down the barriers between art and life, so that the world itself becomes "romanticized." Romanticism, in the view Beiser opens to us, does not conform to the contemporary division of labor in our universities and colleges; it requires a multifaceted approach of just the sort outlined in this book.

This welcome addition to the Blackwell Guides to Criticism series provides students with an invaluable survey of the critical reception of the Romantic poets. Guides readers through the wealth of critical material available on the Romantic poets and directs them to the most influential readings Presents key critical texts on each of the major Romantic poets – Blake, Wordsworth, Coleridge, Byron, Shelley and Keats – as well as on poets of more marginal canonical standing Cross-referencing between the different sections highlights continuities and counterpoints

This book collects ten years of Peggy Kamuf's writing on the work and friendship of Jacques Derrida. The majority of the chapters discuss a key aspect of Derrida's thought, either from a single work or across several texts. Kamuf engages with a broad array of his work, from the 1960s to the posthumous publication of his teaching seminars. She also considers press interviews and the collaboration on a film. These close readings are punctuated by brief recollections from their long friendship.The chapters trace a reflection that undergoes the sudden event of Derrida's death. Rather than take this interruption as its premise, however, the book sets out from Derrida's own teaching that mourning begins with friendship and not just at the death of the friend. Thus, the strict chronology of the chapters, from 2000 to 2010, highlights a general illusion of 'before' and 'after' that comes undone over the course of the sequence.

This first book-length study explores the history of postwar England during the end of empire through a reading of novels which appeared at the time, moving from George Orwell and William Golding to Penelope Lively, Alan Hollinghurst and Ian McEwan. Particular genres are also discussed, including the family saga, travel writing, detective fiction and popular romances.All included reflect on the predicament of an England which no longer lies at the centre of imperial power, arriving at a fascinating diversity of conclusions about the meaning and consequences of the end of empire and the priveleged location of the novel for discussing what decolonization meant for the domestic English population of the metropole. The book is written in an easy style, unburdened by large sections of abstract reflection. It endeavours to bring alive in a new way the traditions of the English novel.

Unlike the first two volumes of "ANGLES" on the English-Speaking World, this special issue does not originate in a set of conference papers. The idea of compiling a collection of essays on Romanticism emerged from the unusually strong concentration on Romantic studies among the graduate students of the English Department a couple of years ago. This volume places their work in the context of distinguished international scholars of greater seniority, scholars who have become academic contacts through conferences and assessment committees, and whose contributions I am very pleased to be able to include alongside the works of local contributors. The Romantic generations of the title of this volume thus strike a number of different chords: generations of scholars in Romantic studies; conventional divisions of Romantic poets into first, second and possibly third generations; the self-generative aspect of Romanticism; the awareness of poetic reputation and the image and afterlife of the poet. The collection spans just over a hundred years, from the 1780s to the 1890s, and while not in any way attempting to define Romanticism or raise issues of periodization the volume allows for the continued existence of Romantic features right until the end of the nineteenth century. Poetry looms large in this issue of ANGLES; apart from Ian Duncan's essay on Hume, Scott, and the "Rise of Fiction",' all the other essays are in some way concerned with the Romantic poet and his poetry. The Romantic poet is thus represented as a collector and editor of ballads, as a political radical and printmaker, as other to himself, essentially ignorant of the process of poetic composition, as a rival and collaborator with other poets, or as a poet long dead, the subject of successive generations of poetic lament. The boundaries between poetry and the visual arts is explored in a couple of the essays; indeed, the rivalry between portraiture and literature pervades no less than three of the contributions, and no matter whether the subject of inquiry is the image of the poet or the image of the poet's mother, the Romantic poet displays a high degree of self-consciousness with respect to both literary and visual media. Romantic generations generate both selves and others in poetry and portraiture.

Taylor takes up the question of what happens when a society in which it is virtually impossible not to believe in God becomes one in which faith, even for the staunchest believer, is only one human possibility among others.

Explores how the Romantic period gave birth to a seductive cognitive cultural program that retains far reaching implications for contemporary views on individuality and relationships between the individual and larger groups of identification. Established