Curious Travellers: Writing the Welsh Tour, 1760-1820 provides the first extensive literary study of British tours of Wales in the Romantic period (c.1760-1820). It examines writers' responses to Welsh landscapes and communities at a time of drastic economic, environmental, and political change. Opening with an overview of Welsh tours up to the early 1700s, Mary-Ann Constantine shows how the intensely intertextual nature of the genre imbued particular sites and locations with meaning. She next draws upon a range of manuscript and published sources to trace a circular tour of the country, unpicking moments of cultural entanglement and revealing how travel-writing shaped understanding of Wales and Welshness within the wider British polity. Wales became a popular destination for visitors following the publication of Thomas Pennant's Tours in Wales in the late 1770s. Hundreds of travel-accounts from the period are extant, yet few (particularly those by women) have been studied in depth. Wales proves, in these narratives, as much a place of disturbance as a picturesque haven--a potent mixture of medieval past and industrial present, exposed down its west coast to the threat of invasion during the Napoleonic Wars. From castles to copper-mines, Constantine explores the full potential of tour writing as an idiosyncratic genre at the interface of literature and history, arguing for its vital importance to broader cultural and environmental studies.

Romantic Cartographies is the first collection to explore the reach and significance of cartographic practice in Romantic-period culture. Revealing the diverse ways in which the period sought to map and spatialise itself, the volume also considers the engagement of our own digital cultures with Romanticism's 'map-mindedness'. Original, exploratory essays engage with a wide range of cartographic projects, objects and experiences in Britain, and globally. Subjects range from Wordsworth, Clare and Walter Scott, to Romantic board games and geographical primers, to reveal the pervasiveness of the cartographic imagination in private and public spheres. Bringing together literary analysis, creative practice, geography, cartography, history, politics and contemporary technologies – just as the cartographic enterprise did in the Romantic period itself – Romantic Cartographies enriches our understanding of what it means to 'map' literature and culture.

This accessible collection of essays provides an essential introduction to the volume of poetry that defined British Romanticism.

Innovatively extending counterfactual thought experiments from history and the social sciences to literary historiography, criticism and theory, Counterfactual Romanticism reveals the ways in which the shapes of Romanticism are conditioned by that which did not come to pass. Exploring various modalities of counterfactual speculation and inquiry across a range of Romantic-period authors, genres and concerns, this collection offers a radical new purchase on literary history, on the relationship between history and fiction, and on our historicist methods to date – and thus on the Romanticisms we (think we) have inherited. Counterfactual Romanticism provides a ground-breaking method of re-reading literary pasts and our own reading presents; in the process, literary production, texts and reading practices are unfossilised and defamiliarised.

This book presents ten new chapters on John Keats's medical imagination, beginning with his practical engagement with dissection and surgery, and the extraordinary poems he wrote during his 'busy time' at Guy's Hospital 1815-17. The Physical Society at Guy's and the demands of a medical career are explored, as are the lyrical spheres of botany, melancholia, and Keats's strange oxymoronic poetics of suspended animation. Here too are links between surveillance of patients at Bedlam and of inner city streets that were walked by the poet of 'To Autumn'. The book concludes with a survey of multiple romantic pathologies of that most Keatsian of diseases, pulmonary tuberculosis.

This collection of essays turns on a shift in Romantic studies from viewing wholeness as an absolute value to critiquing it as a limiting construction. Wholeness and its concomitant sense of harmony, rather than a natural given, is a construct that was assembled and disassembled, theorized and criticized, by diverse authors and artists in a wide variety of disciplines and socio-historical contexts, and instrumentalized for diverse purposes. The plurality of these constructions – that Goethe’s Urpflanze, for example, is not synonymous with Friedrich Schlegel’s universal progressive poetry – is but one manifestation of how “assembly” strives but fails to be absolute. The “other” of assembly referenced in the title suggests two divergent but inseparable tendencies: firstly, how a construction can take on the appearance of a natural given; and secondly, how assemblages of wholeness harbor within themselves their own principle of disarticulation. These two tendencies underlie the “inexhaustible” character of Romantic “gatherings”. As a construction passes itself off as nature, the natural fails to account for itself as a whole. The scope of this volume encompasses the establishment, mapping, and interrogation of assembly and its other in German Romanticism through interdisciplinary studies on literature, aesthetics, philosophy, drama, music, synaesthesia, mathematics, science, and exploration. List of contributors: Beate Allert, Frederick Burwick, Alexis B. Smith, Margaret Strair, Christina Weiler, Joshua Wilner.

A thorough rethinking of a field deserves to take a shape that is in itself new. Interacting with Print delivers on this premise, reworking the history of print through a unique effort in authorial collaboration. The book itself is not a typical monograph—rather, it is a “multigraph,” the collective work of twenty-two scholars who together have assembled an alphabetically arranged tour of key concepts for the study of print culture, from Anthologies and Binding to Publicity and Taste. Each entry builds on its term in order to resituate print and book history within a broader media ecology throughout the eighteenth and nineteenth centuries. The central theme is interactivity, in three senses: people interacting with print; print interacting with the non-print media that it has long been thought, erroneously, to have displaced; and people interacting with each other through print. The resulting book will introduce new energy to the field of print studies and lead to considerable new avenues of investigation.

Do we map as we read? How central to our experience of literature is the way in which we spatialise and visualise a fictional world? Reading and Mapping Fiction offers a fresh approach to the interpretation of literary space and place centred upon the emergence of a fictional map alongside the text in the late nineteenth and early twentieth centuries. Bringing together a range of new and emerging theories, including cognitive mapping and critical cartography, Bushell compellingly argues that this activity, whatever it is called – mapping, diagramming, visualising, spatialising – is a vital and intrinsic part of how we experience literature, and of what makes it so powerful. Drawing on both the theory and history of literature and cartography, this richly illustrated study opens up understanding of spatial meaning and interpretation in new ways that are relevant to both more traditional academic scholarship and to newly emerging digital practices.

Deep Mapping and the Corpus of Lake District Writing -- Picturesque Technologies and the Digital Humanities -- Tourists, Travellers, Inhabitants: Variant Digital Literary Geographies -- Walking in the Literary Lakes -- Seeing Sound: Mapping the Lake District's Soundscape -- Digital Cartographies and Personal Geographies: (Re-)Mapping Scafell.