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Titlebook: Bloody Romanticism; Spectacular Violence Ian Haywood Book 2006 Palgrave Macmillan, a division of Macmillan Publishers Limited 2006 Coleridg

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,‘Disturbed Imagination’: The French Revolution,ure, the literary imagination and the exploration of subjectivity. Romanticism, therefore, was a sublimation, displacement or exorcism of the unbearable violence of history. The personal replaced the public; poetic idealism replaced political idealism.
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Chapter 1 Centers and Limit Cyclesng the Indians where he had been well treated’, and that he has persistently evaded press-ganging: ‘he would rather be in hell than be pressed’. The next day, Wordsworth composes another poem ‘The Emigrant Mother’..
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Introduction: Romantic Agonies,ng the Indians where he had been well treated’, and that he has persistently evaded press-ganging: ‘he would rather be in hell than be pressed’. The next day, Wordsworth composes another poem ‘The Emigrant Mother’..
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,‘The Most Distressful Country’: The Irish Rebellion of 1798,rce of spectacular violence. But at the same time as Romantic readers consumed the bloody vignettes of the conflict, the proximity of the event must have evoked grave fears and anxieties: if the rebellion succeeded, what next? As Ruan O’Donnell notes, the rebellion was ‘the most serious armed domest
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Unruly People: The Spectacular Riot,pular politics. It is this tension between pathologization and politicization which generated what I am calling the ‘spectacular’ mob, the spectre of popular insurrection which haunted bourgeois culture until well into the nineteenth century. This is another topic which needs to be more integrated i
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Abelian Integrals and Limit Cyclesect of violation. But the central thrust of these representations was not just a damning portrait of the reality of the slave system (in which the facts would speak for themselves) but the conversion of the slave into an archetypal victim who was the responsibility of the reader. It was necessary to
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Monodromy of Hyperelliptic Abelian Integralspular politics. It is this tension between pathologization and politicization which generated what I am calling the ‘spectacular’ mob, the spectre of popular insurrection which haunted bourgeois culture until well into the nineteenth century. This is another topic which needs to be more integrated i
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