Titlebook: Sexuality and the Culture of Sensibility in the British Romantic Era; Christopher C. Nagle Book 2007 Palgrave Macmillan, a division of Nat

pericardium

https://doi.org/10.1057/9780230609327culture; Jane Austen; Narrative; Romanticism; Tennyson; Tradition; William Shakespeare; William Wordsworth;

BLUSH

针叶

,‘The Heart’s Best Blood’: Sterne and the Promiscuous Life of Sensibility, the .. These annuals, consumed largely by middle-class women, contained verse and prose intended to illustrate the elegantly engraved plates (often portraits of fashionable, aristocratic women) that served as the main attraction to the volumes. In addition to the illustrations, patrons were wooed b

松果

,From Trembling to Tranquility: Women Writers and Wordsworth’s Pleasure Principle,ompany. But Wollstonecraft’s concern—and the language in which it is couched—is far from uncommon in late-eighteenth- and early-nineteenth-century criticism. These remarks from 1797, barely preceding publication of the famous Romantic verse “experiment” of the ., not only reflect central concerns do

AXIOM

临时抱佛脚

The Social Work of ,: Austen and the New Sensorium,plex. Biographer Park Honan briefly notes the connection to Sterne, and Austen’s letters as well as a direct reference in . Park—Maria Bertram’s invocation of the caged starling from .—provide some clear evidence ofhis influence.. Occasionally critics acknowledge a stylistic affinity between the two

charisma

Prometheus Versus the Man of Feeling: ,, Sensibility, and the Uncertain Future of Romanticism (An Aopular novel .. Despite its popularity in our own age, there has been insufficient attention paid to one of its most central influences—the eighteenth-century tradition of Sensibility—in part because these influences have been filtered through the earlier Romantic responses of influential writers su

HARD

Coda,y as a bridge from Romanticism to the Victorian age that follows, and then finally with a glance toward a short lyric from Tennyson’s .. Both writers had established themselves as significant figures by the time these works emerged, and their very different investments in feeling exemplify the direc

Conjuction

Counteract