Search results for ""author sandro jung""

Drawing on the methods of textual and reception studies, book history, print culture research, and visual culture, this interdisciplinary study of James Thomson’s The Seasons (1730) understands the text as marketable commodity and symbolic capital which throughout its extended affective presence in the marketplace for printed literary editions shaped reading habits. At the same time, through the addition of paratexts such as memoirs of Thomson, notes, and illustrations, it was recast by changing readerships, consumer fashions, and ideologies of culture. The book investigates the poem’s cultural afterlife by charting the prominent place it occupied in the visual cultures of eighteenth- and early nineteenth-century Britain. While the emphasis of the chapters is on printed visual culture in the form of book illustrations, the book also features discussions of paintings and other visual media such as furniture prints. Reading illustrations of iconographic moments from The Seasons as paratextual, interpretive commentaries that reflect multifarious reading practices as well as mentalities, the chapters contextualise the editions in light of their production and interpretive inscription. They introduce these editions’ publishers and designers who conceived visual translations of the text, as well as the engravers who rendered these designs in the form of the engraving plate from which the illustration could then be printed. Where relevant, the chapters introduce non-British illustrated editions to demonstrate in which ways foreign booksellers were conscious of British editions of The Seasons and negotiated their illustrative models in the sets of engraved plates they commissioned for their volumes.

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The Fragmentary Poetic: Eighteenth-Century Uses of an Experimental Mode is the first study of the mode of the fragmentary in eighteenth-century poetry. Revisiting traditional literary historiography, it offers a fresh account of the "Pindaric" impulse, a mode informing deliberate fragmentation. It distinguishes itself from the work of Thomas McFarland, Marjorie Levinson (on the Romantic fragment poem), and Elizabeth Wanning Harries (on the prose fragment in the late eighteenth century) through its familiarity with the varied poetic landscape of the period. Through its immersion in the (still) under-researched field of eighteenth-century poetry and its inclusive, historicist approach, it introduces original but rarely discussed poems, thereby contributing to the mapping, and better understanding, of the growing canon of poetry. Rather than being overtly contrasted with the preceptive poetics of early eighteenth-century Neoclassicism, the fragmentary impulse is read as integral to "new" genres such as the long-poem and the Pindaric ode. Its "amphibian" nature accommodates its transgeneric use in genres as varied as the ode and the epic, deploying the ruin as an emblem of its deliberate resistance to closure or the sublime to indicate rupture. The study discusses the ode, the long-poem, imitations of Spenser, Macpherson's "reinventions" of the epic, and poems engaging with (personal and cultural) memory and ruin. It further explores intermodal cooperation in productions ranging from satire to the epic. Poets variously utilized the fragmentary as a mode reflecting human fallenness and the fragmentedness of human existence, but also (paradoxically) as evidence for original completeness and authenticity. In addition, the ruin as a cultural construct facilitated the recognition of the fragmentary as a valid mode. Detailed discussions of poems include works by authors ranging from James Thomson and Edward Young to James Macpherson, Charlotte Smith, and Wordsworth. Scholars of both eighteenth-century and Romantic period poetry will find The Fragmentary Poetic a useful guide to the generic complexity that characterizes the poetry of the eighteenth century. This account of the polymorphous nature of the fragment and its definitional and formal fluidity enables scholars to rethink eighteenth-century form and to appreciate a pervasive mode that found its most varying expression in the poetry of the period.

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This study of the life and works of David Mallet (?1705-65) is the first study of Mallet for the past one hundred and fifty years and assesses the poet's significance within his own period, arguing that modern scholarship has unduly neglected this complex personality who represented changing notions in taste and aesthetics, the intersection between literature and politics, and fashioned professional personae for himself as controversial patriot-poet, party writer, historian, editor, dramatist, and spy. An Anglo-Scot, he negotiated national prejudices, Jacobite leanings, and_when he moved to London in the 1750s_adopted the cultural patriotism of the Hanoverians. The post-Union climate enabled him to make influential friends, such as Pope, Lyttleton, Bolingbroke, and Chesterfield, who promoted his works and on whose behalf he wrote (mostly for pay), until his death. The book offers a comprehensive reconsideration of hitherto unknown manuscript material and contributes to dismantling Johnson's prejudiced view of Mallet, which to this day has tainted Mallet's critical reputation.

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Drawing on the methods of textual and reception studies, book history, print culture research, and visual culture, this interdisciplinary study of James Thomson’s The Seasons (1730) understands the text as marketable commodity and symbolic capital which throughout its extended affective presence in the marketplace for printed literary editions shaped reading habits. At the same time, through the addition of paratexts such as memoirs of Thomson, notes, and illustrations, it was recast by changing readerships, consumer fashions, and ideologies of culture. The book investigates the poem’s cultural afterlife by charting the prominent place it occupied in the visual cultures of eighteenth- and early nineteenth-century Britain. While the emphasis of the chapters is on printed visual culture in the form of book illustrations, the book also features discussions of paintings and other visual media such as furniture prints. Reading illustrations of iconographic moments from The Seasons as paratextual, interpretive commentaries that reflect multifarious reading practices as well as mentalities, the chapters contextualise the editions in light of their production and interpretive inscription. They introduce these editions’ publishers and designers who conceived visual translations of the text, as well as the engravers who rendered these designs in the form of the engraving plate from which the illustration could then be printed. Where relevant, the chapters introduce non-British illustrated editions to demonstrate in which ways foreign booksellers were conscious of British editions of The Seasons and negotiated their illustrative models in the sets of engraved plates they commissioned for their volumes.

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Scots in London in the Eighteenth Century is an interdisciplinary collection of essays that explores, through the experiences of individuals and groups ranging from James Boswell and his circle at one end of the social spectrum to highland folk musicians at the other, the reasons why Scottish men, women, and children made the long journey south to London and their reactions to the great metropolis once there. Through the varied approaches of historians and art historians, and literary critics and musicologists, this book addresses a series of interconnected themes including the dynamics that gave rise to periodic "Scotophobia" and also generated a distinct form of Scottish social capital and eventual integration; patronage, as a type of social relationship particular to the age and to the capital city; cultural production, both high and popular; and the making of Scottish identity in London, along with the impact of London-forged Anglo-Scottish identity on Scotland and evolving notions of "Britishness." Contributing to this volume are Iain Gordon Brown, Sandro Jung, Viccy Coltman, James J. Caudle, Nigel Aston, Patricia R. Andrew, Anita Guerrini, Mary Anne Alburger, Stana Nenadic, Katharine Glover, and Jane Rendall.

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The complexity of print culture in Britain between the seventeenth and nineteenth century is investigated in these wide-ranging articles. The essays collected here offer examinations of bibliographical matters, publishing practices, the illustration of texts in a variety of engraved media, little studied print culture genres, the critical and editorial fortunes of individual works, and the significance of the complex interrelationships that authors entertained with booksellers, publishers, and designers. They investigate how all these relationships affected the production of print commodities and how all the agents involved in the making of books contributed to the cultural literacy of readers and the formation of a canon of literary texts. Specific topics include a bibliographical study of Aphra Behn's Oroonoko and its editions from its first publication to the present day; the illustrations of John Bunyan's Pilgrim's Progress and the ways in which the interpretive matrices of book illustration conditioned the afterlife and reception of Bunyan's work; the almanac and the subscription edition; publishing history, collecting, reading, and textual editing, especially of Robert Burns's poems and James Thomson's The Seasons; the "printing for the author" practice; the illustrated and material existence of Sir Walter Scott's Waverley novels, and the Victorian periodical, The Athenaeum. Sandro Jung is Research Professor of Early Modern British Literature and Director of the Centre for the Study of Text and Print Culture at Ghent University. Contributors: Gerard Carruthers, Nathalie Collé-Bak, Marysa Demoor, Alan Downie, Peter Garside, Sandro Jung, Brian Maidment, Laura L. Runge.

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