000			02041 a2200277 4500
001			1317154118
005			20250317111604.0
008			250312042016GB eng
020			_a9781317154112
037			_bTaylor & Francis _cGBP 42.99 _fBB
040			_a01
041			_aeng
072	7		_aDSBF _2thema
072	7		_aDSBF _2bic
072	7		_aLIT020000 _2bisac
072	7		_aLIT014000 _2bisac
072	7		_aLIT000000 _2bisac
072	7		_a820.9145 _2bisac
100	1		_aKostas Boyiopoulos
245	1	0	_aDecadent Romanticism: 1780-1914
250			_a1
260			_aOxford _bRoutledge _c20160408
300			_a226 p
520			_bFor Decadent authors, Romanticism was a source of powerful imaginative revisionism, perversion, transition, and partial negation. But for all these strong Decadent reactions against the period, the cultural phenomenon of Decadence shared with Romanticism a mutual distrust of the philosophy of utilitarianism and the aesthetics of neo-Classicism. Reflecting on the interstices between Romantic and Decadent literature, Decadent Romanticism reassesses the diverse and creative reactions of Decadent authors to Romanticism between 1780 and 1914, while also remaining alert to the prescience of the Romantic imagination to envisage its own distorted, darker, perverted, other self. Creative pairings include William Blake and his Decadent critics, the recurring figure of the sphinx in the work of Thomas De Quincey and Decadent writers, and Percy Shelley with both Mathilde Blind and Swinburne. Not surprisingly, John Keats’s works are a particular focus, in essays that explore Keats’s literary and visual legacies and his resonance for writers who considered him an icon of art for art’s sake. Crucial to this critical reassessment are the shared obsessions of Romanticism and Decadence with subjectivity, isolation, addiction, fragmentation, representation, romance, and voyeurism, as well as a poetics of desire and anxieties over the purpose of aestheticism.
700	1		_aMark Sandy _4A01
999			_c4368 _d4368