000			01909 a2200289 4500
001			1317061632
005			20250317111633.0
008			250312042016GB eng
020			_a9781317061632
037			_bTaylor & Francis _cGBP 42.99 _fBB
040			_a01
041			_aeng
072	7		_aDSBF _2thema
072	7		_aGTM _2thema
072	7		_a1DDU _2bisac
072	7		_aDSBF _2bic
072	7		_aGTB _2bic
072	7		_a1DB _2bisac
072	7		_aLIT000000 _2bisac
072	7		_a820.9008 _2bisac
100	1		_aEugene Stelzig
245	1	0	_aRomantic Autobiography in England
250			_a1
260			_aOxford _bRoutledge _c20160408
300			_a232 p
520			_bTaking into account the popularity and variety of the genre, this collaborative volume considers a wide range of English Romantic autobiographical writers and modes, including working-class autobiography, the familiar essay, and the staged presence. In the wake of Rousseau's Confessions, autobiography became an increasingly popular as well as a literary mode of writing. By the early nineteenth century, this hybrid and metamorphic genre is found everywhere in English letters, in prose and poetry by men and women of all classes. As such, it resists attempts to provide a coherent historical account or establish a neat theoretical paradigm. The contributors to Romantic Autobiography in England embrace the challenge, focusing not only on major writers such as William Wordsworth, De Quincey, and Mary Shelley, but on more recent additions to the canon such as Mary Robinson, Dorothy Wordsworth, and Mary Hays. There are also essays on the scandalous Memoirs of Mrs. Billington and on Joseph Severn's autobiographical scripting of himself as "the friend of Keats." The result is an exploratory and provisional mapping of the field, provocative rather than exhaustive, intended to inspire future scholarship and teaching.
999			_c6901 _d6901