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Books on the topic 'Joanna Baillie'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

Baillie, Joanna. Further letters of Joanna Baillie. Madison: Fairleigh Dickinson University Press ; Cranbury, NJ : Associated University Presses, 2010.

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2

Joanna Baillie, a literary life. Madison, NJ: Fairleigh Dickinson University Press, 2002.

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3

1965-, McLean Thomas, ed. Further letters of Joanna Baillie. Madison: Fairleigh Dickinson University Press, 2010.

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4

Baillie, Joanna. The collected letters of Joanna Baillie. Madison, [N.J.]: Fairleigh Dickinson University Press, 1999.

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5

Baillie, Joanna. The selected poems of Joanna Baillie, 1762-1851. Manchester, England: New York, 1999.

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6

Joanna Baillie and the art of moral influence. New York: Peter Lang, 2009.

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7

Keith, Hanley, and Gilroy Amanda, eds. Joanna Baillie: A selection of plays and poems. London: Pickering & Chatto, 2002.

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8

Romantic appropriations of history: The legends of Joanna Baillie and Margaret Holford Hodson. Madison: Fairleigh Dickinson University Press, 2012.

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9

Burroughs, Catherine B. Closet stages: Joanna Baillie and the theater theory of British romantic women writers. Philadelphia: University of Pennsylvania Press, 1997.

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10

Romantic ideology unmasked: The mentally constructed tyrannies in dramas of William Wordsworth, Lord Byron, Percy Shelley, and Joanna Baillie. Newark: University of Delaware Press, 1994.

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11

McLean, Thomas. Further Letters of Joanna Baillie. Lexington Books/Fortress Academic, 2010.

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12

Slagle, Judith Bailey. Collected Letters of Joanna Baillie. Rowman & Littlefield Publishers, Incorporated, 1999.

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13

1959-, Crochunis Thomas C., ed. Joanna Baillie, romantic dramatist: Critical essays. London: Routledge, 2004.

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14

Slagle, Judith Bailey. The Collected Letters of Joanna Baillie. Fairleigh Dickinson Univ Pr, 1999.

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15

Crochunis, Thoma. Joanna Baillie, Romantic Dramatist: Critical Essays. Routledge, 2004.

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16

Slagle, Judith Bailey, and Judith Bailey-Slagle. Collected Letters of Joanna Baillie: Vol 1. Rowman & Littlefield Publishers, Incorporated, 1999.

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17

The Complete Poetical Works of Joanna Baillie. Franklin Classics, 2018.

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18

The Selected Poems of Joanna Baillie (1762-1851). Manchester University Press, 2000.

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19

Smith, Matthew Wilson. The Emptying of Gesture. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190644086.003.0002.

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How can one read another’s true thoughts and feelings? Many philosophical texts and acting manuals reached the same answer to this age-old question: we can read another’s hidden mental states through careful observation of gesture—especially unconscious gesture. Gesture, in this account, offered a promise that words could not, the promise of a natural, universal language and a royal road to the psyche. This chapter tells a story of this promise’s disintegration and the gradual replacement of gestures by nerves as reliable signs of mental states. The chapter’s first part traces connections between acting handbooks of the period, the plays of Joanna Baillie, and the scientific work of two of Britain’s most prominent medical researchers: Joanna’s brother, Matthew Baillie, and Charles Bell. These interactions indicate both the continuing cultural importance of natural-language theories of gesture and its fraying in the face of neurological developments. The second half examines the ways that Percy Shelley’s play The Cenci rends this fraying fabric.

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20

Jones, Catherine. Writer-Physicians. Edited by David Duff. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.013.23.

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The study of literature and medicine in the Romantic period is an established and expanding field. However, scholars have tended to focus on a few canonical writers and a small number of texts, thereby obscuring the age’s huge diversity of medical writing. This chapter takes a wider view, presenting five case studies of medically trained or medically connected writers who demonstrate the broad intersection between medical and literary culture: John Aikin, Benjamin Rush, Joanna Baillie (sister of the physician Matthew Baillie), Erasmus Darwin, and John Keats. The chapter uses these case studies to show what is distinctive or innovative about interactions between literature and medicine in the period. The case studies also represent different genres of medical literature, or different genres that became in some sense medicalized: biography, autobiography, drama, didactic poetry, and epic. Each case study includes some consideration of the reception history of the genre in question.

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21

Myers, Victoria. Trial Literature. Edited by David Duff. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.013.19.

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The increasing visibility of trials in the press, at a time when changes in trial procedures and dispute over political reform occupied national attention, stimulated Romantic-era writers to give trials a prominent place in fictional works. The need for defence against law’s invidious fictions encouraged the incorporation of fictional strategies into trial writings, and into legal proceedings themselves. Scepticism about institutions, allied with a crisis in epistemological trust, encouraged writers like William Godwin to challenge inadequate representation of the accused, reliance on circumstantial evidence, and dominance of judges. Thomas Holcroft, William Hone, and Robert Watt used fictional techniques in their defence writings to recover control over representation of their intentions. Other writers such as Percy Shelley, Walter Scott, and Joanna Baillie, using a historical perspective in their fictions, attempted to avert revolutionary crisis by making trials the focus for training sympathetic discernment and thus promoting gradual reform.

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22

McKeever, Gerard Lee. Dialectics of Improvement. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474441674.001.0001.

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This book develops new insight into the idea of progress as improvement as the basis for an approach to literary Romanticism in the Scottish context. With chapter case studies covering poetry, short fiction, drama and the novel, it examines a range of key writers: Robert Burns, James Hogg, Walter Scott, Joanna Baillie and John Galt. Improvement, it shows, was not a unified ideal in late eighteenth- and early nineteenth-century Scotland but rather a contested body of different ideas, some of which were mutually contradictory. The book untangles the complexity of this term that was applied variously to field drainage, elocution lessons, a taste for landscape scenery and the macrohistory of Western civilisation. As it explores, improvement provided a dominant theme for literary texts in this period, just as it saturated the wider culture. It was also of real consequence to questions about what literature is and what it can do: a medium of secular belonging, a vehicle of indefinite exchange, an educational tool or a theoretical guide to history. The book makes a significant contribution to debates around the relationship between Enlightenment and Romanticism, stressing a series of aesthetic innovations across the turn of the nineteenth century in a culture that was saturated by the dialectical workings of improvement.

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23

Winckles, Andrew O., and Angela Rehbein, eds. Women's Literary Networks and Romanticism. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940605.001.0001.

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The eighteenth century witnessed the rapid expansion of social, political, religious, and literary networks in Great Britain. The increased availability of and access to print, combined with the ease with which individuals could correspond across distance, ensured that it was easier than ever before for writers to enter into the marketplace of ideas. However, we still lack a complex understanding of how literary networks functioned, what the term ‘network’ means in context, and how women writers in particular adopted and adapted to the creative possibilities of networks. The essays in this volume address these issues from a variety of perspectives, arguing that networks not only provided women with access to the literary marketplace, but fundamentally altered how they related to each other, to their literary production, and to the broader social sphere. By examining the texts and networks of authors as diverse as Sally Wesley, Elizabeth Hamilton, Susanna Watts, Elizabeth Heyrick, Joanna Baillie, Mary Berry, Mary Russell Mitford, Mary Shelley, and Elizabeth Barrett Browning, this volume demonstrates that attention to the scope and influence of women’s literary networks upends long standing assumptions about gender, literary influence, and authorial formation during the Romantic period. Furthermore, this volume suggests that we must rethink what counts as literature in the Romantic period, how we read it, and how we draw the boundaries of Romanticism.

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24

Smith, Matthew Wilson. The Nervous Stage. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190644086.001.0001.

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Theater and neuroscience: What could these two have in common? What could their historical developments tell us about modernity and the modern subject? The Nervous Stage argues that, to a significant degree, modern theater emerged out of a dialogue with the neurological sciences. Beyond this, the book demonstrates that an understanding of this dialogue sheds new light on the emergence of modern notions of embodiment and subjectivity. This wide-ranging study encompasses artists as diverse as Joanna Baillie, Percy Shelley, Georg Büchner, Charles Dickens, Richard Wagner, Émile Zola, August Strindberg, and Antonin Artaud—and recreates their conversations with a wide range of nineteenth-century neurologists. It is during the nineteenth century that the conception of the subject as essentially nervous went through what was its most intense period of formation and development, and thus it is during the same century that we discover the formation of a subject largely comprehensible, interpretable, and transformable through neurophysiological networks. This subject was magnetic; felt vibrations; was thrilled, electrified, and shocked; became hysterical; succumbed to neurasthenia and was re-energized. It was a site for the influx and efflux of nervous sensations, a site that was also understood as a subjectivity, a personality, and a person. Working between disciplines of theater studies and medical history, the book ultimately describes the formation of a new idea of personhood. We are already neural subjects, the book suggests, and have been for a long time.

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25

Murray, Chris. China from the Ruins of Athens and Rome. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198767015.001.0001.

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Fascinated and often baffled by China, Anglophone writers turned to classics for answers. In poetry, essays, and travel narratives, ancient Greece and Rome lent interpretative paradigms and narrative shape to Britain’s information on the Middle Kingdom. While memoirists of the diplomatic missions in 1793 and 1816 used classical ideas to introduce Chinese concepts, Roman history held ominous precedents for Sino–British relations according to Edward Gibbon and Samuel Taylor Coleridge. John Keats illuminated how peculiar such contemporary processes of Orientalist knowledge-formation were. In Britain, popular opinion on Chinese culture wavered during the nineteenth century, as Charles Lamb and Joanna Baillie demonstrated in ekphrastic responses to chinoiserie. A former reverence for China yielded gradually to hostility, and the classical inheritance informed a national identity-crisis over whether Britain’s treatment of China was civilized or barbaric. Amidst this uncertainty, the melancholy conclusion to Virgil’s Aeneid became the master-text for the controversy over British conduct at the Summer Palace in 1860. Yet if Rome was to be the model for the British Empire, Tennyson, Sara Coleridge, and Thomas de Quincey found closer analogues for the Opium Wars in Greek tragedy and Homeric epic. Meanwhile, Sinology advanced considerably during the Victorian age, with translations of Laozi and Zhuangzi placed in dialogue with the classical tradition. Classics changed too, with not only canonical figures invoked in discussions of China, but current interests such as Philostratus and Porphyry. Britain broadened its horizons by interrogating the cultural past anew as it turned to Asia: Anglophone readers were cosmopolitans in time as well as space, aggregating knowledge of Periclean Athens, imperial Rome, and many other polities in their encounters with Qing Dynasty China.

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