Relevant bibliographies by topics / Literary criticism - William Golding

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Academic literature on the topic 'Literary criticism - William Golding'

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Published: 4 June 2021
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Journal articles on the topic "Literary criticism - William Golding"

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Bien, Peter, and Bernard F. Dick. "William Golding." World Literature Today 61, no. 3 (1987): 453. http://dx.doi.org/10.2307/40143413.

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Rabkin, Eric S., James B. Mitchell, and Carl P. Simon. "Who Really Shaped American Science Fiction?" Prospects 30 (October 2005): 45–72. http://dx.doi.org/10.1017/s0361233300001976.

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Treating science fiction, critics have taught us to understand that the field shrugged itself out of the swamp of its pulp origins in two great evolutionary metamorphoses, each associated with a uniquely visionary magazine editor: Hugo Gernsback and John W. Campbell Jr. Paul Carter, to cite one critic among many, makes a case that Hugo Gernsback's magazines were the first to suggest thatscience fiction was not only legitimate extrapolation… [but] might even become a positive incentive to discovery, inspiring some engineer or inventor to develop in the laboratory an idea he had first read about in one of the stories. (5)Another, critic and author Isaac Asimov, argues that science fiction's fabledGolden Age began in 1938, when John Campbell became editor of Astounding Stories and remolded it, and the whole field, into something closer to his heart's desire. During the Golden Age, he and the magazine he edited so dominated science fiction that to read Astounding was to know the field entire. (Before the Golden Age, xii)Critics arrive at such understandings not only by surveying the field but also — perhaps more importantly — by studying, accepting, modifying, or even occasionally rejecting the work of other critics. This indirect and many-voiced conversation is usually seen as a self-correcting process, an informal yet public peer review. Such interested scrutiny has driven science fiction (SF) criticism to evolve from the letters to the editor and editorials and mimeographed essays of the past to the nuanced literary history of today, just as, this literary history states, those firm-minded editors helped SF literature evolve from the primordial fictions of Edgar Rice Burroughs into the sophisticated constructs of William S. Burroughs.
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Tiger, Virginia, John Carey, Don Crompton, and Julia Briggs. "Canonical Evasions and William Golding." Contemporary Literature 29, no. 2 (1988): 300. http://dx.doi.org/10.2307/1208444.

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Stevenson, Randall, S. J. Boyd, and Brian Thomas. "The Novels of William Golding." Modern Language Review 85, no. 3 (July 1990): 709. http://dx.doi.org/10.2307/3732233.

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Prickett, Stephen. "INHERITING PAPER: WORDS AND WILLIAM GOLDING." Literature and Theology 6, no. 2 (1992): 145–52. http://dx.doi.org/10.1093/litthe/6.2.145.

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Shanina, Yu A. "WILLIAM GOLDING AS A MAN AND CREATOR IN ENGLISH WRITERS’ ESSAYS." Bulletin of Udmurt University. Series History and Philology 30, no. 5 (October 27, 2020): 918–23. http://dx.doi.org/10.35634/2412-9534-2020-30-5-918-923.

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This research is devoted to the interpretation of William Golding’s works by his younger contemporaries. The solution of this purpose allows to determine the significance of Golding’s novels in modern British literature and culture. The subject of our research is several essays such as David Lodge’s “William Golding” (1964), Ian McEwan’s “Schoolboys” (1986), John Fowles’s “Golding and 'Golding” (1986), Craig Raine’s “Belly without Blemish: Golding’s sources” (1986), Nigel Williams’s “William Golding: A frighteningly honest writer” (2012). Some of them present the memoirs, the others contain the literary critique. The analysis shows that Golding’s novels are seeing as extraordinary, original creations, as the beginning of a new tradition in the consideration of childhood and moral questions in the English literature. They mark the next stage in the history of the British novel, which is characterized by new plots, characters and motives.
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SURETTE, LEON. "William Walker, Locke, Literary Criticism, and Philosophy." Journal of Aesthetics and Art Criticism 54, no. 4 (September 1, 1996): 391–92. http://dx.doi.org/10.1111/1540_6245.jaac54.4.0391.

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Hasan, Mariwan, and Diman Sharif. "William Golding’s Lord of the Flies: A Reconsideration." NOBEL: Journal of Literature and Language Teaching 11, no. 2 (September 29, 2020): 125–36. http://dx.doi.org/10.15642/nobel.2020.11.2.125-136.

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This paper reconsiders William Golding’s Lord of the Flies. Allegorical writings can illustrate ethical, social or psychological and moral issues using the manipulation of images that have stipulated meanings other than their meanings as imitations of the actual world. Allegory has been used widely throughout history in all forms of art, and comprehensible for the reader, conveys hidden meanings through symbolic figures. Lord of the Flies had been written in relation to historical circumstances of the twentieth-century and to the personal experience of William Golding. Also, it has provided a critical analysis of the novel that treated the prominent perspective and elements in it. The novel is a parallel of life in the late twentieth century, while it looks like society a stage of enhancement in technology whereas, human morality is not completely mature yet. “Lord of the Flies is an allegorical microcosm of the world. The destruction of World War II because of the dictators who initiated this war has a profound impact on William Golding himself”. In the beginning, the paper gives an introduction to Golding’s point of view on humanity with the title of how to draw attention to me through allegory and fable, two forms of imaginative literature that encouraged the reader and listener to look for hidden meanings. Then it deals with William Golding’s Lord of the Flies from the cultural approaches of that time, who is one of the most prominent literary men of postmodernism that was famous for utilizing symbolism within the novel; “he used different kinds of symbols, characters, objects, animals, colors and setting to convey his message about his main theme”, in the last section we analyzed the postmodern features in Lord of the Flies and how they are used to depict Golding’s view. The way Golding uses allegory strengthens the symbolism of his novel. Finally, it tackles the educational value through his experiences in teaching along with critical analysis of Golding’s technique.
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Sofield, David, and Herbert F. Tucker. "Under Criticism: Essays for William H. Pritchard." College Composition and Communication 51, no. 2 (December 1999): 316. http://dx.doi.org/10.2307/359053.

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Pederson, J. "THE CRITICISM OF LITERARY THIEVING: The Art of Literary Thieving. By WILLIAM GLASSER." Essays in Criticism 61, no. 2 (April 1, 2011): 209–13. http://dx.doi.org/10.1093/escrit/cgr007.

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Dissertations / Theses on the topic "Literary criticism - William Golding"

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Alsamaan, Moyassar. "The fiction of William Golding : a study in contradictions." Thesis, University of Stirling, 1992. http://hdl.handle.net/1893/12550.

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This thesis undertakes a study of the contradictions embedded in Golding's fiction. It is difficult, as I attempt to show, to treat Golding under the rubric of revolutionary, conservative, liberal humanist, optimistic or pessimistic writer separately. Golding's fiction shows a mind which is at once creative and enmeshed in the mysteries of the universe. However, I attempt in this study to shed light on the many contradictions which I think are present in his work. For this purpose, I concentrate on eight novels as the objects of my analysis. Lord of the Flies, Golding's first novel, displays a contradiction which is at the heart of Golding's vision. WhiIe Golding tries hard to show the hardness of man’s heart, he risks falling into pointlessness if the project were to end only on this note. Golding is caught up in the dilemma of at once believing in Original Sin and wanting to see an alternative future for humankind. If man is "originally" incapable of harmonious living, how is he ever to achieve this harmony? In Pincher Hartin, Golding delves deeper into a religious dogmatism which believes in individual greed. This greed, however, threatens ultimately to undo the "system" within which it exists. But if Golding tries hard to eliminate this individual greed, how then can he emphasise that man is originally sinful? With the removal of this greed and many other sins with it, man is likely to become "pure", something which Golding does not believe in. In Free Fall, Golding explores the idea of art for art's sake. One of the problems of this idea is that it leaves the political implications of any situation completely intact. The Spire enacts a different kind of contradiction. Jocelin, in one sense a saintly figure who can "see" more intuitively than the others, is driven into despair at his own creation. He ultimately loses faith in his own "powerful" vision. In The Paper Men, Golding embarks on a new way of treating his own themes. In its technique, this novel is closer than any of the others to postmodernist literature in its permutations, displacements, and indecisiveness. As for the trilogy, here Golding reaches a position where he can confidently be described as a liberal humanist. The trilogy paradoxically shows Golding at his best. The contradictions of the protagonist Edmund Talbot "reflect" those of a social class that has within it the features of both the aristocracy and the bourgeoisie. At the end, Golding does not "solve" these contradictions and he leaves us with a proposition that could see the end of all literary criticism and analysis. It is in the conclusion to this study that I address this problem.
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Adcox, John Roland. ""Fools for Christ": An Examination of the Ministerial Call in Three Novels by William Golding." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc500718/.

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This thesis examines the ministerial call in three novels by William Golding, specifically The Spire, Darkness Visible, and Rites of Passage. The central character of each novel, a Christian minister, has a vision, or series of visions, which dominates his life. The call and vision(s) of Golding's ministers are examined in light of Jacques Ellul's The Humiliation of the Word, a work examining the differences between the word and the image. The ministerial call, in this thesis, is linked to Ellul's ideas about the word; the vision, in this thesis, is linked to Ellul's ideas of the image. As a result of following their vision(s) rather than their call, the ministers fail, and their lives end in despair and ruin.
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LiBrizzi, Marcus. "Interpretive ground and moral perspective : economics, literary theory, early modern texts." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42080.

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This dissertation provides a critical, systematic survey of economics in literary theory and practice. Since Aristotle, economic categories have been used as interpretive grounds on which to conceptualize the literary text and distinguish it as a moral or normative sphere. Because economic categories presuppose different norms of individual and social action, the use of a specific category as an interpretive ground generates a particular outlook or moral perspective.
In the first part of the discussion, we critique theories in which the literary text is conceptualized as an economy. After distinguishing three distinct models of the "textual economy," we evaluate them in terms of their logical consistency and normative presuppositions. Selecting the model that is the most logically consistent and normatively valuable, we study two early modern works to see if this model operates as an intentional device implicated in a work's form and content. The works chosen are William Shakespeare's Sonnets and William Bradford's history "Of Plimoth Plantation," both of which display a facination with economic discourse.
The second part of the discussion takes up the question of economics in the theory and practice of putting texts in context. We distinguish four different models of contextualization that depend on economic categories. Explicitly or implicitly, contemporary research agendas and critical positions depend on these categories to situate a literary text in a specific setting. An economic category like exchange, for example, is frequently privileged as a common ground, a shared quality or characteristic used to integrate a text with a context. After critiquing models of contextualization, we synthesize the best they have to offer into a new framework. We then use this framework to situate the texts by Shakespeare and Bradford into the historical settings of their production and reception. The result is a picture of the text in context that is vital, a moving picture, quite unlike the customary still life of artifact and background.
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Casto, Andrew Christopher. "Reading Consciousness: Analyzing Literature through William James' Stream of Thought Theory." Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/32531.

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Proceeding from the assumption that psychoanalytic theory has yielded insightful literary interpretations, I propose that equally legitimate readings result from analyzing consciousness in literature. William Jamesâ â Stream of Thoughtâ offers a psychological theory of consciousness from which I develop a literary theory that counterbalances the Freudian emphasis on the unconscious. Examining two works by Henry James, I demonstrate how assessing the elements of a characterâ s consciousness leads to conclusions at which other theories do not arrive. This analytical approach leads to not only an alternative critical agenda but also a fuller understanding of the psychological function of the characterâ s and, by extension, the human mind.
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Moore, Lindsay Emory. "The Laureates’ Lens: Exposing the Development of Literary History and Literary Criticism From Beneath the Dunce Cap." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822784/.

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In this project, I examine the impact of early literary criticism, early literary history, and the history of knowledge on the perception of the laureateship as it was formulated at specific moments in the eighteenth century. Instead of accepting the assessments of Pope and Johnson, I reconstruct the contemporary impact of laureate writings and the writing that fashioned the view of the laureates we have inherited. I use an array of primary documents (from letters and journal entries to poems and non-fiction prose) to analyze the way the laureateship as a literary identity was constructed in several key moments: the debate over hack literature in the pamphlet wars surrounding Elkanah Settle’s The Empress of Morocco (1673), the defense of Colley Cibber and his subsequent attempt to use his expertise of theater in An Apology for the Life of Colley Cibber (1740), the consolidation of hack literature and state-sponsored poetry with the crowning of Colley Cibber as the King of the Dunces in Pope’s The Dunciad in Four Books (1742), the fashioning of Thomas Gray and William Mason as laureate rejecters in Mason’s Memoirs of the Life and Writings of William Whitehead (1788), Southey’s progressive work to abolish laureate task writing in his laureate odes 1813-1821, and, finally, in Wordsworth’s refusal to produce any laureate task writing during his tenure, 1843-1850. In each case, I explain how the construction of this office was central to the consolidation of literary history and to forging authorial identity in the same period. This differs from the conventional treatment of the laureates because I expose the history of the versions of literary history that have to date structured how scholars understand the laureate, and by doing so, reveal how the laureateship was used to create, legitimate and disseminate the model of literary history we still use today.
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RIS, CYNTHIA NITZ. "IMAGINED LIVES." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054222125.

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McFarlane, Anna M. "A gestalt approach to the science fiction novels of William Gibson." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/6263.

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Gestalt psychologists Kurt Koffka and Wolfgang Köhler argue that human perception relies on a form, or gestalt, into which perceptions are assimilated. Gestalt theory has been applied to the visual arts by Rudolf Arnheim and to literature by Wolfgang Iser. My original contribution to knowledge is to use gestalt theory to perform literary criticism, an approach that highlights the importance of perception in William Gibson's novels and the impact of this emphasis on posthumanism and science fiction studies. Science fiction addresses the problem of difference and the relationship between self and other. Gestalt literary criticism takes perception as the interface between the self and the other, the human and the inhuman. Gibson's work is of particular interest as his early novels are representative of 1980s cyberpunk while his later novels push the boundaries of science fiction through their contemporary settings. By engaging with Gibson the thesis makes its contribution to contemporary science fiction criticism explicit. In Gibson's Sprawl trilogy autopoiesis defines life and consciousness, elevating the importance of perception (Chapter I). The Bridge trilogy uses the metaphor of chaos theory to examine dialectic tensions, such as the tension between space and cyberspace (Chapter II). Faulty pattern recognition is a key theme in Gibson's post-9/11 work as gestalt perception allows and limits knowledge (Chapter III). Chapter IV explains how the gestalt in psychoanalysis creates a fragmented subject in Spook Country (2007). Finally, the gestalt appears as a parallax view, a view that oscillates between the world we experience and the world as represented in the text (Chapter V). I conclude that gestalt literary criticism offers an exciting new reading of Gibson's work that recognises its engagement with visual culture and cyberpunk as a whole.
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Monteiro, Daniel Lago. "William Hazlitt, um ensaísta ao rés-do-chão: ensaio e crítica." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-02032017-150739/.

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Esta tese procura analisar a obra do ensaísta e crítico inglês William Hazlitt (1778-1830) a partir de um conjunto de imagens que vinculam as diferentes etapas envolvidas durante o ato de confecção do ensaio crítico e literário aos acidentes topográficos e à textura do solo, expressos no arquétipo recorrente do autor, ao résdo- chão. Pela análise interna de texto e do exercício de leitura, perseguimos as passagens em que Hazlitt reflete sobre seu próprio metiê. A defesa do ensaio como forma de arte coloca-lhe a exigência de um altíssimo grau de elaboração que o aproxima, por analogia, à crítica inventiva e a outras formas de arte. Nesse sentido, o estudo desses elementos formais foi indispensável à pesquisa também nos foi de grande valia o exame de alguns aspectos históricos e culturais, como o chamado Romantismo Inglês. Nos interessou, sobretudo, aquilo que definimos como atitudes mentais próprias do ensaísta, experimentadas e vividas por Hazlitt com intensidade, a saber: o retratista, o amigo e o adversário. Desse modo, cada um dos três capítulos desta tese pretende cobrir uma dessas atitudes. No primeiro capítulo, sobre o retratista e o estágio inicial de confecção do ensaio (a inspiração), acompanhamos o autor em suas peregrinações juvenis na leitura cerrada de algumas passagens de dois ensaios em que ele narra a sua experiência de conversão ao mundo das artes, My First Acquaintance with Poets e On the Pleasure of Painting, e no modo como os retratos literários que escreveu de Jean-Jacques Rousseau e de Edmund Burke, seus legítimos precursores, apontaram a ele os caminhos para uma crítica inventiva. No segundo capítulo, sobre a atitude do amigo e a leitura, encontramos Hazlitt ora na solidão de seu quarto, mastigando os pensamentos, ora em companhia de pessoas próximas. Intimidade e convivência são os ingredientes chaves para essa etapa do trabalho. Para Hazlitt, a escrita de ensaio envolve um convite cordial ao leitor, com o qual o ensaísta espera dividir amigavelmente a sua tarefa. No terceiro capítulo, sobre a escrita, investigamos o papel do ensaísta como agente das transformações sociais, própria à atitude do adversário. O ensaio se apresenta como espaço privilegiado onde se travam lutas com ideias e se disputa uma causa; o ensaísta, por sua vez, se apresenta como o homem das ruas (man-about-town), cujas andanças pela metrópole londrina e convivência com os homens, sobretudo aqueles pertencentes às classes baixas, permitiu-lhe combinar à elegância do ensaísta os momentos combativos e ousados de prosa.
This thesis analyzes the works of the English essayist and critic William Hazlitt (1778-1830) from a body of images that binds the different stages involved in the craft of the critical and literary essay to topographical accidents and the texture of the soil, as expressed in the author recurrent archetype on the plain-ground. My point of departure was the internal analysis of texts and close reading of certain passages where Hazlitt reflects on his own metier. The claims he makes in that essay is an art form required from him a high standard of formal elaboration that analogically approaches the literary essay and inventive criticism to other art forms. Thus, a careful examination of these formal elements was indispensable for this study. Moreover, some historical and cultural aspects that encompass Hazlitt and his time, the so called British Romanticism, were also part of my analysis, inasmuch as the author brings them to bear in his writings, and according to what I have conceptualized as mental attitudes proper to the essayist. In my understanding, three are the essayists attitudes as intensely experienced by Hazlitt, namely, the portraitist, the friend, and the adversary. Therefore, each of the three chapters in this dissertation aims at unveiling one of these mental attitudes. In the first chapter, on the portraitist attitude and the first stage in the making of the essay (the insight), I have followed Hazlitt during his youthful pilgrimages from an analysis of a few emblems pertaining in My First Acquaintance with Poets and On The Pleasure of Painting, where he narrates his moment of conversion to a world of art. Furthermore, I have linked these essays to the literary portraits Hazlitt traced of Jean-Jacques Rousseau and Edmund Burke, his genuine precursors, in order to understanding the paths along which he was initiated into inventive criticism. In the second chapter, on the friend mental attitude, we find Hazlitt by the fireside, either in the solitude of a room of his own, chewing his thoughts, or in the company of close friends. Intimacy and conviviality are the key ingredients to this stage in the craft of the essay (reading). According to Hazlitt, the writing of essays requires a cordial invitation to readers, with whom the essayist hopes to share his task in a friendly way. In the third chapter, on writing itself, I have inquired into the role of the essayist as an agent of social changes, a mental attitude suitable to the adversary. The essay presents itself as a privileged place where the writer struggles with the world and disputes a cause; and the essayist as the man-about-town, whose rambles in the streets of the metropolis and conviviality with the people, particularly those belonging to lower classes, enabled Hazlitt to combine the sustained and controlled rhythms of the polite culture of the essayist with strenuously argumentative, emphatic speeches.
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Taljaard, Frederik. "Imaginative unconcealment Heidegger's philosophy of aletheia and the truth of literary fiction /." Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-03062006-200330.

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Simons, Gary. ""Show Me the Money!": A Pecuniary Explication of William Makepeace Thackeray's Critical Journalism." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3347.

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Scholars have heretofore under-examined William Makepeace Thackeray's early critical essays despite their potential for illuminating Victorian manners and life. Further, these essays' treatments of aesthetics, class, society, history, and politics are all influenced by the pecuniary aspects of periodical journalism and frequently expose socio-economic attitudes and realities. This study explicates the circumstances, contents, and cultural implications of Thackeray's critical essays. Compensatory payments Thackeray received are reconciled with his bibliographic record, questions regarding Thackeray's interactions with periodicals such as Punch and Fraser's Magazine answered, and a database of the payment practices of early Victorian periodicals established. Thackeray's contributions to leading London newspapers, the Times and the Morning Chronicle, address history, travel, art, literature, religion, and international affairs. Based upon biblio-economic payment records, cross-references, and other information, Thackeray's previously skeletal newspaper bibliographic record is fleshed out with twenty-eight new attributions. With this new information in hand, Thackeray's views on colonial emigration and imperialism, international affairs, religion, medievalism, Ireland, the East, and English middle-class identity are clarified. Further, Thackeray wrote a series of social and political "London" letters for an Indian newspaper, the Calcutta Star. This dissertation establishes that Thackeray's letters were answered in print by "colonial" letters written by James Hume, editor of the Calcutta Star; their mutual correspondence thus constitutes a revealing cosmopolitan - colonial discourse. The particulars of Thackeray's Calcutta Star writings are established, insights into the personalities and viewpoints of both men provided, and societal aspects of their correspondence analyzed. In his many newspaper art exhibition reviews Thackeray popularized serious painting and shaped middle-class taste. The nature and timing of Thackeray's art essays are assessed, espoused values characterized and earlier analyses critiqued, and Thackeray's role introducing middle-class readers to contemporary Victorian art explored. Other Thackeray newspaper reviews addressed literature; indeed, Thackeray's grounding of literature in economic realities demonstrably carried over from his critical thesiss to his subsequent work as a novelist, creating a unity of theme, style, and subject between his early and late writings. Literary pathways originating in Thackeray's critical reviews are shown to offer new insights into Thackeray novels Catherine, Vanity Fair, Henry Esmond, and Pendennis.
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Books on the topic "Literary criticism - William Golding"

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William Golding. Plymouth, U.K: Northcote House in association with the British Council, 1994.

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Council, British, ed. William Golding. 2nd ed. Tavistock, U.K: Northcote House/British Council, 2006.

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William Golding. Boston: Twayne, 1987.

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Hoover, David L. Language and style in The inheritors. Lanham, Md: University Press of America, 1999.

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Gindin, James Jack. William Golding. New York: St. Martin's Press, 1988.

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Subbarao, V. V. William Golding: A study. London: Oriental University Press, 1987.

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William Golding: A study. New York: Envoy press, 1987.

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William Golding: A study. London: Oriental University Press, 1987.

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Subbarao, V. V. William Golding: A study. New Delhi: Sterling Publishers, 1987.

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Boyd, S. J. The novels of William Golding. Brighton, Sussex: Harvester Press, 1988.

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Book chapters on the topic "Literary criticism - William Golding"

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Shattock, Joanne, Joanne Wilkes, Katherine Newey, and Valerie Sanders. "William Archer, ‘The Ethics of Theatrical Criticism’." In Literary and Cultural Criticism from the Nineteenth Century, 174–78. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-33.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey, and Valerie Sanders. "William Bodham Donne, ‘The Drama’." In Literary and Cultural Criticism from the Nineteenth Century, 273–77. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-53.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey, and Valerie Sanders. "William Hazlitt, The Periodical Press." In Literary and Cultural Criticism from the Nineteenth Century, 117–20. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199915-24.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey, and Valerie Sanders. "William Scott, Our own Correspondent." In Literary and Cultural Criticism from the Nineteenth Century, 357–61. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199915-69.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey, and Valerie Sanders. "William Archer, ‘Diderot's “Paradox of Acting”’." In Literary and Cultural Criticism from the Nineteenth Century, 289–95. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-56.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey, and Valerie Sanders. "William Maginn, ‘Moore's life of Byron’." In Literary and Cultural Criticism from the Nineteenth Century, 161–64. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199861-29.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey, and Valerie Sanders. "William Archer & H. Granville Barker, ‘Preface’." In Literary and Cultural Criticism from the Nineteenth Century, 118–21. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-22.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey, and Valerie Sanders. "‘William Harrison Ainsworth, Jack Sheppard: A Romance’." In Literary and Cultural Criticism from the Nineteenth Century, 93–100. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199922-14.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey, and Valerie Sanders. "William Hazlitt, A View of the English Stage." In Literary and Cultural Criticism from the Nineteenth Century, 231–33. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199878-46.

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Shattock, Joanne, Joanne Wilkes, Katherine Newey, and Valerie Sanders. "Christopher Wordsworth, ‘Introductory chapter’, Memoirs of William Wordsworth." In Literary and Cultural Criticism from the Nineteenth Century, 58–61. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199861-10.

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