Academic literature on the topic 'Politically engaged poetry'
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Journal articles on the topic "Politically engaged poetry"
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Burford, James. "Sketching Possibilities: Poetry and Politically-engaged Academic Practice." Art/Research International: A Transdisciplinary Journal 3, no. 1 (2018): 229–46. http://dx.doi.org/10.18432/ari29261.
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In this article I draw together and reflect upon my own experiences of writing poetry as a part of a politically-engaged academic life. My aim is to trace the political possibilities I have found in poetic practices, with the hope that describing and reflecting on my own experiences may illuminate pathways for others to integrate poetry into their academic practice. As I will detail, I have published research poetry and have been a leader of workshops that encourage academics to incorporate poetic and other forms evocative writing into their researcher toolkits. Often participants in these wor
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D’Abdon, R. "RESISTANCE POETRY IN POST-APARTHEID SOUTH AFRICA: AN ANALYSIS OF THE POETIC WORKS AND CULTURAL ACTIVISM OF VANONI BILA." Southern African Journal for Folklore Studies 24, no. 1 (2016): 98–121. http://dx.doi.org/10.25159/1016-8427/1675.
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The article explores selected works of Vonani Bila, one of the most influential wordsmiths of post-apartheid South Africa. It outlines the difference between “protest poetry” and “resistance poetry”, and contextualises the contemporary expression(s) of the latter within today’s South Africa’s poetry scene. Focusing on Bila’s “politically engaged” poems and cultural activism, this article maintains that resistance poetry has re-invented itself in the post-94 cultural scenario, and still represents a valid tool in the hands of poets to creatively expose and criticize the enduring contradictions
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Fitzpatrick, Katie. "Gender, Body, Poetry." Ethnographic Edge 2, no. 1 (2018): 21. http://dx.doi.org/10.15663/tee.v2i1.36.
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I offer here three poems which engage a feminist approach to gender and the body. They emanate (tangentially) from my ethnographic work in schools and my own embodied experiences as a woman. While I write more conventional academic prose and conduct research in schools on gender and sexuality (Fitzpatrick 2018; Fitzpatrick and Enright 2017; Fitzpatrick and McGlashan in press, 2016; McGlashan and Fitzpatrick 2017, 2018), I offer a poetic exploration of these issues here in an attempt to engage with writing that is both cognitive and sensory (Sparkes and Smith 2014), while evoking emotion, cultu
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Satris, Marthine. "Codex Vitae: The Material Poetics of Randolph Healy's ‘Arbor Vitae’." Irish University Review 46, no. 1 (2016): 132–44. http://dx.doi.org/10.3366/iur.2016.0206.
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Randolph Healy's 1997 poem ‘Arbor Vitae’ connects formally experimental poetry with an Irish tradition of politically engaged literature. Eschewing questions of national boundaries or authenticity, Healy instead develops a poetics and ethics of intersection. His apparently depersonalized poem is composed of essayistic fragments that address the role of the deaf in Irish society. This essay argues that Healy's formal choices refuse the oral basis of the lyric, and instead align his poem with nonverbal forms of communication. This challenge to the authenticity of speech also questions the langua
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Inwood, Heather. "Multimedia Quake Poetry: Convergence Culture after the Sichuan Earthquake." China Quarterly 208 (December 2011): 932–50. http://dx.doi.org/10.1017/s030574101100107x.
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AbstractThis article examines a wave of Chinese poetry sparked by the 2008 Sichuan earthquake. “Quake Poetry” was published online before being re-circulated through digital, print and live media. Multimedia adaptations of one poem are examined to investigate the relationship between the authors of Quake Poetry, the different media platforms, and the people and institutions involved in its proliferation. Media convergence enabled Quake Poetry to fulfil several functions in the aftermath of the earthquake. Most prominently, it served as an emotional outlet for those affected by the quake, while
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Yakovenko, Iryna. "Women’s voices of protest: Sonia Sanchez and Nikki Giovanni’s poetry." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 23 (2020): 130–39. http://dx.doi.org/10.34079/2226-3055-2020-13-23-130-139.
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The paper explores contemporary African American women’s protest poetry in the light of the liberation movements of the mid-20th century – Black Power, Black Arts Movement, Second Wave Feminism. The research focuses on political, social, cultural and aesthetic aspects of the Black women’s resistance poetry, its spirited dialogue with the feminist struggle, and undertakes its critical interpretation using the methodological tools of Cultural Studies. The poetics and style of protest poetry by Sonia Sanchez and Nikki Giovanni, whose literary works have received little scholarly attention literar
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Vasseur, Álvaro Armando. "Preface to the Sixth Edition of Walt Whitman: Poemas." PMLA/Publications of the Modern Language Association of America 123, no. 2 (2008): 438–51. http://dx.doi.org/10.1632/pmla.2008.123.2.438.
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Álvaro Armando Vasseur's 1912 selection and translation of Walt Whitman's poetry, titled simply Walt Whitman: Poemas, was an extremely influential text for hispanophone readers—the first substantial collection of Whitman poems in Spanish. Scholars have identified Vasseur's translation as instrumental in accelerating Latin American poetry's shedding of its modernista tendencies in favor of franker, often more explicitly socially and politically engaged verse. Republished frequently throughout the period of extraordinary historical and aesthetic change bounded by 1912 and 1951, Poemas played a c
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Grant, Beata. "Thirty Years of Dream-Wandering: Zhang Ruzhao (1900-1969) and the Making of a Buddhist Laywoman." Nan Nü 19, no. 1 (2017): 28–63. http://dx.doi.org/10.1163/15685268-00191p02.
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Zhang Ruzhao (1900-69), also known as Zhang Shenghui, was ordained as a Buddhist nun, with the title Tiantai Master Benkong. In early life, Zhang established a reputation as a poet, and was actively engaged in many of the political and feminist movements of the 1920s. Disillusioned both politically and personally, she turned to Buddhism and reinvented herself as China’s premier female lay Buddhist scholar, writer and educator during the 1930s and 40s. From 1949, she took ordination as a Buddhist nun and was officially designated a lineage holder in the Tiantai lineage. She was persecuted sever
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Jamieson, Daryl. "Field Recording and the Re-enchantment of the World: An Intercultural and Interdisciplinary Approach." Journal of Aesthetics and Art Criticism 79, no. 2 (2021): 213–26. http://dx.doi.org/10.1093/jaac/kpab001.
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Abstract Nonfictional field recording is a genre of music (sound art) which offers a glimpse of art beyond our late-capitalist age. The ongoing ecocide which we, in a state of abject detachment, are witnessing and abetting calls out for artists to reconnect and reengage with the nonhuman world that has been deemed valueless by our civilization. Countering the disenchantment of nature wrought by scientism, human-centrism, and above all capitalism necessitates a dissolving of the barriers we set up between ourselves and our environment, a task which can be only accomplished via religion or art:
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Melo, Luís Carlos Alves de. "A poesia intimista-militante guineense: elos entre a literatura e o engajamento político." Scriptorium 4, no. 2 (2019): 148. http://dx.doi.org/10.15448/2526-8848.2018.2.32320.
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O presente artigo tem como objetivo central promover uma reflexão sobre a poesia engajada produzida na Guiné-Bissau desde os movimentos de libertação nacional até os dias atuais, desaguando no que conhecemos como literatura intimista-militante, como meio hábil para se demonstrar os elos de aproximação entre literatura e política. A literatura guineense é, sem sombra de dúvidas, exemplo de como esses dois elementos são parte de um mesmo contexto e de como podemos estar diante de obras poéticas que se transfiguram em verdadeiros manifestos políticos, assim como discursos políticos que podem ser
Dissertations / Theses on the topic "Politically engaged poetry"
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Natoli, Chiara. "Classicisme politique : le pétrarquisme dans la poésie engagée italienne au XVIème siècle." Thesis, Université Grenoble Alpes (ComUE), 2017. http://www.theses.fr/2017GREAL001/document.
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La recherche vise à identifier les étapes critiques de la poésie lyrique de la Renaissance qui ont rendu les vers de Pétrarque un modèle consolidé de rhétorique civile et politique dans la tradition littéraire italienne. L'objet de l'analyse est la poésie du XVIe siècle. En analysant les recueils et anthologies de l'époque, caractérisées surtout par la prédominance du lyrisme d’amour, cette recherche vise à définir les traits d'un pétrarquisme moins connu et répandu dans les études: le pétrarquisme politique<br>The research aims to identify the critical steps of the Renaissance’s lyric poetry
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Theinová, Daniela. "Meze a jazyky v poezii současných irských autorek." Doctoral thesis, 2013. http://www.nusl.cz/ntk/nusl-327433.
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Filozofická fakulta Univerzity Karlovy v Praze DISSERTATION ABSTRACT Daniela Theinová LIMITS AND LANGUAGES in Contemporary Irish Women's Poetry "Irish poetry" is an inherently equivocal concept characterized by two fissures, one linguistic (Irish-English; standard English-Hiberno English) and the other chronological (oral-written; Old Irish-modern Irish). Central to my project is to show how this bifurcate cultural identity, prominent in Irish literature due to Ireland's history and the politicized concept of "national language," figures in poetry by Irish women of the last forty years. While
Books on the topic "Politically engaged poetry"
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Heyam, Kit. The Reputation of Edward II, 1305-1697. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463729338.
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During his lifetime and the four centuries following his death, King Edward II (1307-1327) acquired a reputation for having engaged in sexual and romantic relationships with his male favourites, and having been murdered by penetration with a red-hot spit. This book provides the first account of how this reputation developed, providing new insights into the processes and priorities that shaped narratives of sexual transgression in medieval and early modern England. In doing so, it analyses the changing vocabulary of sexual transgression in English, Latin and French; the conditions that created
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Fearn, David. Materialities of Political Commitment? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198805823.003.0004.
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Eschewing historicist certainties, this chapter reassesses the political salience of Alcaeus’ lyric poetry by investigating his literary contribution to sympotic culture. Placing Alcaeus’ politically engaged voices within recent theoretical perspectives on deixis, ecphrasis, and the distinctiveness of lyric as a literary mode, the chapter argues that Alcaeus makes a systematic issue of the question of the accessibility of the contexts gestured towards, and in so doing opens up as an alluring prospect the idea of political engagement through literature. The literary and cultural significance of
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Kahn, Andrew. Mandelstam's Worlds. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857938.001.0001.
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Rightly appreciated as a ‘poet’s poet’, Mandelstam has been habitually read as a repository of learned allusion. Yet as Seamus Heaney observed, his work is ‘as firmly rooted in both an historical and cultural context as real as Joyce’s Ulysses or Eliot’s Waste Land’. Great lyric poets offer a cross-section of their times, and Mandelstam’s poems represent the worlds of politics, history, art, and ideas about intimacy and creativity. The interconnections between these domains and Mandelstam’s writings are the subject of this book, showing how engaged the poet was with the history, social movemen
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Karshan, Thomas, and Kathryn Murphy, eds. On Essays. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198707868.001.0001.
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What is an essay, and how did the essay emerge as a literary form? What are the continuities and surprising emergences across its history, from Montaigne’s 1580 Essais to the present? This volume assembles seventeen essays which address patterns and oddities in the history of the genre, paying attention both to the transformed legacies of the earliest essayists across the centuries, and to the form’s contemporary vibrancy. Contributors, both scholars and essayists, draw out paradoxes of what is considered the fourth genre, often overshadowed in literary history and criticism by fiction, poetry
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Tian, Xiaofei, ed. Reading Du Fu. Hong Kong University Press, 2020. http://dx.doi.org/10.5790/hongkong/9789888528448.001.0001.
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This is the first collection of English essays on Du Fu, commonly regarded the greatest Chinese poet. Contributed by well-known experts of Chinese literature as well as scholars of a younger generation, these essays are engaged in historically nuanced close reading of Du Fu’s poems, both canonical and less known, from new angles and in various contexts. They discuss a series of critical issues, including the local and the imperial; the body politic and the individual body; poetry and geography; perspectives on the complicated relation of religion and literature; materiality and contemporary re
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Bugan, Carmen. Poetry and the Language of Oppression. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198868323.001.0001.
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Poetry and the Language of Oppression is an incursion into the creative process that engages with the experience of oppression and the reclamation of freedom in the context of the Cold War. What is freedom in language and how does the poet who has endured political oppression write himself or herself free? What is literary testimony and how does it reflect one’s artistic values? How do we govern ourselves with language? Oppression, repression, expression, as well as their tools (incarceration, surveillance, exile, gestures in language) have been with us in various forms throughout history; the
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Boncardo, Robert. Julia Kristeva’s Mallarmé: From Fetishism to the Theatre-Book. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429528.003.0003.
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This second chapter engages with Julia Kristeva’s reading of Mallarmé in her 1974 work Revolution in Poetic Language. This chapter offers the first extended analysis of this work’s long and detailed study of Mallarmé, and introduces Kristeva’s unique interpretation of such key works as Prose (Pour des Esseintes) and Un Coup de dés. It also presents the first English-language engagement of any length with the third — and longest — chapter of Revolution in Poetic Language, ‘The State and Mystery’. The chapter argues that Kristeva’s reading culminates in a critique of Mallarmé’s poetry’s content,
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Crowley, Lara M. Manuscript Matters. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821861.001.0001.
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Manuscript Matters illuminates responses to some of John Donne’s most elusive texts by his contemporary audiences. Since examples of seventeenth-century literary criticism prove somewhat rare and frequently ambiguous, this book emphasizes a critical framework rarely used for exhibiting early readers’ exegeses of literary texts: the complete manuscripts containing them. Many literary manuscripts that include poems by Donne and his contemporaries were compiled during their lifetimes, often by members of their circles. For this reason, and because various early modern poems and prose works satiri
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Barnard, John Levi. Phillis Wheatley and the Affairs of State. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190663599.003.0002.
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This chapter considers Phillis Wheatley as a political actor within the context of revolutionary-era Boston, and her political poetry as representative of the genre eighteenth-century readers would have known as the poem on the affairs of state. Within this larger category the chapter identifies two distinct yet related literary modes in Wheatley’s work. The first, her neoclassical poetics of political identification, engages with the revolutionary rhetoric of freedom as a means of linking the struggle of American revolutionaries with that of enslaved people in America. While this poetics of i
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Boncardo, Robert. Jacques Rancière’s Mallarmé: Deferring Equality. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429528.003.0006.
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This fifth chapter presents Jacques Rancière’s reading of Mallarmé through a critical exegesis of his 1996 book Mallarmé: The Politics of the Siren. By exploring Rancière’s studied opposition to the critical tradition that has framed Mallarmé as a hermetic recluse concerned exclusively with literature’s relation to itself, this chapter shows how Rancière presents Mallarmé as a thinker deeply engaged with the political crises of his times and committed to equality. The chapter explains how Rancière reformulates Mallarmé’s proposal for a poetic religion in terms of his famous account of the aest
Book chapters on the topic "Politically engaged poetry"
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Seita, Sophie. "Contemporary Experimental Translations and Translingual Poetics." In Reading Experimental Writing. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474440387.003.0006.
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This chapter attends to the nuances and difficulties in reading and translating contemporary translingual poetry, by focusing on the German poet Uljana Wolf, who has traversed the language barriers between English, German, Polish, and Belarusian in conceptually and linguistically innovative ways in her multilingual and politically engaged poetry and poetics. The chapter argues that Wolf’s work criticises national and linguistic borders and ‘mother tongues’ both thematically and poetically, i.e. by way of neologisms, unusual syntax and prefixes, and by splicing a number of languages into the texture and prosody of what Wolf calls her ‘other-tongued’ German poetry. Such an approach to multi- and translingualism as a formal feature with political stakes and a concomitant rejection of an idealised originality, the chapter goes on to argue, also invites a similarly rigorous playfulness and multilingual alertness from a translator. Suggesting that translation is generative and dialogic, in its ability to forge conversations and transnational communities, Wolf’s experimental translational practice is contextualised by reference to other innovative English-language and translingual poets, such as Rosmarie Waldrop, Theresa Hak Kyung Cha, M. NourbeSe Philip, and to the recent critical writing and anthologies of translation and anti-colonial discourses. In conclusion, the chapter argues that Wolf, along with these thinkers and poets, helps readers reconceive translation as a radically inventive and collaborative practice that complicates access to the ‘foreign’ it is usually supposed to facilitate.
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Roberts, Wendy Raphael. "The Ethiop’s Verse." In Awakening Verse. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197510278.003.0005.
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This chapter argues that Phillis Wheatley engaged and contested the tradition and history of revival poetics that the first three chapters trace. Wheatley’s poetics entail subtle yet poignant critiques of both the limitations of the personae of white women poet-ministers built upon affective espousal devotion and of the political impotence of an anthropology based in evangelical harmony and appeals to the plainest capacity. Wheatley invented a new woman poet-minister persona, the Ethiop, which introduced the tensions of political freedom and chattel slavery into the Calvinist couplet and lived theology. Through her classicalism she practiced a politics of respectability at the same time that her Ethiop persona engaged in a politics of refusal that exposed white feminine sentimentalism and the domestic at the center of revival poetics, which helped structure the capacities of liberal rights-bearing subjects. Recognizing the ways that Wheatley critiqued revival poetry brings into view how enslaved femininity became a site of dynamic exchange between religious and secular aesthetics and epistemologies. A history of revival poetry, then, not only reveals the full import of Wheatley’s poetic choices in relation to slavery, but also how revivalism was integral to the often secularized story of the invention of race science.
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Ford, James Edward. "The Imperial Miracle." In A Political Companion to W. E. B. Du Bois. University Press of Kentucky, 2018. http://dx.doi.org/10.5810/kentucky/9780813174907.003.0005.
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In this essay, James Edward Ford III addresses Du Bois’s extensive use of poetry in Black Reconstruction in America, 1860–1880, particularly the multilevel argumentation through form and content that allows the poetry closing each chapter to act as a door allowing concepts to flow between disparate modes of articulation. The tension between the poetic passages and the prose pushes the reader to engage heavily with the text and discover why Du Bois chose particular poems, as well as how the poetry connects with and enhances the prose analysis of racist national culture and imperialism.Though the prose of the text never addresses the questions arising from Du Bois’s argument that racist assumptions precede legal concepts, the poetry throughout the text provides glimpses of the answers.
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Allen, Nicholas. "Slow Erosions." In Modernism, Postcolonialism, and Globalism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199980963.003.0012.
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Focusing on Seamus Heaney’s poetry, this chapter explores the limitations of Irish postcolonial criticism. Acknowledging the invigorating influence of Said on Irish critics, it nevertheless argues that an overemphasis on Ireland’s colonial and “postcolonial” status has restricted attention to the nation and its political history. The collapse of the Celtic Tiger permits a global reframing of Irish culture that emphasizes transnational flows of money, people, culture, and literature. While Heaney’s poetry may seem archaic (rather than avant-garde), this chapter finds it creatively engages with transimperial affiliations. Rather than reading Heaney as a provincial northern Irish poet rooted in the native soil, the chapter emphasizes the poet’s embrace of mobility, fluidity, and non-Irish sites. Underscoring Heaney’s indebtedness to Yeats, Joyce, and Beckett—whose works represented the circulations of seafaring cultural exchange—the chapter discovers in Heaney’s meditations on oceanic networks a corrective to the narrow critical focus on decolonization and nationhood.
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Hunter, Walt. "Coda." In Forms of a World. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823282227.003.0006.
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The coda explores one of the tensions or problems for poets writing explicitly about globalization in English—namely, that the spread of English itself has been inseparable from the violence of the global and has abetted its propagation. In Look (2016), Solmaz Sharif writes about the Iran-Iraq War, the twenty-first century US invasion and occupation of Iraq, and the detainment of prisoners in Guatanamo Bay. She employs a particular kind of “global English,” one that is forged in US wars and military occupations in the Middle East. The coda concludes by reflecting on the ways that contemporary poetry has been engaged in remaking a politics of globalization and how poetry changes our sense of what ethical and political actions and subjectivities are possible under global capitalist regimes.
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Kosick, Rebecca. "Sensation, Relation and Neoconcrete Poetics." In Material Poetics in Hemispheric America. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474474603.003.0003.
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Chapter 2 discusses the 1960s interdisciplinary movement known as neoconcretism. It argues for a relational poetics in which language is plastic and what’s plastic is language. Analysing examples of poetry and art that either calls itself poetry or makes use of the book form – including poet Ferreira Gullar’s ‘Buried Poem’ (an underground poem-room that invites the ‘reader’ to enter), artist Lygia Pape’s Book of Creation (a language without words which the ‘reader’ can order) and artist Hélio Oiticica’s Secret Poetics (a lyric that stills the sensible for the ‘reader’ to perceive) – this chapter shows that language powerfully shapes the history of what neoconcrete artist Lygia Clark calls the ‘relational object’. Not just a score which would guide, from the outside, the co-creation of an object, language, in a relational poetics, joins the creator and participant in becoming the object created. This conclusion also points towards one way in which avant-garde experimentation (often accused of being apolitical) can engage the political sphere – by creating the opportunity for an engagé poetics that takes shape inside sensory engagement itself.
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Baraz, Yelena. "The Transformation of Pride in Augustan Poetry." In Reading Roman Pride. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197531594.003.0010.
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This chapter follows the analysis of the Aeneid with an examination of the role that pride plays in the poetry of Vergil’s contemporaries, also engaged with the changing meaning of the concept alongside the political changes. Pride, especially associated with triumph, is an indication that excess of good fortune might lead to disaster in book one of Horace’s Odes and in Augustan love poetry, where Propertius develops a way of conceptualizing such pride as justified by the beloved’s qualities and not necessarily disproportionate. The most radical version of this development takes place in the metapoetic sphere, where the first positive reconceptualization of pride takes place: Horace’s attribution of positive pride to his Muse and Propertius’s response to the claim that his fatherland, Umbria, should be proud of his achievement. The concluding part of the chapter shows the poets’ pulling away from extending this rehabilitation of pride into the public sphere.
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Allsopp, Niall. "Marvell." In Poetry and Sovereignty in the English Revolution. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198861065.003.0003.
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Chapter 2 revisits the question of Marvell’s place in the Engagement controversy, to map his ambivalent use of arguments from sovereignty. It contextualizes the mode of cavaliering activism celebrated in several of Marvell’s poems within contemporary republican and Engager challenges to the royalist doctrine of passive obedience. This includes a rapprochement with, and appropriation of, Davenant. This context provides the basis for, first, a new reading of Marvell’s ‘Horatian Ode’ in comparison with the Engagers Marchamont Nedham and Anthony Ascham; and, second, a survey of Marvell’s poetic engagements with Davenant, and their political implications, in the 1650s poems ‘Tom May’s Death’, ‘Upon Appleton House’, and ‘Music’s Empire’. Marvell’s habitual emphasis on modest and participatory government is strategically suspended when he uses defactoist and absolutist arguments to magnify the personal authority of Oliver Cromwell.
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Tausig, Benjamin. "A Quiet Mourning." In Bangkok is Ringing. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190847524.003.0008.
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This chapter argues for a poetry of dynamics within the Red Shirt movement. Rather than always aiming to be louder, various protesters found ways of producing sound that were intense and intensely affective without necessarily being volume-dependent. Working with the keyword “pity” or “pitiful,” which many dissidents used to describe themselves, I claim that different protest contexts valorize different modes of political engagement. For sound studies and music studies, it is necessary to consider the vernacular ways in which sound and dynamics are rendered poetic. The Red Shirts aimed toward pitiful sounding that hailed listeners to feel responsibility for their plight. The chapter engages three ethnographic examples: a man who sits in theatrical silence, orphan girls, and a stage musician.
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Reno, Seth T. "Felicia Hemans and the Affections." In Amorous Aesthetics. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786940834.003.0005.
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Chapter four analyzes Hemans’s emphasis on love, gender, and ‘the affections’ throughout her career. The chapter begins by outlining the discourses of ‘the affections’ in eighteenth-century moral philosophy, showing how Hemans engages those discourses through her concurrent embrace and critique of the Romantic models of affect and emotion developed by Wordsworth and Shelley. Hemans moves from a hesitant embrace and celebration of earthly, domestic, and Christian love in her early poetry to a more radical, Romantic acknowledgement of an otherworldly, idealizing love in her later work. Yet unlike the poetry of Wordsworth, Shelley, and Clare, Hemans’s treatment of intellectual love is dominated by loss and melancholy. Her particular treatment of love and the affections sheds new light on the importance of gender in Romantic-era theories of affect. In contrast to her male counterparts, Hemans remains deeply skeptical about the social and political potentials of intellectual love. As she carries on the Romantic poetic tradition throughout the 1820s, Hemans serves as a catalyst for Victorian responses to intellectual love, to which I turn in the final chapter of the book.