defines the point of such work exactly. As his work began to be culturally appropriated, Clare's madhouses began to frame his workthe way his class status was used to frame his other work.
|
In this sense the Northampton madhouse should be seen as the formal equivalent of the Victorian dramatic monologue. Northampton allows readers to turn Clare into a social and cultural subject even in his own writings. The event is quintessentially Victorian. It even defines the High Victorian way with Romantic writing in general:culture over anarchy, the triumph of art as sweetness and light.
|
AA. Is that a Victorian or a Romantic way? The cult of the primitive and uneducated genius, the ethnographic reading of artare these not preoccupations of the "Romantic period"?
|
XX. The history of cultural forms appears always to move in opposite directions, doesn't it?
|
 | Abrams, M. H.
Natural Supernaturalism: Tradition and Revolution in Romantic Literature
. New York: Norton, 1971.
|
| Bloom, Harold, ed.
Romanticism and Consciousness: Essays in Criticism
. New York: Norton, 1970.
|
| Butler, Marilyn.
Romantics, Rebels, and Reactionaries: English Literature and Its Background, 17601830
. Oxford: Oxford University Press, 1981.
|
| Hayden, John O.
The Romantic Reviewers, 18021824
. Chicago: University of Chicago Press, 1968 [1969].
|
| Jordan, Frank, ed.
The English Romantic Poets: A Review of Research
. New York: Modern Language Association, 1985.
|
| Klancher, Jon.
The Making of English Reading Audiences, 17901832
. Madison: University of Wisconsin Press, 1987.
|
| McGann, Jerome. "Rethinking Romanticism,"
New Literary History
59 (1992): 735754.
|
| McGann, Jerome.
The Romantic Ideology
. Chicago: University of Chicago Press, 1983.
|
| Manning, Peter J.
Reading Romantics: Texts and Contexts
. New York: Oxford University Press, 1990.
|
|
