The poetry of Robert Browning:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Basingstoke
Palgrave Macmillan
2016
|
| Schriftenreihe: | Readers' guides to essential criticism
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | x, 173 Seiten |
| ISBN: | 9780230273320 9780230273313 |
Internformat
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CONTENTS
INTRODUCTION 1
Changing Perspectives in Browning Criticism
The introduction gives a brief overview of Browning’s life and major
works and his changing critical fortunes, followed by an outline of
the chapters that follow.
CHAPTER ONE 8
Romanticism: Browning and Shelley
This chapter surveys criticism on Browning’s response to Roman-
tic poetics, covering his own critical prose and its interpretation by
Philip Drew and Thomas Collins. It presents readings of Browning’s
ambiguous attitude towards Shelley’s poetics by John Maynard, John
Stuart Mill, William Clyde DeVane, Herbert Tucker, Michael Yetman
and Harold Bloom, who vary in their conclusions about how and
when Browning overcomes the influence of this literary predecessor.
CHAPTER TWO 25
Romanticism: Debt and Defiance
This chapter contrasts analyses of Browning’s response to
Wordsworth by John Haydn Baker and Lawrence Kramer. It also dis-
cusses Clyde Ryals’ and Patricia Diane Rigg’s readings of Browning
in terms of Romantic irony. Catherine Maxwell’s interpretation of
Browning’s ideal of the imperfect in relation to the Romantic sub-
lime is contrasted with Herbert Tucker’s deconstructive approach
to the same concept. While David Latand examines Browning’s
Romantic elitist aesthetics through the lens of reader-response
criticism, Britta Martens focuses on his engagement with Romantic
self-expressive poetics.
CONTENTS vii
CHAPTER THREE 41
The Dramatic Monologue: Form and the Reader
This chapter concentrates on formal definitions of the dramatic
monologue by Ina Beth Sessions, Michael Mason, Alan Sinfield and
Philip Drew. Robert Langbaum’s influential reader-centred definition
of the genre is juxtaposed with E. Warwick Slinn’s reading of it as
creating a fictional identity, Ralph Rader’s emphasis on the genre’s
poetic form and Cynthia Scheinberg’s feminist approach. The chap-
ter also covers criticism on the role of the genre’s audience both
within and outside the text by John Maynard, Jennifer Wagner-Lawlor,
Dorothy Mermin and Lee Erickson, and analyses of the genre in
terms of speech act theory by Cornelia Pearsall and Slinn.
CHAPTER FOUR 67
The Dramatic Monologue: Causes and Context
This chapter focuses on approaches which situate Browning’s devel-
opment of the dramatic monologue within various literary and cultural
contexts, including Isobel Armstrong’s concept of the ‘Victorian dou-
ble poem’, J. Hillis Miller’s foregrounding of the Victorian Crisis of
Faith, Loy Martin’s Marxist reading and Britta Martens’ analysis of
the genre in the context of social change and other prose genres.
Special attention is paid to the genre’s relationship with Victorian
psychology, as explored by Ekbert Faas, Michael Mason, Ellen O’Brien
and Barry Popowich with reference to psychiatry and by Gregory Tate
with reference to Victorian theories of mental processes.
CHAPTER FIVE 82
Aesthetics: Realism and the Grotesque
This chapter presents critical appreciations of Browning’s realism by
Walter Bagehot, John Woolford and E. Warwick Slinn and the related
issue of Browning’s use of the grotesque, as discussed by Bage-
hot, Woolford, George Santayana and Isobel Armstrong. Readings of
Browning’s famous painter poems are also covered, including David
DeLaura’s and Laurence Lerner's focus on the political and religious
viii CONTENTS
dimensions of their aesthetics, a psychoanalytical approach by Har-
old Bloom and a Marxist reading by Loy Martin.
CHAPTER SIX 104
Love and Gender Relations
This chapter examines Browning’s attitude towards gender issues,
opening with criticism about biographical and intertextual influences
of Elizabeth Barrett Browning on his work by Betty Miller, William
Clyde DeVane, Daniel Karlin, Corinne Davies and Nina Auerbach.
Karlin and Isobel Armstrong discuss Browning’s interest in unhappy
love relationships. Divergent assessments of Browning’s attitude
towards women are offered by Joseph Bristow, U. C. Knoepflmacher,
Ann Brady, Susan Brown, Penelope Gay, Shlfra Hochberg, Catherine
Maxwell and Ernest Fontana. Browning’s concept of masculinity is
scrutinised by Michael Ackerman, Herbert Sussman and Evgenia
Sifaki. His celebration of divine love through the dogma of the Incar-
nation is explored by William Whitla and Jochen Haug.
CHAPTER SEVEN 131
Historical and Geographical Distancing
This chapter reviews analyses by William Raymond and Elinor Shaffer
that relate Browning’s religious poetry to contemporary develop-
ments in biblical scholarship, the so-called Higher Criticism. It then
presents criticism by Mary Ellis Gibson, Morse Peckham and Hilary
Fraser that classifies Browning’s concept of history in relation to
rivalling nineteenth-century schools of historiography. Assessments
of the political motives for Browning’s fascination with the Italian
Renaissance by Stefan Hawlin and of his denigration of contempo-
rary Italians by Robert Viscusi are complemented by Alison Chapman
and Britta Martens who focus on Browning’s critique of English pat-
riotism and his parodic use of national stereotyping for the Italians.
CONCLUSION 147
Browning at 200 and Beyond
The final chapter highlights the main preoccupations of Browning
criticism as covered in this Guide and, with the help of some major
CONTENTS ix
Browning scholars celebrating the poet’s Bicentenary, suggests
where scholarship about the poet may be heading at a time when
the emphasis of Victorian studies is shifting from traditional literary
analysis to cultural studies.
NOTES 150
BIBLIOGRAPHY 163
INDEX 170 |
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