bluuebunny/crossref_metadata_2025 huggingface dataset:
TERRITORIO ESTRATÉGICO DE SUAPE: IMPACTOS DE UN MODELO DE DESARROLLO Y OCUPACIÓN TERRITORIAL
Authors: Clímaco Santiago Maciel Fernando
Published: July 2017

Resumen. El complejo industrial puerto de Suape, en el municipio de Ipojuca, Pernambuco, recibió en los últimos diez años, alrededor de $ 20 millones de dólares de inversiones públicas y privadas. El optimismo de las autoridades y las inversiones multimillonarias, sin embargo no ha sido suficiente para promover la calidad de vida en su propio entorno. Los municipios de Territorio Estratégico Suape siguen enfrentándose a graves problemas sociales, bajos niveles de educación y el desarrollo humano, agravada por los impactos ambientales causados por las grandes inversiones industriales, como la deforestación y amenaza el medio ambiente marino, y las amenazas de vulnerabilidad social de diversos grupos y familias . Este estudio trata de comprender los factores que están involucrados con esta realidad que hace que tanta riqueza siendo incapaz de generar bienestar en los municipios circundantes y al mismo tiempo ser capaz de potencialmente empeorar la calidad de vida en el territorio como ya se ha demostrado en algunos estudios y, principalmente la percepción de los que viven allí.
 
Palabras clave: Complejo de Suape. El desarrollo local. Desarrollo sustentable. Competitividad empresarial.
 
Abstract. The Industrial Port Complex of Suape (CIPS) located in Ipojuca, Pernambuco, has received over the past decade, about $ 20 billion of public and private investments. The authorities of optimism and billionaires investments, however, has not been sufficient to promote quality of life in their own surroundings. Municipalities Strategic Territory of Suape (TES) remain facing serious social problems, aggravated by environmental impacts and threats of socially vulnerable groups and families. This study sought to understand the factors that cause so much wealth is unable to generate welfare in surrounding municipalities and at the same time potentially be able to worsen the quality of life in the territory as shown by some studies and especially the perception of those who live there.
 
Key words: Suape Complex. Local development. Sustainable development. Business competitiveness.
TRANSFORMACIONES ORGANIZATIVAS DEL SISTEMA PRODUCTIVO FLORÍCOLA EN LA MICRORREGIÓN PATOSIL-SALINAS
Authors: Santos López José Juan , Valdiviezo Ocampo Guillermo S.
Published: July 2017

Resumen. La actividad florícola ha permitido desarrollar estructuras organizativas diferenciadas en las comunidades de Patosil y Pinar Salinas, dos comunidades del municipio de Zinacantán, Chiapas (México), las cuales conforman la Microrregión Patosil-Salinas (MPS). La actividad es una experiencia relevante desde la perspectiva del desarrollo local porque permite la participación de diversos actores, los cuales asumen un papel fundamental en el proceso productivo y aportan al dinamismo económico del territorio. A través de la organización entre los productores se ha transformado el sistema productivo del territorio. En este sentido, las formas organizativas contribuyen a la creación y fortalecimiento de las relaciones sociales entre las unidades productivas que se manifiestan en términos de cooperación y confianza en el proceso de producción. Por ello, este trabajo analiza la importancia que tienen las formas de organización de las unidades productivas y las especificidades propias de la actividad florícola para consolidarse como un Sistema Productivo Localizado.
 
Palabras clave: Desarrollo Local, Actores Locales, Floricultura Chiapas, Sistema Productivo Florícola y Organización.
 
Abstract. The floriculture activity has allowed the development of different organizational structures in the communities of Patosil and Pinar Salinas, two communities in the municipality of Zinacantán, Chiapas (Mexico), which make up the Patosil-Salinas Microregion (MPS). The activity is a relevant experience from the perspective of local development because it allows the participation of diverse actors, who assume a fundamental role in the productive process and also contribute to the economic dynamism of the territory. Through the organization between the producers the productive system of the territory has been transformed. In this sense, organizational forms contribute to the creation and strengthening of social relations among productive units, that developed themselves in terms of cooperation and reliance in the production process. Therefore, this paper analyzes the importance of the forms of organization of the productive units and the specific characteristics of the floricultural activity to consolidate as a Productive System Located.
 
Key words: Local Development, Local Actors, Chiapas Floriculture, Floriculture Production System and Organization.
DESARROLLO ECONÓMICO DE UN PUEBLO LACUSTRE: CAPULHUAC, ESTADO DE MÉXICO
Authors: Pillado Albarrán Karla Violeta , Romero-Contreras Alejandro Tonatiuh , Viesca-González Felipe Carlos , Zizumbo-Villareal Lilia
Published: July 2017

Resumen. Capulhuac se localiza en la Cuenca del Alto Lerma en el Estado de México, en sus orígenes prehispánicos mantuvo un desarrollo sociocultural y económico lacustre. Durante la época colonial la población se dedicó a la producción y venta de pulque, a la cría de ganado menor, al comercio de estos productos y de los obtenidos de la ciénaga. En la década de 1940 comenzó la construcción del acueducto que dirige las aguas del Alto Lerma hacia el Distrito Federal, lo que disminuyó la cantidad de recursos lacustres para el sustento y el comercio, esto incrementó la explotación del maguey y la cría de ganado, para la elaboración de pulque y la manufactura de prendas de lana, respectivamente. La disponibilidad de estos elementos permitió el desarrollo de una economía fructífera basada en la preparación y comercialización de barbacoa, registrando actualmente al 80 por ciento de la población dentro de la cadena productiva de esta actividad.
 
Palabras clave: Barbacoa, Ciénagas de Lerma, Comercio regional, Economía tradicional, Modo de vida lacustre.
 
Abstract. Capulhuac is located in the Upper Lerma Basin in Mexico State; in their pre-Hispanic origins maintained a lakeside sociocultural and economic development. During the colonial period, the population was dedicated to the production and sale of pulque, the small livestock, and trade these products and those obtained from the basin. In the 1940s began the construction of the aqueduct that directs the waters of the Upper Lerma Basin to the Federal District, which decreased the amount of lake resources for sustenance and trade, this increased exploitation of the maguey and livestock, for pulque developing and manufacturing of woolens, respectively. The availability of these elements allowed the development of a productive economy based on production and marketing of barbacoa, currently registering 80 percent of the population in the productive chain of this activity.
 
Key words: Barbacoa, Upper Lerma Basin, Regional trade, Traditional economy, Mode lakeside life.
Abolitionist Prose
Authors: Matthew Patricia A.
Published: July 2017

Britain's abolitionist movement is bookended by two moments – William Wilberforce's three‐and‐a‐half‐hour speech before the House of Commons on 12 May 1789 and the Slavery Abolition Act of 1833 – that line up almost perfectly with the dates of the Romantic period. The debate about it, which occupied different groups of Britons across the political continuum from conservatives to radicals and up and down the class ladder, is notable for the space it created for British women in the political sphere. Middle‐class women both identified with the slaves' position as chattel and recognized that the slave trade destroyed the family at a time when that microcosm of English culture was valued as the first line of resistance against the revolutionary infection Edmund Burke feared would spread from France to England.
Antiquarianism
Authors: Grimes Kyle
Published: July 2017

It is commonplace to observe that English Romantic‐era culture was marked by a pervasive fascination with Britain's Celtic, Roman, Saxon, and medieval past, and it is thus fitting that antiquarian research and writing would be prominently represented in the published works of the period. Romantic antiquarianism took its place within, and (as will be evident shortly) largely concluded, a longstanding discursive tradition in English letters that had begun with such writers as William Camden and John Stow in the sixteenth century, was continued by Roger Dodsworth, John Aubrey, and others in the seventeenth century, and that reached its most influential form in the works of Henry Bourne, William Stukeley, Richard Gough, Francis Grose, John Brand, Joseph Strutt, and others in the eighteenth and nineteenth centuries. As a mode of writing, antiquarianism is widely varied, defined more by the approach to its subject matter – a fascination with ancient artefacts, documents, and cultural practices – than by any distinctive formal characteristics. That said, antiquarian writing does present several identifiable generic features: it tends to be anecdotal and often collectively written as the author/compiler passes along whatever received information or illustrative tales have happened into his ken; its organization tends to be associative rather than, for example, the chronological or causal narratives of history proper; it tends to be more descriptive than polemical, probably because it typically foregrounds the actual literary, documentary, and archeological discoveries of the antiquary rather than treating such artefacts as evidence in a more comprehensive historical or philosophical argument. Indeed, the ancient documents, monuments, and artefacts described in antiquarian writing are usually presented as though they are intrinsically significant and therefore do not require the framework of a more elaborate intellectual context or historical thesis.
A
ustin,
S
arah
T
aylor
Authors: Lewes Darby
Published: July 2017

Perhaps the best thing that ever happened to jurist John Austin was his marriage to Sarah Taylor (1793–1867). She was a handsome, gregarious, social being who, in addition to being England's premier German translator who helped introduce the British public to ideas emerging from Germany, not only supported her husband during his life, but made his reputation after his death. She also gathered about her such notables as Jeremy Bentham, Thomas Carlyle, John Stuart Mill, and James Mill, forming one of the more intellectually impressive salons of her age.
B
anim,
M
ichael and
J
ohn
Authors: Latané David E.
Published: July 2017

In the 1820s, as the Irish question released an agitation that would result in a partial answer from the Catholic Relief Bill of 1829, Michael and John Banim produced a string of novels and tales that countered anti‐Catholic propaganda and sought to find a middle way between extremes on both sides. In doing so, they cemented their position as the creators of a new national literature, and spokesmen for the rising Catholic middle classes.
Barbauld, Anna Letitia, Poetry
Authors: Ripley Wayne C.
Published: July 2017

A major poet, critic, essayist, editor, and educator, Anna Letitia Barbauld (née Aikin) (1743–1825) was one of the most famous and influential writers of the Romantic era. In between her birth on 20 lune 1743, at Kibworth Harcourt, Leicestershire, and her death on 9 March 1825, at Stoke Newington, Barbauld lived most of her life surrounded by her prominent Presbyterian dissenting family, and the liberal political, religious, and intellectual values of rational Dissent permeated her life and writings. Her maternal grandfather, John Jennings (1687–1723), taught Philip Doddridge at the Kibworth Dissenting Academy, while her father, John Aikin (1713–80), was Doddridge's student at Kibworth, where he taught as well before moving to the Dissenting Academy at Warrington when Barbauld was 15 years old. Through Warrington, Barbauld was intimate with Joseph Priestley, who came to teach at Warrington in 1761, and the bookseller Joseph Johnson, who was Priestley's literary agent and who published most of Barbauld's works. In addition to her own fame, her family had a key impact on Romantic literature. Her brother, John Aikin (1747–1822), was a physician and writer who edited both the
Monthly Magazine
(1796–1806) and the
Athenaeum
(1807–9), and he frequently collaborated with his sister. Barbauld's nephew Arthur Aikin (1773–1854) edited the
Annual Review
(1803–8), while her niece Lucy Aikin (1781–1864) was a historian, writer, and editor of Barbauld's works. Barbauld also knew many of the women authors of the period, including Elizabeth Montagu, Hester Mulso Chapone, Helen Maria Williams, Sarah Scott, Hannah More, Frances Burney, Joanna Baillie, Maria Edgeworth, and Sarah Trimmer. She was admired by the young William Wordsworth and Samuel Taylor Coleridge, but both writers criticized her work later in their careers.
Barbauld, Anna Letitia, Prose
Authors: Vargo Lisa
Published: July 2017

Although she wrote no novels, Anna Barbauld is an important figure in the development of fiction as an anthologist and theorist. She reminds us of the part that women played in criticism of the novel beyond their better known roles as novelists and as readers. Barbauld was a public intellectual and woman of letters: poet, essayist, political writer, reviewer, anthologist, editor, educator, and especially respected during the nineteenth century as an innovative writer for children. And then she faded from notice. More recently a number of critics, including Claudia Johnson, Catherine Moore, Mary Waters, and Daniel White, offer new views of her prose writings. William McCarthy and Elizabeth Kraft have helped to make her writings available through editions of herPoemsandSelected Poetry and Prose. Michelle Levy and Scott Krawczyk outline how Barbauld's collaborative model of authorship with her brother John Aikin represents a radical aesthetic concerning education. William McCarthy has published a comprehensive biography. Whether she is writing for a young child or an adult reader Barbauld's witty conversational style conveys her belief that fiction educates and offers inclusive forms of cultural engagement.
Beddoes
,
T
homas Lovell, Drama
Authors: Berns Ute
Published: July 2017

Thomas Lovell Beddoes’ late romantic dramatic work is slender, but radically hybrid and intercultural in scope. His
opus magnum, Death's Jest‐Book
, anticipates the European avant‐garde.
Biography
Authors: Knox Julian
Published: July 2017

In the ‘Author's Introduction’ to her novel,
The Last Man
(1826), Mary Shelley recounts her exploration, with a companion, of the ‘ruined temples, baths, and classic spots’ (1) in the vicinity of Naples and Baiae in 1818. The central locale of this narrative is the cave of the Cumaean Sibyl, of Virgilian fame, in which, pressing onwards through passages untrodden by their superstitious guides, Shelley and her partner discover an inner cavern strewn about with leaves bearing writing in diverse ancient and modern languages – leaves that, once translated and (re)arranged, form the firsthand account of the apocalyptic events that constitutes the novel proper. Mary and Percy had explored the environs of Naples and Baiae in December 1818, and even visited a sibylline cavern, though – as Percy would tell Peacock in a contemporaneous letter – it was ‘not Virgil's Sibyl’ (Shelley 1914, vol. 2: 656). If the ‘sibylline leaves’ are an even more blatant authorial invention, then like Carlyle's ‘editors’ in
Sartor Resartus
(1833) who are faced with Professor Teufelsdröckh's heterogeneous bags of literary remains, Shelley's ‘Author's Introduction’ dramatizes the choices faced by the biographer in editing ‘raw’ materials into a life‐narrative: ‘I present the public with the latest discoveries in the slight Sibylline pages. Scattered and unconnected as they were, I have been obliged to add links, and model the work into a consistent form’ (Shelley 1965: 3–4). As a reader of biography, as a biographer in her own respect (having just edited and written biographically rich introductions to Percy's poems, not to mention the short
Lives
of Italian, French, Spanish, and Portuguese authors she would contribute to Lardner's
Cabinet Cyclopaedia
a decade later), and as a novelist who had already experimented with fictional biography
(Valperga
[1823] is subtitled
The Life and Adventures of Castruccio, Prince of Lucca)
, Shelley knew that the shape and reception of such work depended as much upon the biographer's handling of materials as upon the materials themselves. She also knew that there were any number of ways one could ‘add links’ to and impose form upon the records of a life, and that such considerations constituted the central axes of debates concerning biographical method during a time of rapid expansion in the market for all forms of life‐writing.
Blamire, Susannah
Authors: Vargo Lisa
Published: July 2017

That Susannah Blamire (1747–94) was known as ‘The Muse of Cumberland’ conveys some contradictions about female literary authority and accounts for this very interesting poet's subsequent neglect by critics and readers. If the editor of herPoetical Works(1842) terms her ‘unquestionably the best female writer of her age’ (xxxix), only a handful of her songs were published during her lifetime. The positives of ‘best’ and ‘muse’ are then qualified by the fact that her voice was and remains largely unheard.
B
lanco
W
hite,
J
osé (
J
oseph)
Authors: Almeida Joselyn M.
Published: July 2017

José (Joseph) Blanco White (1775–1841) was one of the leading Anglo‐Hispanic Romanticists of his generation. His substantial body of work in English and Spanish spans a number of genres, including poetry, journalism, fiction, and autobiography. Neglected for over a century, Blanco White has enjoyed a resurgence since the turn of the millennium as scholars explore the intersections between Romanticism, Spain, and Latin America. Blanco White's lifetime of non‐conformity, which associates and friends read at different times as deviance, treason, and apostasy marks him as a quintessential Romantic‐era author who remained, in his own words, a ‘heretic’ until the very end. Blanco openly challenged national, religious, and social norms often at great personal cost, from his days in Spain as a young boy who read books condemned by his father and the Inquisition and secretly resisted Catholic orthodoxy even as he rose in the ranks of the church, to his years in England, where after converting to Anglicanism and vehemently arguing against Catholic Emancipation, he converted to Unitarianism in 1830 and denounced the ‘slavery’ of Anglicanism in
Observations on Heresy and Orthodoxy
(1835).
B
rewster,
D
avid
Authors: Inglis Katherine
Published: July 2017

David Brewster (1781–1868) is remembered today principally for his law of polarization, the invention of the kaleidoscope and lenticular stereoscope, and his biography of Newton. In his lifetime he was renowned as an empirical researcher in optics, a popularizer of science, and as a campaigner for educational reform and the professionalization of science. A prolific and versatile writer, Brewster addressed both specialist and general audiences in technical papers, encyclopedia articles, long review essays in diverse periodicals, and monographs. Much of his work appeared in popular formats such as the publications of the Society for the Diffusion of Useful Knowledge, the
Cabinet Cyclopaedia
and John Murray's ‘Family Library’. His prose style was energetic, richly metaphorical, and always lucid. His ‘translation’ of abstract concepts into concrete imagery was ideally suited to scientific exposition.
Burke, Edmund
Authors: Scott Matthew
Published: July 2017

Edmund Burke is vital to any complete account of eighteenth‐century Britain. At once a great statesman and a political theorist of the first rank, he was the greatest orator of his age. As an author, he was a powerful intellectual who contributed to many of the key matters of his age and his impact upon it is hard to exaggerate. Unsurprisingly then, his influence was felt widely in the Romantic period too, when he inspired writers from the radical William Hazlitt to the latterly conservative William Wordsworth. As this suggests, Burke was an inherently complex figure in intellectual and political terms. A vocal advocate of liberty, he was also the father of modern conservatism. Understanding such apparent contradictions is essential to charting his legacy.
Burney, Frances
Authors: de Almeida Hermione
Published: July 2017

When Virginia Woolf in 1918 (in a
TLS
review of 17 October) declared Frances Burney (1752–1840) to be ‘the mother of English fiction’, and when in
A Room with a View
(1929) she opined that ‘Jane Austen should have laid a wreath upon the grave of Fanny Burney’, she spoke both polemically and with prescience. Woolf's comments formed part of her continuing manifesto on the significance of women writers in English literary history, on the undeniable evidence of ‘the extreme activity of mind which showed itself in the later eighteenth century among women’, and on the political and cultural sea change that transpired at the turn between the eighteenth and nineteenth centuries when middle‐class women took up writing as a profession and channelled their creativity and ‘common sitting‐room’ observations (often their only literary training) into the penning of novels, plays, diaries, and memoirs. Woolf placed Burney at the very centre of her polemic on women writers from Aphra Behn to George Eliot and their vital contributions to the evolving forms of the novel. Woolf's argument could not project forwards across two centuries to predict Burney's specific and documented canonical place in the literary and critical history of our time; nor yet could Woolf's prescience encompass full recognition of Burney's enduring contemporaneity – a timelessness which pre‐empts her Enlightenment and Romantic milieus as she addresses issues of form, gender, race, authority, and power that continue to focus our cultural inquiry in the twenty‐first century.
Byron, Lord, Letters
Authors: Gross Jonathan
Published: July 2017

For the past 200 years, the discovery of any letter by Byron was the occasion for celebration. The trunk with letters from Scrope Davies, dramatically uncovered in Barclays Bank in 1976, and the recent discovery of Byron's letters to Francis Hodgson, made front page news. Henry James's
The Aspern Papers
treated Byron's letters to Claire Clairmont and J.M. Coetzee's
Disgrace
depicts David Lurie travelling with an edition of Byron's letters in order to write an opera,
Byron in Italy
. Byron's closest correspondents – Lady Melbourne, John Murray, John Cam Hobhouse, and Claire Clairmont – round out the portrait and have had their own letters separately published, in part, for the light they shed on his. Unlike Alexander Pope, who excised unflattering sections of his correspondence, Lord Byron wrote barely punctuated letters that provide a sense of immediacy and intellectual honesty, though there have been disagreements about his sincerity. Like Rousseau's
Confessions
, Byron's letters show the world his faults as well as his virtues: his popularity stems from his willingness to discuss his emotions openly, without the usual veil drawn over private life. If they are not quite a prepared state of undress, that is only because they were prepared very quickly. ‘Some good judges even among those who do not care very much for the poems, have gone so far as to put him among our very best epistolers; and few have put him very much lower’, George Saintsbury (1922) concludes. Peter Graham describes the ‘offhand eloquence that makes him the greatest letter‐writer of all time’ (Hobhouse 1984: 3), while Leslie Marchand notes ‘their freshness and vigour, their sparkle and wit and good humour, and their essential honesty and freedom from cant’ (1970: 5). Marchand's edition of over 3000 letters supersedes, while also drawing upon, R.E. Prothero's volume of 1198 letters.
Campbell, Thomas
Authors: Hutchings Kevin
Published: July 2017

Educated at Glasgow University and influenced by Presbyterian and Scottish Enlightenment values, Thomas Campbell (1777–1844) burst onto the British literary scene at the age of 21, gaining sudden fame with the publication of
The Pleasures of Hope
(1799). Although writers like William and Dorothy Wordsworth, Samuel Taylor Coleridge, and John Keats were critical of Campbell's poetry, his contemporary admirers included the likes of Henry Mackenzie, Sir Walter Scott, Percy Bysshe Shelley, and Lord Byron, the latter of whom preferred Campbell's formal classical style to that of the Lake Poets’ more experimental productions. And yet, while Campbell's literary neoclassicism reveals the influence of such eighteenth‐century poets as Pope, Goldsmith, Gray, and Thomson (Macaulay 1969), his liberal activism, love of nature, and sympathy for the lower classes demonstrate certain affinities with Romanticism (Miller 1978). Ultimately, Campbell was a transitional figure in British literary history; as William Hazlitt observed in
The Spirit of the Age
, his best poetry engrafted ‘the wild and more expansive interest of the romantic school of poetry on classic elegance and precision’. According to Hazlitt,
The Pleasures of Hope
(1799) and
Gertrude of Wyoming
(1809) are ‘two poems that have gone to the heart of a nation, and are gifts to the world’ (Hazlitt 1969).
Children's Literature
Authors: Chatterjee Ranita
Published: July 2017

The Romantic era witnessed an unprecedented rise in the number of works written for and about children and adolescents. The increasing literacy rates among the lower classes, a nationalist focus on the education of young children, the availability of cheap paper, and the improvements in the quality of illustrations combined with the expansion of publishing companies in the major cities of London, Edinburgh, and Dublin fuelled this growth in the writing and selling of children's literature. Earlier in the century, predominantly with the work of John Newbery in the 1740s, children's literature started to foreground the secular and quotidian experiences of its young readers, encouraging them to use their imagination and to aspire to transcend their hereditary origins with hard work, virtue, luck, and the education provided by these children's books. From 1740–85, Newbery and his colleagues transformed children's literature into a commercially viable trade, producing a new generation of juvenile readers. Raised on the self‐consciously literary and market‐driven books with the Newbery imprint, William Blake, William Wordsworth, and other Romantics revisited Newbery's literary and commercial strategies, inaugurating what Katie Trumpener calls a ‘second revolution in children's literature’ (2009: 555). As more women writers entered the literary market and both a newly literate working‐class and female readership emerged, there were fervent debates about ‘the child’. With her immensely popular books for young children that influenced Blake and Wordsworth, Anna Letitia Barbauld became one of the preeminent educators of children. Instead of regarding the young reader as an eager and acquiescent consumer who desires entertainment in the Newbery mode or requires suitable instruction as Barbauld believed, Wordsworth's poetry celebrated the child's heavenly glory and imagined him to be man's divine seer, while Blake's
Songs of Innocence and of Experience
(1794) depicted the child as a natural visionary who embodied the transcendent possibilities of the imagination. Both poets viewed social institutions, such as the church, state, schools and, implicitly, the new commercial children's book trade, as corrupting the child reader. At the same time, many other Romantic writers actively participated in these debates about ‘the child’ by producing and distributing original or heavily revised (bowdlerized) books for the child and adolescent market.
C
lare,
J
ohn, Poetry
Authors: Vardy Alan D.
Published: July 2017

At first glance John Clare's career as a poet appears highly unlikely. Born to an illiterate mother and a barely literate father, the beneficiary of only a few years formal schooling, Clare (1793–1864) seemed destined to become a landless agricultural day‐labourer like his father. His path from reclusive prodigy, reading and writing on the sly while neglecting his rural occupations, to one of the best‐selling poets in England in the early 1820s, may strike us as a miraculous set of coincidences: his discovery of Thompson's
The Seasons
when he was 13; his ‘natural’ adaptation of Thompson's Georgics into an elegiac defence of the disappearing landscape of his home village and its environs through enclosure; his large body of manuscript poems coming into the hands of the Stamford bookseller Edward Drury; the coincidence that Drury's cousin was John Taylor; Taylor's ambition to be a serious literary publisher; and so on. The appearance of Clare's first volume,
Poems Descriptive of Rural Life and Scenery
, depended on each of these factors falling into place. However, as the three‐volume Pickering and Chatto edition of
Labouring‐Class Poets: 1700–1800
demonstrates, the taste for unaffected, descriptive verse produced by ‘natural geniuses’ was well established, and it comes as no surprise that Drury recognized Clare's genius and wrested control of the manuscript from Henson, another Stamford bookseller. In light of this tradition, the idea that a provincial bookseller would be on the lookout for ‘natural genius’ seems less remarkable. Indeed, receiving credit for the discovery was so important to Drury that he attempted to withhold the manuscript from Taylor when he felt the credit slipping away to his cousin.
Classical
G
reek Drama
Authors: Simpson Michael
Published: July 2017

Classical Greek drama, especially tragedy, is a significant resource for Romantic literature in general, as well as for Romantic drama and theatre. There is no question here of a contradiction between Classic and Romantic. To Romantic literature Greek tragedy contributes the myth of Prometheus, which some accounts of Romanticism claim is the constitutive figure of Romanticism itself. Rebel against divine ordinance, active intermediary between the transcendent and the human, heroic victim of divine punishment, and sublime beacon of hope in adversity, Prometheus inspires works by Lord Byron and Percy Shelley, while Mary Shelley's
Frankenstein, or the Modern Prometheus
furnishes perhaps the most startling avatar of all. To Romantic drama Greek tragedy brings, as does Shakespeare, a powerful historical model for the Romantic dream of a modern literary drama engaged with civic and political themes and playing to large audiences. The dream, however, would remain just that, and Greek tragedy, even in adaptation, would be a correspondingly diminished presence on the British stage, by comparison with its significant profile during the eighteenth century.
C
oleridge,
S
amuel
T
aylor, Prose
Authors: Scott Matthew
Published: July 2017

Samuel Taylor Coleridge (1772–1834), the youngest son of an Anglican vicar from Devon, was educated first at Christ's Hospital, where he received a thorough grounding in literary history from his firm teacher, James Boyer, and then at Jesus College, Cambridge, which he left in obscure circumstances to join the dragoons. It was a momentary flirtation with the military from which he found himself delivered through the intervention of his brothers and, after a brief return to academic life, Coleridge devoted himself to cerebral pursuits. Having been inspired by the anti‐slavery movement as an undergraduate, he turned quickly to issues of politics and, fired by revolutionary ideas, formed an acquaintance with the poet Robert Southey that was quickly to have repercussions in personal terms. He made an ultimately unhappy marriage to the sister of Southey's wife, the four having formed soon to be aborted plans to set up a radical American commune together. It was a crazy notion but Coleridge remained committed to the ideological essence of the plan and for a period from 1796 he both lectured on revolutionary politics and also edited a journal,
The Watchman
, which promoted these ideals. Over the coming years, his relationship with William Wordsworth was at the centre of his life and together they transformed English poetry before embarking on a trip to Germany in the autumn of 1798 that would alter his intellectual life permanently.
Conversation and Friendship Poems
Authors: Linkin Harriet Kramer
Published: July 2017

The term ‘conversation poem’ was coined by George M. Harper in 1928 to draw more critical attention to a group of eight blank‐verse ‘poems of friendship’ composed by Samuel Taylor Coleridge between 1795 and 1807, which, unlike Coleridge's supernatural or mystery poems ‘The Rime of the Ancient Mariner’, ‘Kubla Khan’, and ‘Christabel’, begin with a meditative description of the surrounding scene, address a silent auditor, and return to the initial scene after a flight of imagination, establishing a stylistic structure that brought greater renown to William Wordsworth for his 1798 lyrical ballad ‘Lines Composed a Few Miles Above Tintern Abbey’: ‘The compositions which I denominate Poems of Friendship or Conversation Poems are “The Eolian Harp,” “Reflections on having left a Place of Retirement,” “This Lime‐Tree Bower my Prison,” “Frost at Midnight,” “Fears in Solitude,” “The Nightingale,” “Dejection,” and “To William Wordsworth” (Harper 1928/1975: 191). Harper adopted the term from Coleridge's 1817 subtitle for ‘The Nightingale: A Conversation Poem’ (first subtitled ‘A Conversational Poem’ in the 1798
Lyrical Ballads)
, and, after asserting that these poems could not be ‘understood unless the reader knows what persons Coleridge has in mind’ (5), offered a chronological discussion of all eight that situated each one in its environmental and social milieu. While additional lyrics by Coleridge and others have been proposed as ‘conversation poems’, and several of Harper's choices have been contested, these eight lyrics generally constitute the critical category ‘conversation poems’.
Cosmopolitan Prose
Authors: Scrivener Michael
Published: July 2017

A familiar narrative about the Romantic period −1780–1830 – is that following the American and French revolutions Enlightenment cosmopolitanism gave way to Romantic nationalism, an ascendant political‐cultural current throughout the nineteenth century. That nationalistic Romanticism strengthened after 1789 can hardly be disputed but recently – since the 1990s – as cosmopolitanism has been rediscovered by the academic left, the cosmopolitan political ideas of the late eighteenth and early nineteenth century have attracted interest, while other features of the Enlightenment – tolerance, secularism, internationalism, andcommerce des lumières(exchange of enlightened ideas) – also acquired appeal in reaction to ethnic cleansing, xenophobic hatred, and politicized religious fundamentalism. One could do worse than studying Romantic‐era cosmopolitanism for useable intellectual models appropriate for the global village.
C
roker,
J
ohn
W
ilson
Authors: Latané David E.
Published: July 2017

John Wilson Croker, MP, Secretary of the Admiralty,
Quarterly
reviewer, and (so said Shelley) assassin of John Keats, was one of the most prolific and well‐connected men of letters of the Romantic era. And while he is best known for his harsh reviews of authors destined for the canon (Keats, Mary Shelley, Tennyson), he should be placed among the powerful political and periodical writers – such as Sidney Smith, Francis Jeffrey, and later, Macaulay and Carlyle – who shaped public opinion in the first half of the nineteenth century. Born in Galway in 1780, he matriculated at Trinity College, Dublin, in 1796 and graduated in 1800, the year of the Union. These were dangerous years, with Trinity troops turning out to help quell the Wolfe Tone Rebellion in 1798. Croker's own moderate Toryism was formed at this time – unlike many of his friends, he was steadfast in favour of repealing what Shelley famously called in ‘England in 1819’ ‘time's worst statute’: the restrictions on Catholic civil liberties.
De
F
leury,
M
aria
Authors: Ripley Wayne C.
Published: July 2017

Maria de Fleury (ca. 1753–1802?) was a Baptist poet, hymnist, and controversialist of Huguenot descent who was a schoolmistress before she resided at No. 2 City Mews, White‐Cross Street and 31 Jewin Street, Cripplegate, London (Whelan 2007). Her earliest dated poem is an ‘Epithalamium’ for her brother's wedding on 25 November 1773, suggesting that she had a local and familial audience for her earliest verse. In her early career, she was a member of the staunchly anti‐Catholic Protestant Association and a defender of Lord George Gordon, and she later became a persistent opponent of William Huntington and antinomianism. Despite being a Baptist, she belonged to the Clerkwell congregation of the Independent minister John Towers and was close to the elder John Ryland, a Baptist minister.
De
Q
uincey,
T
homas
Authors: Faflak Joel
Published: July 2017

Essayist, intellectual, polymath, and translator, Thomas De Quincey (1785–1859) was one of the greatest prose stylists of the nineteenth century. His writings are also among the most difficult to categorize. Transcendental and analytical, expansive and solipsistic, progressive and reactionary, sentimental and ironic, De Quincey is at once Romantic and Victorian. Until recently he has been a rather marginal figure, known mostly for the enduring success of
Confessions of an English Opium‐Eater
(1821). This minority has been partly because of the haphazard collection of De Quincey's works and partly because he is a late Romantic who wrote well into the Victorian period, which tended to memorialize him as either a devout or a decadent genius. But this view overlooks the fact that De Quincey contributed, and not always sympathetically, to the crucial re‐evaluation of Romanticism's legacy for a Victorian audience. Our more recently expanded views of Romanticism and Victorianism mean that De Quincey's critical fortunes have also changed, coinciding roughly with the first major editing of his works since David Masson's 1889–90 collection, the 21‐volume
Works of Thomas De Quincey
, which assembles chronologically all of the author's known published and unpublished writings. Earlier editions like Masson's emphasized aesthetic merit at the expense of historio‐political content.
Works
reveals to us a multivalent author whose writings reflect a shifting proto‐Victorian culture, its industrial, social, and imperial dreams shaped by an earlier post‐1789 ambivalence between revolution and reaction, progress and stability.
Devotional Poetry
Authors: Ripley Wayne C.
Published: July 2017

Defined here as poetry that was written for or used as part of private or public worship, devotional poetry was easily the most popular form of poetry throughout the Romantic era. It was influenced heavily by the devotional poetics of the long eighteenth century as practised by such figures as John Milton, Edward Young, Isaac Watts, Elizabeth Singer Rowe, and Christopher Smart. Romantic devotional poetry included the traditional genres of psaltery, hymns, biblical paraphrases, spiritual songs, and divine poems, but like the eighteenth century, the Romantic era experimented with new genres to express devotional content. Given the religious divisions in Britain, devotional poetry had many political implications regarding such issues as the status of religious minorities, liturgical practices, religious enthusiasm, the role of women, and slavery. While devotional poetry was also seen as quite conservative, many women and lower‐class writers employed it as an acceptable form in which to express their political, religious, and social ideas. Despite this wide range of political connotations, devotional poetry at times was seen as an apolitical genre that united British Christians of different denominations in common fellowship.
Dialect Poetry
Authors: Sorensen Janet
Published: July 2017

It is a curious fact that the years after the establishment of a national Standard English in Britain saw an increased use of dialect in published poetry. The eighteenth‐century's best‐selling grammar books and spelling tracts, dictionaries and guides to pronunciation left in their wake readers more aware than ever before of what was considered proper English – and that there was such a thing as improper English, some of it now named ‘dialect’. At the same time, the institutional standardization of English engendered both a new fascination with those dialects and a series of poetic experiments with their use.
Dictionaries and Grammars
Authors: Kelly Gary
Published: July 2017

During the Romantic period the English language was, as always, a field of struggle between different interests. Those dominating the professions, institutions, and commerce of writing and print developed a ‘standard’ and ‘national’ form of English that in fact embodied their values and served their interests. This process had two broad aspects, repeated elsewhere in forming nation states: a ‘standard’ written form was consolidated by the late eighteenth century; then a ‘standard’ spoken form was created based on it. This was eventually known as the ‘King's’ or ‘Queen's’ English or ‘received pronunciation’ approved by cultural gatekeepers such as teachers, editors, publishers, critics, and journalists, and, after the Romantic period, state schools, cultural foundations, government departments, and so on. Both the written and spoken ‘standard’ were the social and political instrument of those who invented them, largely the professional middle class who, by the nature of their work, were people of writing, as both experts in various kinds of writing, from sermons to contracts, manuals to legislation, treatises to constitutions, legal briefs to literature. Standard English enabled its possessors, a minority scattered across nation and empire, to constitute themselves as an ‘imagined community’ (Anderson 2006), with similar culture, language, and interests. It enabled them to presume to have a unique cultural and social, and hence political authority. The standard implicitly relegated ‘non‐standard’ Englishes, from regional dialects to class‐based sociolects, to ‘sub‐standard’, and implied that users of ‘non‐standard’ were merely local in identity while possessors of the standard language were a national class. The establishment of ‘national’ standard English implied the existence of a ‘national’ identity, the necessary basis of a nation state and, by extension, of an empire.
Domestic Realism
Authors: Dabundo Laura
Published: July 2017

Domestic realism has been a part of the novel's history from its earliest manifestations. Its significant literary and historical foundations enable defining characteristics to emerge. Seven leading exemplars (Frances Burney, Charlotte Smith, Maria Edgeworth, Elizabeth Inchbald, Amelia Opie, Mary Brunton, and Susan Ferrier) establish the domain of domestic fiction novels, providing a context for the shining achievements of Jane Austen. It is possible to summarize what domestic realism has offered prose fiction and to proffer a definition.
E
aton,
C
harlotte
A
nne (
W
aldie)
Authors: Lewes Darby
Published: July 2017

Charlotte Eaton (1788–1859) was born on 28 September 1788, the second daughter of prominent Quaker banker George Waldie and his first wife Ann. In 1822, Charlotte married Stephen Eaton, also a banker, and was the mother of two sons and two daughters.
E
dgeworth,
M
aria
Authors: Cass Jeffrey
Published: July 2017

Maria Edgeworth's reliance on literary and artistic allusions makes her one of the most intertextual writers of the Romantic period. Her work consistently confirms the expectation that her readers not only have read the original texts embedded within her work, but that they recognize the aptness of these allusions as well. In effect, Edgeworth transforms the reading of her work into an excursion for source texts. Rather than merely fulfilling the reader's desire for novelty and entertainment, Edgeworth obliges her readers to discern and interpret the numerous literary and iconographic intertexts she embeds in her narratives. The ‘moral’ message of her fiction, to which Edgeworth testifies at great length throughout her writing – indeed she refers to
Belinda
, the greatest of her novels, as a ‘moral tale’ – screens a complex and interwoven tapestry of social, cultural, and political elements that frequently belie the simplicity of that message. This complicating allusiveness, then, reveals a writer with a broad, cosmopolitan depth, as well as an intense interest in local mores, mythological lore, and Irish traditions and history.
E
dinburgh
R
eview

Set
Authors: Schoenfield Mark
Published: July 2017

In 1802, a league of as‐yet largely undistinguished gentleman created the
Edinburgh Review
. Instantly successful in attracting attention and ultimately triumphant in reshaping public discourse across a range of literary and political issues for a middle‐class populous, the
Edinburgh
returned the compliment, by transforming this set of men into some of the most well known, influential, and extraordinary in Romantic‐era Great Britain. While contributors over the first 20 years of the
Edinburgh's
existence included Walter Scott, William Hazlitt, Robert Malthus, and (albeit only for one article), Samuel Taylor Coleridge, its progenitors – Sydney Smith, Francis Jeffrey, Francis Horner, and Henry Brougham – exemplified and magnified the journal's Whig agenda and literary programme. Despite the official anonymity of the journal – only the Edinburgh publisher Archibald Constable and London distributor Thomas Longman were announced on the title pages – the public quickly became aware of the primary authors and editors of the journal. (In a comic exchange, Hazlitt, who wrote that being an
Edinburgh
reviewer was the highest rank of literary society, was told by Jeffrey that the latter could not vouch for him as an
Edinburgh
author because of the policy of anonymity, and, in the same letter, was reminded by Jeffrey of the due date for an article.)
Educational Prose
Authors: Ross Catherine
Published: July 2017

According to the literary statesman Henry Brougham, ‘the most glorious characteristic’ of the Romantic age was its ‘thirst for knowledge’ (1825: 21); and, indeed, education was a common interest among intellectuals and activists of the period. Writers on education came from all social strata and ranged from members of the social and political elite, such as Brougham and Sir Joshua Reynolds, to dissenters such as Joseph Priestley, evangelists such as Hannah More and Sara Trimmer, polymaths such as Erasmus Darwin, Richard Lovell Edgeworth, and William Godwin, historians such as Catherine Macaulay, and feminists such as Mary Wollstonecraft. These intellectuals commented upon an educational scene that was disorganized and complicated, but that also seemed poised to respond productively to Enlightenment thought and the challenges of a revolutionary age.
Ekphrasis
Authors: Rovee Christopher
Published: July 2017

Ekphrasis is a rhetorical figure indicating the verbal representation of a visual object. Understood in its broadest sense, it can refer to any description of a person, place, or thing, but most commonly ekphrasis denotes specifically literary descriptions of visual art. The seminal instance of ekphrasis in Western literature may be Homer's description of Achilles’ shield inThe Iliad;celebrated Romantic examples include Keats's ‘Ode on a Grecian Urn’, Shelley's ‘Ozymandias’, and Wordsworth's ‘Elegiac Stanzas on a Picture of Peek Castle’. Before Romanticism, ekphrastic passages typically figured as digressions from a narrative; ekphrasis was a still frame, a pause, halting the forward momentum of a story. With the Romantics, the ekphrastic poem becomes a self‐standing aesthetic artefact (Heffernan 1993).