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Contributors
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- By Aakash Agarwala, Linda S. Aglio, Rae M. Allain, Paul D. Allen, Houman Amirfarzan, Yasodananda Kumar Areti, Amit Asopa, Edwin G. Avery, Patricia R. Bachiller, Angela M. Bader, Rana Badr, Sibinka Bajic, David J. Baker, Sheila R. Barnett, Rena Beckerly, Lorenzo Berra, Walter Bethune, Sascha S. Beutler, Tarun Bhalla, Edward A. Bittner, Jonathan D. Bloom, Alina V. Bodas, Lina M. Bolanos-Diaz, Ruma R. Bose, Jan Boublik, John P. Broadnax, Jason C. Brookman, Meredith R. Brooks, Roland Brusseau, Ethan O. Bryson, Linda A. Bulich, Kenji Butterfield, William R. Camann, Denise M. Chan, Theresa S. Chang, Jonathan E. Charnin, Mark Chrostowski, Fred Cobey, Adam B. Collins, Mercedes A. Concepcion, Christopher W. Connor, Bronwyn Cooper, Jeffrey B. Cooper, Martha Cordoba-Amorocho, Stephen B. Corn, Darin J. Correll, Gregory J. Crosby, Lisa J. Crossley, Deborah J. Culley, Tomas Cvrk, Michael N. D'Ambra, Michael Decker, Daniel F. Dedrick, Mark Dershwitz, Francis X. Dillon, Pradeep Dinakar, Alimorad G. Djalali, D. John Doyle, Lambertus Drop, Ian F. Dunn, Theodore E. Dushane, Sunil Eappen, Thomas Edrich, Jesse M. Ehrenfeld, Jason M. Erlich, Lucinda L. Everett, Elliott S. Farber, Khaldoun Faris, Eddy M. Feliz, Massimo Ferrigno, Richard S. Field, Michael G. Fitzsimons, Hugh L. Flanagan Jr., Vladimir Formanek, Amanda A. Fox, John A. Fox, Gyorgy Frendl, Tanja S. Frey, Samuel M. Galvagno Jr., Edward R. Garcia, Jonathan D. Gates, Cosmin Gauran, Brian J. Gelfand, Simon Gelman, Alexander C. Gerhart, Peter Gerner, Omid Ghalambor, Christopher J. Gilligan, Christian D. Gonzalez, Noah E. Gordon, William B. Gormley, Thomas J. Graetz, Wendy L. Gross, Amit Gupta, James P. Hardy, Seetharaman Hariharan, Miriam Harnett, Philip M. Hartigan, Joaquim M. Havens, Bishr Haydar, Stephen O. Heard, James L. Helstrom, David L. Hepner, McCallum R. Hoyt, Robert N. Jamison, Karinne Jervis, Stephanie B. Jones, Swaminathan Karthik, Richard M. Kaufman, Shubjeet Kaur, Lee A. Kearse Jr., John C. Keel, Scott D. Kelley, Albert H. Kim, Amy L. Kim, Grace Y. Kim, Robert J. Klickovich, Robert M. Knapp, Bhavani S. Kodali, Rahul Koka, Alina Lazar, Laura H. Leduc, Stanley Leeson, Lisa R. Leffert, Scott A. LeGrand, Patricio Leyton, J. Lance Lichtor, John Lin, Alvaro A. Macias, Karan Madan, Sohail K. Mahboobi, Devi Mahendran, Christine Mai, Sayeed Malek, S. Rao Mallampati, Thomas J. Mancuso, Ramon Martin, Matthew C. Martinez, J. A. Jeevendra Martyn, Kai Matthes, Tommaso Mauri, Mary Ellen McCann, Shannon S. McKenna, Dennis J. McNicholl, Abdel-Kader Mehio, Thor C. Milland, Tonya L. K. Miller, John D. Mitchell, K. Annette Mizuguchi, Naila Moghul, David R. Moss, Ross J. Musumeci, Naveen Nathan, Ju-Mei Ng, Liem C. Nguyen, Ervant Nishanian, Martina Nowak, Ala Nozari, Michael Nurok, Arti Ori, Rafael A. Ortega, Amy J. Ortman, David Oxman, Arvind Palanisamy, Carlo Pancaro, Lisbeth Lopez Pappas, Benjamin Parish, Samuel Park, Deborah S. Pederson, Beverly K. Philip, James H. Philip, Silvia Pivi, Stephen D. Pratt, Douglas E. Raines, Stephen L. Ratcliff, James P. Rathmell, J. Taylor Reed, Elizabeth M. Rickerson, Selwyn O. Rogers Jr., Thomas M. Romanelli, William H. Rosenblatt, Carl E. Rosow, Edgar L. Ross, J. Victor Ryckman, Mônica M. Sá Rêgo, Nicholas Sadovnikoff, Warren S. Sandberg, Annette Y. Schure, B. Scott Segal, Navil F. Sethna, Swapneel K. Shah, Shaheen F. Shaikh, Fred E. Shapiro, Torin D. Shear, Prem S. Shekar, Stanton K. Shernan, Naomi Shimizu, Douglas C. Shook, Kamal K. Sikka, Pankaj K. Sikka, David A. Silver, Jeffrey H. Silverstein, Emily A. Singer, Ken Solt, Spiro G. Spanakis, Wolfgang Steudel, Matthias Stopfkuchen-Evans, Michael P. Storey, Gary R. Strichartz, Balachundhar Subramaniam, Wariya Sukhupragarn, John Summers, Shine Sun, Eswar Sundar, Sugantha Sundar, Neelakantan Sunder, Faraz Syed, Usha B. Tedrow, Nelson L. Thaemert, George P. Topulos, Lawrence C. Tsen, Richard D. Urman, Charles A. Vacanti, Francis X. Vacanti, Joshua C. Vacanti, Assia Valovska, Ivan T. Valovski, Mary Ann Vann, Susan Vassallo, Anasuya Vasudevan, Kamen V. Vlassakov, Gian Paolo Volpato, Essi M. Vulli, J. Matthias Walz, Jingping Wang, James F. Watkins, Maxwell Weinmann, Sharon L. Wetherall, Mallory Williams, Sarah H. Wiser, Zhiling Xiong, Warren M. Zapol, Jie Zhou
- Edited by Charles Vacanti, Scott Segal, Pankaj Sikka, Richard Urman
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- Book:
- Essential Clinical Anesthesia
- Published online:
- 05 January 2012
- Print publication:
- 11 July 2011, pp xv-xxviii
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15 - Romanticism’s errant allegory
- from Part IV: - The fall and rise of allegory
- Edited by Rita Copeland, University of Pennsylvania, Peter T. Struck, University of Pennsylvania
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- Book:
- The Cambridge Companion to Allegory
- Published online:
- 28 January 2011
- Print publication:
- 25 March 2010, pp 211-228
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Summary
“They look at [The Faerie Queene] as a child looks at a painted dragon, and think it will strangle them in its shining folds. This is very idle. If they do not meddle with the allegory, the allegory will not meddle with them.” William Hazlitt/ Neoclassical writers took a dim and limited view of allegory, insisting that it was most decorous when strictly iconographic and immobile, like a pictorial representation of Justice holding scales. Allegorical “persons” that move and act troubled Neoclassical strictures about the need to separate abstract figures from realist narratives or, indeed, narrative of any kind. Both Spenser's The Faerie Queene and the allegorical episode Satan, Sin and Death in Milton's Paradise Lost were common targets. When the Romantic writer Leigh Hunt suggests that The Faerie Queene is “but one part allegory, and nine parts beauty and enjoyment; sometimes an excess of flesh and blood,” he exposes a dimension of allegory that Neoclassicism rejected. The unaccommodated remainder in this equation registers what his contemporary William Hazlitt wryly suggests readers might safely ignore - the specter of allegorical figures alive and on the move. This essay charts the Romantic understanding of allegory as a genre and narrative figure that tacks between realist narratives and details and the abstractions with which allegory has long been identified. Romantic writers and artists devise allegorical figures whose unaccommodated remainder of “flesh and blood” is a striking index of their “otherness,” an excess defiant of the law of abstraction and the law of genre.
11 - Keats and “ekphrasis”
- Edited by Susan J. Wolfson, Princeton University, New Jersey
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- Book:
- The Cambridge Companion to Keats
- Published online:
- 28 May 2006
- Print publication:
- 30 April 2001, pp 170-185
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Summary
Ekphrasis] from ekphrazein: to speak out, to tell in full; an extended and detailed literary description of any object, real or imaginary.
One morn before me were three figures seen, With bowed necks, and joined hands, side-faced; And one behind the other stepp’d serene, In placid sandals, and in white robes graced: They pass’d, like figures on a marble urn, When shifted round to see the other side; They came again; as when the urn once more Is shifted round.
Keats, Ode on Indolence 1–8To say that Keats was fascinated by art approaches understatement. The poetry of that fascination is unequivocal. From the early sonnet On Seeing the Elgin Marbles, to the sculptured figures of the Hyperion poems and the odes of 1819, Keats returns to the world of art, haunting its forms in return for the ways in which those forms haunt his poetics. Still other poems include ekphrastic elements: On a Leander, his verse-epistle to Reynolds, and Ode to Psyche. As readers have long recognized, Keats's poetry often takes the mode of ekphrasis, the verbal or rhetorical description of artwork: a funerary urn, the Elgin Marbles, and typically, figures that Keatsian narrators present as though they were art objects - Madeline in The Eve of St. Agnes, the goddesses in Ode to Indolence, the fallen Titans of the Hyperion poems.
15 - Women, gender and literary criticism
- Edited by Marshall Brown, University of Washington
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- Book:
- The Cambridge History of Literary Criticism
- Published online:
- 28 March 2008
- Print publication:
- 24 August 2000, pp 321-337
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The failure of the French Revolution to extend the rights of citizens to women marks a critical turning point in the European and British debate about women and gender. In literary criticism of the period, this failure and its cultural aftermath inflect consideration of these topics: sex in souls, the passions, sensibility, the ideal, beautiful or twin female soul, the sublime, creativity, androgyny, love, dissent or revolution and slavery. Even in Britain, where an extensive tradition of published writing by women included criticism, antipathy toward women who wrote or aspired to a public role as intellects and cultural critics intensified after the Revolution. We cannot assess literary criticism about and by women during the Romantic period without taking these cultural and historical pressures into account. Because women who wrote as critics often did so under the literary cover of poetry, fiction, letters, translations, even conversations of the kind practised in European salons, the range of critical discussion necessarily extends well beyond critical essays and reviews. This essay and its bibliographies offer a preliminary survey of this diverse body of material.
In France, literary discussions of women and gender which begin with Rousseau tend to emphasize the problematic status of his fictional women and the role of passion in a civil society. In Germany, such discussions emphasize or critique the idealist identification of woman as the beautiful or ideal soul, particularly when this soul can be made to sponsor an androgynous model of imaginative creativity in male authors. In Britain, Wollstonecraft's 1792 call for ‘a revolution in female manners’ in Vindication of the rights of woman defends reason over the passions and sensibility.