Beginning with John Keats and tracing a line of influence through Alfred Lord Tennyson and Gerard Manley Hopkins, Betsy Tontiplaphol draws on established narratives of the nineteenth century's social and literary developments to describe the relationship between poetics and luxury in an age when imperial trade and domestic consumerism reached a fevered pitch. The "luscious poem," as Tontiplaphol defines it, is a subset of the luxurious, a category that suggests richness in combination with enclosure and intimacy. For Keats, Tontiplaphol suggests, the psychological virtues of luscious experience generated a new poetics, one that combined his Romantic predecessors' sense of the ameliorative power of poetry with his own revaluation of space, both physical and prosodic. Her approach blends cultural context with close attention to the formal and affective qualities of poetry as she describes the efforts of Keats and his equally”though differently”anxious Victorian inheritors to develop textual spaces as luscious as the ones their language describes. For all three poets, that effort entailed rediscovering and reinterpreting the list, or catalogue, and each chapter's textual and formal analyses are offered in counterpoint to careful examination of the century's luscious materialities. Her book is at once a study of influence, a socio-historical critique, and a form-focused assessment of three century-defining voices.

A convenient source of critical commentary on the careers and works of acclaimed authors who died between 1800 and 1899. A cumulative title index is published separately (included in subscription).

Literary Nonfiction. ESCAPE FROM THE NINETEENTH CENTURY is a group of essays by cultural critic Peter Lamborn Wilson and tackles the notion of modern progress: Did the Nineteenth Century ever come to an end? Was the "Twentieth" Century just a rerun? And what about the Twenty-First Century, the New Millennium? Another lackluster confirmation of the Eternal Return? Another garden of secondhand time? If to know "History" as tragedy is to escape its repetition as farce, then perhaps we need to look more deeply at this Past that won't stop haunting us. Two illuminated madmen--Charles Fourier and Friedrich Nietzsche--and two too-sane geniuses--J.P. Proudhon and Karl Marx--are enlisted in the breakout plan.

Despite being one of the most traditional industries, the luxury sector is highly dynamic and rapidly changing influenced by new ideas, aspects, fields, technologies and generations. One of such influences is the prevalence of digital technology and social media. It challenges a number of major premises of luxury brands, including exclusivity, status, authenticity and sensory experience. This special issue of Market and Organizations explores luxury consumption and production in a digital and experiential era. Authors take a multidisciplinary and holistic perspective to explore the role of digital customer experience in rethinking the luxury industry in the future. The objective is to advance knowledge on luxury in marketing and economy by bringing together international scholars (research in French and English) from different disciplines and practitioners working in the field of luxury.

Contains articles which focus on a broad spectrum of significant figures in fiction, philosophy, and criticism such as Austen, Carlyle, Dickens,Thackeray, the Brontes, Tennyson, Browning, Arnold, Emerson, Hawthorne, Thoreau, Whitman, Twain, and Henry James.

Galvin provides a critical look at the intersections between the development of queer consciousness and the poetic experimentations of Emily Dickinson, Amy Lowell, Gertrude Stein, Mina Loy, Djuna Barnes, and H.D., one that places them in a continuum of non-heterocentric existence. While these writers were non-heterocentric in their personal identities, they were also all innovators of modernist poetics. For lesbians and other non-heterocentrically defined writers, the active creation of identity outside the heterosexual economy demands new ways of writing, and this demand manifests itself not only in content, but also in poetic technique. The basic assumption of this work is that the mind which can imagine other sexual orientations and gender identities can and must also imagine new ways of writing, and that a consideration of the poets' sexualities is central to a fuller understanding of both the message and the medium of their poetic practices. A full-length exploration of the relationship between poetics and queer theory, Queer Poetics presents a theoretical framework that can illuminate not only the ways we read the specific poetic innovations of these six writers, but also the ways we read literary modernism itself, by placing both in a different social and epistemological context—that of queer existence. This work is important to scholars and researchers in Women's Studies, Gay and Lesbian Studies, feminist criticism, and the study of poetry.

Race and Time urges our attention to women’s poetry in considering the cultural history of race. Building on close readings of well known and less familiar poets—including Elizabeth Margaret Chandler, Sarah Louisa Forten, Hannah Flagg Gould, Frances Ellen Watkins Harper, Sarah Piatt, Mary Eliza Tucker Lambert, Sarah Josepha Hale, Eliza Follen, and Mary Mapes Dodge—Gray traces tensions in women’s literary culture from the era of abolitionism to the rise of the Plantation tradition. She devotes a chapter to children’s verse, arguing that racial stereotypes work as “nonsense” that masks conflicts in the construction of white childhood. A compilation of the poems cited, most of which are difficult to find elsewhere, is included as an appendix. Gray clarifies the cultural roles women’s poetry played in the nineteenth-century United States and also reveals that these poems offer a fascinating, dynamic, and diverse field for students of social and cultural history. Gray’s readings provide a rich sense of the contexts in which this poetry is embedded and examine its aesthetic and political vitality in meticulous detail, linking careful explication of the texts with analysis of the history of poetry, canons, literacy, and literary authority. Race and Time distinguishes itself from other critical studies not only through its searching, in-depth readings but also through its sustained attention to less known poets and its departure from a Dickinson-centered model. Most significantly, it offers a focus on race, demonstrating how changes in both the U.S. racial structure and women’s place in public culture set the terms for change in how women poets envisioned the relationship between poetry and social power. Gray’s work makes contributions to several fields of study: poetry, U.S. literary history and American studies, women’s studies, African American studies and whiteness studies, children’s literature, and cultural studies. While placing the works of figures who have been treated elsewhere (e.g., Dickinson and Harper) into revealing new relationships, Race and Time does much to open interdisciplinary discussion of unfamiliar works.