William Cobbett (1763-1835) was a prolific writer, best known as the anti-Radical founder of Cobbett's "Political Register" which ran from 1802-35. This collection of his writings presents the texts fully reset and annotated with biographical and analytical introductions. Volume 1: Early writings 1792—1800

William Cobbett (1763-1835) was a prolific writer, best known as the anti-Radical founder of Cobbett's "Political Register" which ran from 1802-35. This collection of his writings presents the texts fully reset and annotated with biographical and analytical introductions.

This set offers a representitive collection of the verse satire of the Romantic period, published between the mid-1780s and the mid-1830s. As well as two single-author volumes, from William Gifford and Thomas Moore, there is also a wealth of rare, unedited material.

This set offers a representitive collection of the verse satire of the Romantic period, published between the mid-1780s and the mid-1830s. As well as two single-author volumes, from William Gifford and Thomas Moore, there is also a wealth of rare, unedited material.

William Cobbett (1763-1835) was a prolific writer, best known as the anti-Radical founder of Cobbett's "Political Register" which ran from 1802-35. This collection of his writings presents the texts fully reset and annotated with biographical and analytical introductions. Volume 4: Popular Politics and Power 1817-1826.

Dana Van Kooy draws critical attention to Percy Bysshe Shelley as a dramatist and argues that his dramas represent a critical paradigm of romanticism in which history is 'staged'. Reading Shelley's dramas as a series of radical stages - historical reenactments and theatrical reproductions - Van Kooy highlights the cultural significance of the drama and the theatre in shaping and contesting constructions of both the sovereign nation and the global empire in the post-Napoleonic era. This book is about the power of performance to challenge and reformulate cultural memories that were locked in historical narratives and in Britain's theatrical repertoire. It examines each of Shelley's dramas as a specific radical stage that reformulates the familiar cultural performances of war, revolution, slavery and domestic tyranny. Shelley's plays invite audiences to step away from these horrors and to imagine their lives as something other than a tragedy or a melodrama where characters are entrapped in cycles of violence or struck blind or silent by fear. Although Shelley's dramas are few in number they engage a larger cultural project of aesthetic and political reform that constituted a groundswell of activism that took place during the Romantic period.

Explores the central role of petitions in reshaping the political culture of the United Kingdom in their nineteenth-century heyday.