By Ute Berns, Ute, Dr Berns, Michael, Professor Bradshaw
Bringing jointly eminent students and rising critics who provide a number views and significant equipment, this assortment units a brand new common in Beddoes feedback. according to the objectives of Ashgate's learn spouse sequence, the editors and participants supply an summary of Beddoes's feedback and determine major new instructions in Beddoes stories. those contain exploring Beddoes's German context, just recently a domain of severe recognition; analyzing Beddoes's performs in gentle of gender conception; and reassessing Beddoes's use of dramatic style within the context of modern paintings via theatre historians. Rounding out the amount are essays dedicated to key components in Beddoes's scholarship reminiscent of nineteenth-century clinical theories, psychoanalytic delusion, and Romantic ventriloquism. This assortment makes the case for Beddoes's centrality to modern debates approximately nineteenth-century literary tradition and its contexts and his effect on Modernist conceptions of literature.
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Extra info for The Ashgate Research Companion to Thomas Lovell Beddoes
Greg Crossan, ‘Thomas Lovell Beddoes’s Death’s Jest-Book: An OED Oversight’, Notes & Queries, 247 (2002), 486–89, and ‘Unnoticed Words in Beddoes for OED’, Notes & Queries, 248 (2003), 446–53. L. Lucas, ‘Death’s Jester’, Life and LeĴers, 5 (1930), 219–45 (p. 245). 59 Beddoes’s use of dramatic genre and his relation to the stage is yet another topic with an impressive tradition, moreover one that is gaining renewed force. Strachey’s essay from early 1907 is signiﬁcant for a most untypical interest in the stage.
F. Death’s Jest-Book: A posthumous theatrical travesty, in three acts, translated by Jerome McGann, from the original dramatical fantasia by Thomas Lovell Beddoes (Belper: Thomas Lovell Beddoes Society, 2003). Both McGann and Burwick write critical accounts of the process of bringing Beddoes to the stage below. The production was staged in Los Angeles, New York, and Grasmere, throughout 2003. 2 (2004), 387–90. John Sparrow, ‘Dr Beddoes’, Farrago, 3 (1930), 135–48. Donner actually traces a line from TLB’s childhood familiarity with death through a literary fashion for the morbid, which TLB emulated in his schoolboy Gothic prose tale Scaroni (1818) and then The Improvisatore (1821), and connects this with TLB’s avowed aĴempts to revitalize the English tragedy in the 1820s, until the theme was eventually reinforced by his own scientiﬁc pursuits at GöĴingen and Würzburg.
Frederick Burwick, ‘Death’s Fool: Beddoes and Büchner’, in The Haunted Eye: Perception and the Grotesque in English and German Romanticism (Heidelberg: Carl Winter, 1987), pp. 274–300. f. 4 (1969), pp. 1 (1972), pp. 90–112. Christopher Moylan, ‘“For Luz is a Good Joke”: Thomas Lovell Beddoes and Jewish Eschatology’, in British Romanticism and the Jews, ed. Sheila Spector (New York: Palgrave, 2002), pp. 93–103. Greg Crossan, ‘Thomas Lovell Beddoes’s Death’s Jest-Book: An OED Oversight’, Notes & Queries, 247 (2002), 486–89, and ‘Unnoticed Words in Beddoes for OED’, Notes & Queries, 248 (2003), 446–53.
The Ashgate Research Companion to Thomas Lovell Beddoes by Ute Berns, Ute, Dr Berns, Michael, Professor Bradshaw