Why did nineteenth-century novels return, over again, to the scene of theater? Emily Allen argues that theater provided nineteenth-century novels, novelists, and critics with a generic figure that allowed them to position particular novels and novelistic genres within a complex literary field. Novel genres high and low, male and female, public and private, realistic and romantic, all came to identify themselves within a set of coordinates that included--if only for the purpose of exclusion--the spectacular figure of theater. This figure likewise provided a trope around and against which to construct images of readers and authors, images that most frequently worked to mediate between the supposedly private acts of reading and writing and the very public facts of the print market. In readings of novels by Burney, Austen, Scott, Dickens, Jewsbury, Flaubert, Braddon, and Moore, Allen shows how frequently theater appears as figure in novels of the nineteenth century, and how theater figures--actively and importantly--in what we have come to look back on as the history of the nineteenth-century novel. "Theater Figures thus offers a new model for thinking about how theater helped produce changes in the nineteenth-century literary market. While previous critics have considered theater as an enabling foil for the novel--either a constitutive opposite or constructive ally--Allen demonstrates how theater figures and tropes were used to negotiate competition among the novels and novelists eagerly seeking their share of the literary limelight.

Nineteenth-century Japanese literary discourse and narrative developed a striking preoccupation with ninjō—literally “human emotion,” but often used in reference to amorous feeling and erotic desire. For many writers and critics, fiction’s capacity to foster both licentiousness and didactic values stood out as a crucial source of ambivalence. Simultaneously capable of inspiring exemplary behavior and a dangerous force transgressing social norms, ninjō became a focal point for debates about the role of the novel and a key motor propelling narrative plots. In Licentious Fictions, Daniel Poch investigates the significance of ninjō in defining the literary modernity of nineteenth-century Japan. He explores how cultural anxieties about the power of literature in mediating emotions and desire shaped Japanese narrative from the late Edo through the Meiji period. Poch argues that the Meiji novel, instead of superseding earlier discourses and narrative practices surrounding ninjō, complicated them by integrating them into new cultural and literary concepts. He offers close readings of a broad array of late Edo- and Meiji-period narrative and critical sources, examining how they shed light on the great intensification of the concern surrounding ninjō. In addition to proposing a new theoretical outlook on emotion, Licentious Fictions challenges the divide between early modern and modern Japanese literary studies by conceptualizing the nineteenth century as a continuous literary-historical space.

The changing market society of the nineteenth century had a deep impact on American writers and their works. The writers responded with important insights into the alienation brought on by the country's capitalist development. Shulman uses theorists from Tocqueville to Gramsci and the New Left historians, as well as drawing on other recent historical and critical studies, to examine major nineteenth-century American works as they illuminate and are illuminated by their society. Using works by Benjamin Franklin, Mark Twain, Herman Melville, Nathaniel Hawthorne, Charles Chesnutt, Walt Witman, Edith Wharton, and Theodore Dreiser, he shows the urgency, energy, and variety of response that capitalism elicited from a range of writers.

This engaging volume provides readers with the essential criticism on nineteenth-century poetry, organised around key areas of debate in the field. The critical texts included in this volume reflect both a traditional and modern emphasis on the study of poetry in the long nineteenth century. These are then tied up by a newly written essay summarising the ideas and encouraging further study and debate. The book includes: sections on Periodization; 'What is Poetry?'; Politics; Prosody; Forms; Emotion, feeling, affect; Religion; Sexuality; and Science work by writers such as William Wordsworth, S. T. Coleridge, Percy Shelley, Christina Rossetti, Matthew Arnold and Gerard Manley Hopkins critics and historians including Isobel Armstrong, Richard Cronin, Jason Rudy, Joseph Bristow and Gillian Beer Detailed introductions and critical commentary by Francis O'Gorman, Rosie Miles, Stefano Evangelisto, Natalie Hoffman, Martin Dubois, Gregory Tate Providing both the essential criticism along with clear introductions and analysis, this book is the perfect guide to students who wish to engage in the exciting criticism and debates of nineteenth-century poetry.

Covering the decades from the 1830s through the end of the century, as well as the eastern, southern, and western regions of the United States, these essays, by a diverse group of scholars, examine a variety of periodicals from the well-known Atlantic Monthly to small papers such as The National Era. They illustrate how literary analysis can be enriched by consideration of social history, publishing contexts, the literary marketplace, and the relationships between authors and editors.

In the nineteenth century, literary criticism first developed into an autonomous, professional discipline in the universities. This volume provides a comprehensive and authoritative study of the vast field of literary criticism between 1830 and 1914. In over thirty essays written from a broad range of perspectives, international scholars examine the growth of literary criticism as an institution, and the major critical developments in diverse national traditions and in different genres, as well as the major movements of Realism, Naturalism, Symbolism and Decadence. The History offers a detailed focus on some of the era's great critical figures, such as Sainte-Beuve, Hippolyte Taine and Matthew Arnold, and includes essays devoted to the connections of literary criticism with other disciplines in science, the arts and Biblical studies. The publication of this volume marks the completion of the monumental Cambridge History of Literary Criticism from antiquity to the present day.