Perhaps because major Victorians like Thomas Carlyle and Matthew Arnold proscribed Romantic melancholy as morbidly diseased and unsuitable for poetic expression, critics have neglected or understated the central importance of melancholy in Victorian poetry. Allegories of One's Own Mind re-directs our attention to a mode that Arnold was rejecting as morbid but also acknowledging when he disparaged the widely current idea that the highest ambition of poetry should be to present an allegory of the poet's own mind. This book shows how early Victorian poets suffered from and railed against what they perceived to be a "disabling post-Wordsworthian melancholy"-we might refer to it as depression-and yet benefited from this self-absorbed or love-obsessed state, which ironically made them more productive. David G. Riede argues that the dominant thematic and formal concerns of the age, in fact, are embodied in the ambivalence of Carlyle, Arnold, and others, who pitted a Victorian ideology of duty, rationality, and high moral character against a still compelling Romantic cultivation of the deep self intuited as melancholy. Such ambivalence, in fact, is in itself constitutive of melancholy, long understood as the product of conscience raging against inchoate desire, and it constitutes the mood of the age's most important poetry, represented here in the major works of Alfred Tennyson, Elizabeth Barrett Browning, and even in the notoriously "optimistic" Robert Browning. David G. Riede is professor of English at The Ohio State University.

Special Focus editor: Natasha Lushetich Series editors: Rüdiger Ahrens, Florian Kläger, Klaus Stierstorfer Symbolism is cohesive. It gathers heterogeneity over time, across fields of human endeavor and systems of communication. Non-sequiturs, paradox and tautology, appear dissipative. Yet they are highly productive in reticular and fractal ways. Suffice it to look at the philosophical tautology of Parmenides’s kind, which suggests that being "is"; at the practice of the koan, which collapses dualistic thinking by way of incompatible propositions, such as "the Eastern hill keeps running on the water"; at logical paradoxes in which the operative logic is sabotaged by its own means, as in Hempel’s paradox; at absurdist dramatic texts in which protagonists record empty time in order to mark the emptiness of the time they are recording, as in Beckett’s Krapp’s Last Tape; or at paradoxical games like Maciunas’s Prepared Table Tennis played with paddles that have huge holes in them. In all of these examples, the existence-apprehending processes occur via unexpected itineraries, in vacant but nevertheless enunciative codes, in seemingly futile, yet calibrating performances, and in a temporality that is the cumulative time’s "other." They catapult the mind into the realm of the extra-linguistic, the para-logical and the meta-experiential, or they transfigure it through a series of reticular iterations. Forty years after Varela et al’s groundbreaking work on the embodied, emotional and environmentally embedded mind – that marked a definitive departure from its former strictly rational conception – there is a need to re-examine the territory that lies beyond mind for a different reason: the proliferation of algorithmic logics that rely on the idea of a rational agent (human or algorithmic) making logical, self-serving decisions. This special issue explores neither-rational-nor-irrational forms of thinking and making. It sketches a cartography of a-rational processes of meaning- and knowledge-production that operate across numerous sites, practices, and disciplines: visual and media art; literature; art history; music; dance; film; intermedia and photography. Part I "Ahistoricity, Assemblages and Interpretative Reversals" focuses on the legacy of the (neo) avant-garde and amodernism. Part II "Destinerrance, Labyrinths and Folds" investigates the ways in which the Derridian delays/detours and the Deleuzian folding function as concrete ways of embodied knowledge-production. Part III, "Immanent Transcendence", offers a glimpse into the reticular and iterative structuring of transcendence that does not pre-exist immanence but is its residue.

"Thinking Allegory Otherwise is a unique collection of essays by allegory specialists and other scholars who engage allegory in exciting new ways." "Not limited to an examination of literary texts and works of art, the essays focus on a wide range of topics, including architecture, philosophy, theater, science, and law. Indeed, all language is allegorical. This collection proves the truth of this statement, but more importantly, it shows the consequences of it. To think allegory otherwise is to think otherwise-forcing us to rethink not only the idea of allegory itself, but also the law and its execution, the literality offigurative abstraction, and the figurations upon which even hard science depends." --Book Jacket.

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This compilation, edited by Edmund D. Jones, brings together critical essays that delve into the nuances of English poetry from the 19th century. Readers are introduced to the rich tapestry of literary criticism, exploring the depth and beauty of English poetry. The essays provide insights into the evolution of poetic forms, themes, and styles during this influential period.

The Descent of the Imagination places Thomas Hardy's writing within the context of nineteenth-century fiction writing as a genre. Moore therefore regards his examination of Hardy's work as a form of archaeology as well as a genealogy of the romantic figure in fiction, from Wordsworth through Hardy. The book provides a new interpretation of Hardy's method of composition and uses new source material that will interest Hardy scholars. It offers an original view of the novelist that argues that his work, especially his later writings, were a deliberate rewriting of romanticism.