Drawing especially on the many scholarly discoveries of recent years, this biography examines the life – and death ‒ of one of the greatest Romantic poets. Based on sceptical historical investigation and featuring an in-depth look at Shelley’s personal, financial and familial situation, it builds a compelling narrative about a controversial writer and thinker whose personal and philosophical convictions caused much turmoil during his short yet extraordinarily influential life. The Life of Percy Bysshe Shelley reveals sides of the author not often studied. It looks at Shelley as an intensely loving, thoughtful and responsible man and father, who (except in one case) took exemplary care of the women he loved and who fell in love with him. It shows how significant his status as a gentleman was; it examines his poetry, letters, notebooks and discursive prose so that readers can comprehend the most important concerns of his life; it explores the financial and medical grounds for his years of exile; it is also the first biography to take account of his recently discovered early long poem the Poetical Essay on the Existing State of Things. This biography offers readers a unique look at a famous poet, scholar, gentleman, democrat, atheist and tragic icon of English Romanticism.

Uniquely authoritative and wide-ranging in its scope, The Oxford Dictionary of the Christian Church is the indispensable reference work on all aspects of the Christian Church. It contains over 6,500 cross-referenced A-Z entries, and offers unrivalled coverage of all aspects of this vast and often complex subject, from theology; churches and denominations; patristic scholarship; and the bible; to the church calendar and its organization; popes; archbishops; other church leaders; saints; and mystics. In this new edition, great efforts have been made to increase and strengthen coverage of non-Anglican denominations (for example non-Western European Christianity), as well as broadening the focus on Christianity and the history of churches in areas beyond Western Europe. In particular, there have been extensive additions with regards to the Christian Church in Asia, Africa, Latin America, North America, and Australasia. Significant updates have also been included on topics such as liturgy, Canon Law, recent international developments, non-Anglican missionary activity, and the increasingly important area of moral and pastoral theology, among many others. Since its first appearance in 1957, the ODCC has established itself as an essential resource for ordinands, clergy, and members of religious orders, and an invaluable tool for academics, teachers, and students of church history and theology, as well as for the general reader.

This book argues for the importance of blasphemy in shaping the literature and readership of Percy Bysshe Shelley and of the Romantic period more broadly. Not only are perceptions of blasphemy taken to be inextricable from politics, this book also argues for blasphemous ‘irreverence’ as both inspiring and necessitating new poetic creativity. The book reveals the intersection of blasphemy, censorship and literary property throughout the ‘Long Eighteenth Century’, attesting to the effect of this connection on Shelley’s poetry more specifically. Paul Whickman notes how Shelley’s perceived blasphemy determined the nature and readership of his published works through censorship and literary piracy. Simultaneously, Whickman crucially shows that aesthetics, content and the printed form of the physical text are interconnected and that Shelley’s political and philosophical views manifest themselves in his writing both formally and thematically.

New Critical Nostalgia weighs the future of literary study by reassessing its past. It tracks today's impassioned debates about method back to the discipline’s early professional era, when an unprecedented makeover of American higher education with far-reaching social consequences resulted in what we might call our first crisis of academic life. Rovee probes literary study’s nostalgic attachments to this past, by recasting an essential episode in the historiography of English—the vigorous rejection of romanticism by American New Critics—in the new light of the American university’s tectonic growth. In the process, he demonstrates literary study’s profound investment in romanticism and reveals the romantic lyric’s special affect, nostalgia, as having been part of English’s professional identity all along. New Critical Nostalgia meticulously shows what is lost in reducing mid-century American criticism and the intense, quirky, and unpredictable writings of central figures, such as Cleanth Brooks, Josephine Miles, and W. K. Wimsatt, to a glib monolith of New Critical anti-romanticism. In Rovee’s historically rich account, grounded in analysis of critical texts and enlivened by archival study, readers discover John Crowe Ransom’s and William Wordsworth’s shared existential nostalgia, witness the demolition of the “immature” Percy Shelley in the revolutionary textbook Understanding Poetry, explore the classroom give-and-take prompted by the close reading of John Keats, consider the strange ambivalence toward Lord Byron on the part of formalist critics and romantic scholars alike, and encounter the strikingly contemporary quantitative studies by one of the mid-century’s preeminent poetry scholars, Josephine Miles. These complex and enthralling engagements with the romantic lyric introduce the reader to a dynamic intellectual milieu, in which professionals with varying methodological commitments (from New Critics to computationalists), working in radically different academic locales (from Nashville and New Haven to Baton Rouge and Berkeley), wrangled over what it means to read, with nothing less than the future of the discipline at stake.

Amorous Aesthetics traces the development of intellectual love from its first major expression in Baruch Spinoza's Ethics, through its adoption and adaptation in eighteenth-century moral and natural philosophy, to its emergence as a Romantic tradition in the work of six major poets.

Drawn from Shelley's Prometheus Unbound, the title of this book suggests the cultural and literary persistence of the Romantic in the work of many British, American, and Irish poets since 1900. Allowing for and celebrating the multiple, even fractured nature of Romantic legacies, Michael O'Neill focuses on the creative impact of Romantic poetry on twentieth- and twenty-first century poetry. Individual chapters embrace numerous authors and texts, and span different cultures; the intention is not the forlorn hope of completeness, but the wish to open up possibilities and intersections, and there is a strong sense throughout of poetry serving as a subtle and profound form of literary criticism. A wide-ranging introduction analyses the persistence of the Romantic in poets such as Ted Hughes, Wilfred Owen, Robert Frost, Denise Levertov, Robert Lowell, and others, and sets the scene for subsequent discussions. Chapter 1 dwells on images of 'air', using these to understand the efforts of a number of twentieth-century poets to 'sustain' Romanticism, or forms of it. Chapters 2 and 3 focus on Yeats and Eliot, respectively, the latter apparently shunning the Romantic, the former seeming to embrace it, but both responding with subtlety and individuality to the Romantic bequest. Chapter 4 argues that Wallace Stevens's 'Esthétique du Mal' should be read as a work that illuminates the writings of the major Romantics, especially about evil and suffering. Chapter 5 discusses the work of W. H. Auden and Stephen Spender, exploring the complex response of both poets to the Romantic, Auden complicated in his post-Romantic attitudes, Spender daring in his attempts to renew a Romantic lyricism in a post-Romantic age. Chapter 6 returns to a broader sweep as it investigates the response of a range of contemporary poets from Northern Ireland, including Heaney, Kavanagh, Mahon, and Carson, to Romantic poetry. Chapter 7 sustains the Irish connection, discussing Paul Muldoon's dealings with Byron and other Romantics, especially in Madoc. And Chapter 8 focuses on Geoffrey's Hill's tense and tensed relations with Romantic poetry, and on Roy Fisher's sense of being a 'gutted Romantic', in order to illustrate two diverse ways of being post-Romantic in contemporary culture.