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Portugal  Schopenhauer, Arthur ±·
postcolonialism  Schor, Naomi µ
postmodernism µ, , ±, ± Scotland , ±± “
post-structuralism ±, ± Edinburgh ±± “
Royal Tour ±± “
Pound, Ezra
Cantos  Scott, Sir Walter , µ, °, ±, µ, ±, ±µ“,
Pratt, Willis W. , ± ±·, ±, ±, ±·°
prayer book burial service ±, ±µ“µ sensibility , 
pre-Victorian period ° sentimental, the , ·, µ·, µ, µ, °, , ±·,
Prior, Matthew ±, µ“°, ±°±, ±°, ± n ±, °·n
Shaftesbury, Earl of ±, µ·
Proust, Marcel
Remembrance of Things Past ± Characteristicks 
psychoanalysis ±µ, ±°, ±n Shakespeare, William ±, ±, “, µ, ·“,
public sphere , µ· , ·, , ±°“±±, ±, ±“
publishers/ing , ±,  Antony and Cleopatra ±
Pulci, Luigi °, , , µ, °, , µ, , ±± n Coriolanus ±µ“·
Hamlet µ°, , ·°, ·, ±°“±, ±µ, ±n
Queen Caroline ± “, ±±µ, ±°“±, ±·, ±n © Henry IV ·°, ±°“±, ±± “, ±µ
Henry V ±, ±“
race  © Henry VI ±
Racine, Jean ±· Julius Caesar ±±
King Lear , ±, , , , , ±n
Rajan, Tilottama
Dark Interpreter ·“ Macbeth ·°, ±, ±, ±“·, ±, ±·
reader response ± “±·, ±°, ±±“±, ±±“±, ±, Measure for Measure ±µ
°n Merchant of Venice, The ±µ
reception ±, ±, , °, µ·, ·±, ·µ, ··, ·, , Othello µ, ±±± “°, ±, ±µ·
±°±, ±°, ±°“µ, ±, ±, ±·°, ±·, ±··, Richard III , , ±µ·
± Timon of Athens ±
Reform Act  Twelfth Night ±°°, ±±±, ±±
Regency , ±, ±, ± Winter™s Tale, The ±n
religious belief  Shelley, Mary , ±°°, ±±·, ±±, ±µ, ±±, ±
reviewers/ing , ±±, ±, ±, ±, ±, , , Shelley, Percy , ·, ·, ±±, ±, ±µµ, ±°, n
“µ, ·, “, , µ“, µ“, , ·, Adonais ±
·, ·“, , , ±, ±, ±µ“, ±·, Hellas ±
±, ±, ±·°, ±·“µ, ±·, ±, ±“·, Witch of Atlas, The 
±“·n Shelley, Sir Timothy ±±
Reynolds, Sir Joshua ±, ·, °, ·±, ·“µ, ±° Sheridan, Richard Brinsley , , 
Discourses , ° School for Scandal “µ, 
Ridenour, George M. · The Camp 
Roberts, William ±, “·, “, ±, · Simpson, David ·
Robinson, Henry Crabb ±° sincerity ±
Rochefoucault, Fran¸ ois de la, Duc ±±
c Smiles, Samuel
Roe, Nicholas  A Publisher and His Friends , ·µ, µ
Rogers, Samuel , ±· Smith, Charlotte 
Smollett, Tobias ±°±
Rose, William
The Court of Beasts  Solomon ±±
Ross, William T. ±° Sotheby, Merivale µ
Rothschild, Baron Nathan ± Southey, Robert , ±µ
Rousseau, Jean-Jacques ±± Joan of Arc ·
Royal Society  Southwell, µ
Ruskin, John ±°, ±· Spain , ±, ±°, ±±
Russia ± Spenser, Edmund ±°
see also poetics
Sappho ±° Steffan, Truman Guy ±±±, ±
Schlegel, Friedrich · Stephenson, William A. ±, ±
µ±
Index
Sterne, Laurence ±, , µ°“±, µ, µ, µµ, ±°, travel/ogue µ, ±µ“, ±µ·, ±µ, ±µ, ±°, ±,
±± ±n
Tristram Shandy , µ± “, µ, ·, · Trelawny, Edward ±±“±·
Stevens, Wallace  Turkish government 
structuralism ±
sublime/ity ±, , , µ, ·, , ±°·, ±°, utilitarianism ±±, ±·
±µ, ±, ±
Swift, Jonathan , , , µ, ·, ±°±, ±±, ±±, value(s) , ·, ·µ, , ±, ±°, n
±·µ, ±° Virgil ·°, °, ±°
ballads · Voltaire ±·
Symonds, John Addington °
walking parties ±µ
Tacitus µ Walpole, Sir Robert , ±·µ
taste ±±, ±, , , , , µ, µ·, °, , , Wandering Jew ±
·, , , ±, , , µ, , ·, ±°±, ±°, Warton, Joseph ·, ±·, ±·µ, ±·, ±“°n
±±µ, ±±, ±° Waterloo ±·, ±, ±, ±
Taylor, John  Webb, Daniel 
television µ Webster, Sir James Wedderburne ±°“±
Terry, Richard  Weinbrot, Howard D. ±
Thayer, Mary Rebecca · Wellington, Duke of ±·, ±°, ±·, ±·, ±
theatre/theatricality/drama ±, °, , µ, °, Wesley, John ±±
·, ±°±, ±°, ±±, ±·, ±· Whale, John ±±
acting/actors ±,  Whitbread, Samuel ·, 
animals on stage  Wilkes, John , µ°
audiences , , , , ±, ±n, n Williams, Edward ±±
comedy ±, , ±°, ±±, ±±·, ±± Williams, Jane ±±
comedy of manners “ Wilson, Frances 
cross-dressing ±± Wilson Knight, G. ±°, ±±°, ±±±
Drury Lane ·“, , µ, µ,  Wolcot, John (Peter Pindar) 
Garrick, David , ±n Wolfson, Susan , ±, ±±
German drama “· Formal Charges 
˜mental theatre™ ±, ± Wollstonecraft, Mary ±µn
novelty µ“· women readers and writers , ± “, ,
performance ·, , , , ±°, ±± °, , , ±°, ±± “, ±·, ±·, ±·,
˜popular theatre™ ± ±µn
prologues and epilogues “µ see also feminine, the
resources ± Woodhouse, Richard µ“
Restoration comedy “ Woodring, Carl ±··
Shakespearean allusion ±±± “°, ±, ±“·, Woolf, Virginia
±± “ To the Lighthouse ±
stage directions µ Wordsworth, William , ± “, , ·, ·, ±,
stage plays , ·µ , , ±°·, ±°, ±±, ±·, ±·
tragedy , µ, ±±, ±±·, ±±, ±° ˜Essay, Supplementary to the Preface™ ±·
writing for “ Excursion, The ·, “
Theobald, Lewis  ˜Fenwick Notes™ ··
Tillotson, Geoffrey ± Lyrical Ballads , ·, ±·µ
Tillotson, John ±± ˜Michael™ ·
Tooke, William (ed.) µ± Prelude, The ±°
The Poetical Works of Charles Churchill “, µ± ˜Tintern Abbey™ ±°·, ±·
tradition , ·µ, ±·µ, ±··, ±, ±°
transcendence ±µ, ±, ±µµ Yeats, W. B. ·, 
©¤§ µ¤© ©® ®©©

general editors
©¬® µ¬
University of Oxford
 ®¤¬
University of Chicago


±. Romantic Correspondence: Women, Politics and the Fiction of Letters
 . ¦
. British Romantic Writers and the East: Anxieties of Empire
®©§¬ ¬«
. Edmund Burke™s Aesthetic Ideolog y
Language, Gender and Political Economy in Revolution
 ¦µ®©
. Poetry as an Occupation and an Art in Britain, ±·°“±°
° µ°
µ. In the Theatre of Romanticism: Coleridge, Nationalism, Women
µ¬© . ¬®
. Keats, Narrative and Audience
®¤· ®®
·. Romance and Revolution: Shelley and the Politics of a Genre
¤©¤ ¤µ¦¦
. Literature, Education, and Romanticism
Reading as Social Practice, ±·°“±
¬® ©¤®
. Women Writing about Money: Women™s Fiction in England, ±·°“±°
¤·¤ °¬®¤
±°. Shelley and the Revolution in Taste: The Body and the Natural World
© ®
±±. William Cobbett: The Politics of Style
¬® ®
±. The Rise of Supernatural Fiction, ±·“±°°
.. ¬
±. Women Travel Writers and the Language of Aesthetics, ±·±“±±
¬© . ¬
±. Napoleon and English Romanticism
©® ©®©¤§
±µ. Romantic Vagrancy: Wordsworth and the Simulation of Freedom
¬ ¬®§®
±. Wordsworth and the Geologists
® ·
±·. Wordsworth™s Pope: A Study in Literary Historiography
 . §©¦¦©®
±. The Politics of Sensibility
Race, Gender and Commerce in the Sentimental Novel
«® ¬¬©
±. Reading Daughters™ Fictions, ±·°“±
Novels and Society from Manley to Edgeworth
¬©® §®¤
°. Romantic Identities: Varieties of Subjectivity, ±··“±°
®¤ «. ®¤®
±. Print Politics: The Press and Radical Opposition
in Early Nineteenth-Century England
«©® §©¬©®
. Reinventing Allegory
 . «¬¬
. British Satire and the Politics of Style, ±·“±
§ ¤
. The Romantic Reformation
Religious Politics in English Literature, ±·“±
 . ®
µ. De Quincey™s Romanticism
Canonical Minority and the Forms of Transmission
§ µ
. Coleridge on Dreaming
Romanticism, Dreams and the Medical Imagination
®®©¦ ¦¤
·. Romantic Imperialism: Universal Empire and
the Culture of Modernity
 «¤©©
. Ideology and Utopia in the Poetry of William Blake
®©¬ . ·©¬¬©
. Sexual Politics and the Romantic Author
®© ¦«
°. Lyric and Labour in the Romantic Tradition
®® ®·©
±. Poetry and Politics in the Cockney School
Keats, Shelley, Hunt and their Circle
¦¦ ®. 
. Rousseau, Robespierre and English Romanticism
§§ ¤
. Contesting the Gothic
Fiction, Genre and Cultural Con¬‚ict, ±·“±
 ·
. Romanticism, Aesthetics, and Nationalism
¤©¤  «©
µ. Romantic Poets and the Culture of Posterity
®¤· ®®
. The Crisis of Literature in the ±·°s
Print Culture and the Public Sphere
°µ¬ «®
·. Romantic Atheism: Poetry and Freethought, ±·°“±°
©® °©®
. Romanticism and Slave Narratives
Transatlantic Testimonies
¬® 
. Imagination Under Pressure, ±·“±
Aesthetics, Politics, and Utility
® ·¬
°. Romanticism and the Gothic
Genre, Reception, and Canon Formation, ±·°“±°
©¬ §
±. Romanticism and the Human Sciences
Poetry, Population, and the Discourse of the Species
  µ    ® ®. c¬  ® 
. The Poetics of Spice
Romantic Consumerism and the Exotic
© ®
. British Fiction and the Production of Social Order, ±·°“±°
©®¤ . µ§
. Women Writers and the English Nation in the ±·°s
®§¬ «®
µ. Literary Magazines and British Romanticism
« °«
. Women, Nationalism and the Romantic Stage
Theatre and Politics in Britain, ±·°“±°°
 ¬®
·. British Romanticism and the Science of the Mind
¬® ©¤®
. The Anti-Jacobin Novel: British
Conservatism and the French Revolution
.. §®
. Romantic Austen
Sexual Politics and the Literary Canon
¬ µ©
µ°. Byron and Romanticism
      §  ® ® ed.        ¤     ¬ 
µ±. The Romantic National Tale and the Question of Ireland
©® ¦©
µ. Byron, Poetics and History
® ¬

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