Orientalist Poetics: The Islamic Middle East in Nineteenth-Century English and French Poetry

ISBN-13: 9780367888268 / Angielski / Miękka / 2019 / 232 str.

Emily A. Haddad

Opis

Orientalist Poetics is the only book on literary orientalism that spans the nineteenth century in both England and France with particular attention to poetry and poetics. It convincingly demonstrates orientalism's centrality to the evolution of poetry and poetics in both nations, and provides a singularly comprehensive and definitive analysis of t

Recenzje

'[Emily A. Haddad] offers no simplistic construction of orientalism in European poetics but rather a smart, engaging study that adds depth and interest to her predecessors' work in the field.' College Literature 'Orientalist Poetics... is... of value in introducing readers to a variety of British and French Orientalisms and will usefully serve as an accessible encouragement to further research.' The Byron Journal

Spis treści

Contents: Introduction: To instruct without displeasing: Percy Shelley's The Revolt of Islam and Robert Southey's Thalaba the Destroyer; Instruction in The Revolt of Islam; Tyranny: the Orient’s chief export; Tyranny’s comrades: religion and sexism; Orientalism and Shelley’s poetics; Morals vs. materials: instruction and pleasure in Thalaba the Destroyer; The desert, Islam: foreignness as a hermeneutic category; The desert, Islam: foreignness as a hermeneutic category; Foreignness general and particular: character as archetype; Extremes: too many notes?; Southey and his readers: delighted, informed, or distressed; Representation and the Arabesque ornament; Representing, misrepresenting, not representing: Victor Hugo’s Les Orientales and Alfred de Musset’s Namouna: Hugo’s preface: poetic ideals and the Orient as subject; La douleur du pacha: the Orient as origin or as end; Adieux de l’hôtesse arabe :stasis; Novembre: returning to Paris, the self, and mimesis; Hugo’s critics: E.J. Chételat; George Gordon Byron’s Don Juan: But what’s reality?; Namouna: fragmentary representation; No narrative, no representation; Authority, referents, and representation; The Middle East: impossible à décrire; Orientalist poetics and the nature of the Middle East; William Wordsworth and the nature of the Middle East; Felicia Hemans’s ambivalence; Truth in illustrating Robert Southey and Thomas Moore; Leconte de Lisle: Le Désert, le désert du monde; Théophile Gautier: the composite desert; In deserto; European nature in absentia; Out of the desert: Byron’s Turkish Tales; Matthew Arnold in Bukhara: nature in the Middle Eastern city; Alfred Tennyson’s Basra: natural phenomena and urban construction; Orientalist poetics, Oscar Wilde; The Orient's art, orienting art; A confederation of the Middle East and art: Wordsworth; The Middle East as a source of art: Leconte de Lisle; Middle Eastern

O autorze

Emily A. Haddad received her PhD in Comparative Literature from Harvard University. Since 1997 she has taught in the Department of English at the University of South Dakota, where she is an associate professor.