We are obsessed with "barbarians." They are the "not us," who don't speak our language, or "any language," whom we despise, fear, invade and kill; for whom we feel compassion, or admiration, and an intense sexual interest; whose innocence or vigor we aspire to, and who have an extraordinary influence on the comportment, and even modes of dress, of our civilized metropolitan lives; whom we often outdo in the barbarism we impute to them; and whose suspected resemblance to us haunts our introspections and imaginings. This book looks afresh at how we have confronted the idea of "barbarism," in...

In addition to the main traditions in Medieval Latin and Byzantine Greek, this comprehensive introduction to the literary theory and criticism produced during the Middle Ages covers all major European vernaculars, ranging from Irish to Old Norse, from Occitan to Middle High German and Italian. Special attention is given to the contribution of Dante Alighieri and his commentators, along with the debates on the relative merits of Latin and the Italian vernacular, and the literary attitudes of the early humanists.

This volume provides the first comprehensive treatment of the issues that helped shape the way writers thought about literature from the late Middle Ages to the late seventeenth century. These issues touched almost every facet of Western intellectual endeavor, as well as the historical, cultural, social, scientific, and technological contexts in which that activity evolved. The sixty-one chapters by a team of internationally respected scholars are supported by specialized bibliographies for guidance in further studies of the individual topics.

This is the most comprehensive account to date of the history of literary criticism in Britain and Europe between 1660 and 1800. Unlike previous histories, it is not just a chronological survey, but a multi-disciplinary study of how the understanding of literature in the modern era was shaped by developments in intellectual, cultural and social history. It provides an authoritative historical overview in all areas of literary studies. Extensive bibliographies supply detailed guidance for further research.

This latest volume in the celebrated Cambridge History of Literary Criticism addresses literary criticism of the Romantic period, chiefly in Europe. Its seventeen chapters are by internationally respected academics and explore a range of key topics and themes. The book is designed to help readers locate essential information and to develop approaches and viewpoints for a deeper understanding of issues discussed by Romantic critics or that were fundamental to their works. Primary and secondary bibliographies provide a guide for further research.

John Sutherland's new critical biography is an undertaking of major importance in which he penetrates into the darker areas of Scott's life in a sceptical (yet sympathetic) spirit,

Rosemary Ashton explores the many facets of Samuel Taylor Coleridge's complex personality, by turns poet, critic, thinker, enchanting companion, feckless husband, fabled conversationalist and guilt-ridden opium addict.

This edition is the first to establish a reliable text of the poems of Thomas Parnell (1679-1718). Based on a study of all the available manuscripts, including an extensive collection in the poet's family, and authoritative editions, it more than doubles the number of poems known to be Parnell's and represents the first publication of some of his works.

This is the most comprehensive account to date of the history of literary criticism in Britain and Europe between 1660 and 1800. Unlike previous histories, it is not just a chronological survey, but a multi-disciplinary study of how the understanding of literature in the modern era was shaped by developments in intellectual, cultural and social history. It provides an authoritative historical overview in all areas of literary studies. Extensive bibliographies supply detailed guidance for further research.

Jonathan Swift's influence on the writings and politics of England and Ireland was reinforced by a combination of contradictory forces: an authoritarian attachment to tradition and rule, and a vivid responsiveness to the disorders of a modernity he resisted and yet helped to create. He was, perhaps even more than Pope, a dominant voice of his times. The rich variety of the literary culture to which he belonged shows the penetration of his ideas, personality and style. This is true of writers who were his friends and admirers (Pope), of adversaries (Mandeville, Johnson), of several who became...