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Empire of signs: Print capitalism an...

Fang, Karen Y.

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Empire of signs: Print capitalism and literary authority in Romantic Britain, 1816--1833 (Charles Lamb, James Hogg, Letitia Landon, Lord Byron).

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Empire of signs: Print capitalism and literary authority in Romantic Britain, 1816--1833 (Charles Lamb, James Hogg, Letitia Landon, Lord Byron)./
Author:	Fang, Karen Y.
Description:	228 p.
Notes:	Adviser: Jerome Christensen.
Contained By:	Dissertation Abstracts International63-10A.
Subject:	Design and Decorative Arts. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3068145
ISBN:	0493876960

Empire of signs: Print capitalism and literary authority in Romantic Britain, 1816--1833 (Charles Lamb, James Hogg, Letitia Landon, Lord Byron).
Fang, Karen Y.

Empire of signs: Print capitalism and literary authority in Romantic Britain, 1816--1833 (Charles Lamb, James Hogg, Letitia Landon, Lord Byron). - 228 p.

Adviser: Jerome Christensen.

Thesis (Ph.D.)--The Johns Hopkins University, 2003.

“Empire of Signs” examines how later Romantic writers harnessed the rhetoric of imperial culture to stake their claims to literary prestige. In the Chinese porcelain, Egyptian antiquities, and Italian touristic ephemera that figure in their work, Charles Lamb, James Hogg, and Letitia Landon depict empire as a project of the acquisitive eye. Significantly, their careers dependend upon periodicals, whose very titles of “magazine,” “museum,” and “repository” announce themselves as sites for urbane display. Indeed, by circulating in magazines and annuals much like the commodities and collectibles their works represent, these authors' signatures—such as “Elia,” “the Ettrick Shepherd,” and “L. E. L.”—were themselves products of a periodical industry restructured along the corporatizing systems of imperial expansion. The noble Byron is the exception to these trends. His criticism of the Elgin Marbles plunder parallels his discomfort with writing as a profession, prefiguring the turn in his later poetry against his own heroic celebrity, the era's reigning literary success. By juxtaposing Byron to Lamb, Hogg, and Landon, I show the minor Romantics trafficking in triumphal themes that the acknowledged “Napoleon of rhyme” himself abjured.

ISBN: 0493876960Subjects--Topical Terms:

1024640
Design and Decorative Arts.

Empire of signs: Print capitalism and literary authority in Romantic Britain, 1816--1833 (Charles Lamb, James Hogg, Letitia Landon, Lord Byron).
LDR:03529nam 2200289 a 45 001 926779
005 20110422
008 110422s2003 eng d
020 $a 0493876960
035 $a (UnM)AAI3068145
035 $a AAI3068145
040 $a UnM $c UnM
100 1 $a Fang, Karen Y. $3 1250363
245 1 0 $a Empire of signs: Print capitalism and literary authority in Romantic Britain, 1816--1833 (Charles Lamb, James Hogg, Letitia Landon, Lord Byron).
300 $a 228 p.
500 $a Adviser: Jerome Christensen.
500 $a Source: Dissertation Abstracts International, Volume: 63-10, Section: A, page: 3560.
502 $a Thesis (Ph.D.)--The Johns Hopkins University, 2003.
520 $a “Empire of Signs” examines how later Romantic writers harnessed the rhetoric of imperial culture to stake their claims to literary prestige. In the Chinese porcelain, Egyptian antiquities, and Italian touristic ephemera that figure in their work, Charles Lamb, James Hogg, and Letitia Landon depict empire as a project of the acquisitive eye. Significantly, their careers dependend upon periodicals, whose very titles of “magazine,” “museum,” and “repository” announce themselves as sites for urbane display. Indeed, by circulating in magazines and annuals much like the commodities and collectibles their works represent, these authors' signatures—such as “Elia,” “the Ettrick Shepherd,” and “L. E. L.”—were themselves products of a periodical industry restructured along the corporatizing systems of imperial expansion. The noble Byron is the exception to these trends. His criticism of the Elgin Marbles plunder parallels his discomfort with writing as a profession, prefiguring the turn in his later poetry against his own heroic celebrity, the era's reigning literary success. By juxtaposing Byron to Lamb, Hogg, and Landon, I show the minor Romantics trafficking in triumphal themes that the acknowledged “Napoleon of rhyme” himself abjured.
520 $a Identifying imperialism as a model for print capitalism entails several claims. I challenge conventions of literary minority by arguing that periodicals and imperial motifs enabled the minor Romantics to compare themselves favorably to the high Romantics. I argue that a visuality in later Romantic writing is not indicative of a diminished imagination, but in fact a culturally-responsive innovation in voice and imagery. I isolate the epoch after Waterloo and before the first Reform Bill, when Byron left England never to return, to explore to the unprecedented opportunities for status enhancement then kindling in Britain. I show metropolitan culture, as embodied in the periodicals emanating from the national capitals, to be a pivot between the reclusive nationalism of the high Romantics and the late-Victorian suspicion of cosmopolitanism. “Empire of Signs” thus remaps British Romanticism by encompassing Greece, China, Egypt, Italy, and Tahiti, charting the relation of these spaces to London and Edinburgh, the foci of imperial experience. It departs from other studies of romantic orientalism and colonialism by insisting on imperialism as a paradigm for professionalization.
590 $a School code: 0098.
650 4 $a Design and Decorative Arts. $3 1024640
650 4 $a Literature, English. $3 1017709
690 $a 0389
690 $a 0593
710 2 0 $a The Johns Hopkins University. $3 1017431
773 0 $t Dissertation Abstracts International $g 63-10A.
790 $a 0098
790 1 0 $a Christensen, Jerome, $e advisor
791 $a Ph.D.
792 $a 2003
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3068145