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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).

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Empire of signs: Print capitalism and literary authority in Romantic Britain, 1816--1833 (Charles Lamb, James Hogg, Letitia Landon, Lord Byron)./
作者:	Fang, Karen Y.
面頁冊數:	228 p.
附註:	Adviser: Jerome Christensen.
Contained By:	Dissertation Abstracts International63-10A.
標題:	Design and Decorative Arts. -
電子資源:	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).
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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).
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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.
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