Fang-Mei Lin, "Social change and romantic ideology: The impact of the publishing industry, family organization, and gender roles on the reception and interpretation of romance fiction in Taiwan, 1960--1990" (January 1, 1992). Dissertations available from ProQuest. Paper AAI9227710.
In the Name of Love: Romantic Ideology and its Victims
In Jerome McGann famouslyproclaimed that the criticism of literary Romanticism (that of M.H. Abrams in particular) was more concerned with promulgating theworldview of its topic than subjecting it to rigorous critique. ForMcGann, mainstream Romantic criticism was not criticism at all, butthe application of literary/aesthetic criteria to a period ofliterary history that that period had itself generated: "thescholarship and criticism of Romanticism and its works aredominated by a Romantic Ideology, by an uncritical absorption inRomanticism's own self-representations." I want to borrow McGann'sterms, if not his entire methodology, to make some similarinquiries into the criticism of First World War poetry. I see acomparable genealogy operating within this critical discourse: themainstream criticism of First World War poetry, most conspicuouslyPaul Fussell's , has formeditself around a certain set of aesthetic and ethical principlesthat it garners from its own subject. In other words, thescholarship in question does not so much criticize the poetry whichforms its subject as replicate the poetry's ideology. I see thisideology primarily in two forms: an aesthetic criterion of realismand an ethical criterion of a humanism of passivity. Furthermore,these criteria are combined by both the poets and their critics tocreate an ideology of what I term "combat gnosticism," the beliefthat combat represents a qualitatively separate order of experiencethat is difficult if not impossible to communicate to any who havenot undergone an identical experience. Such an ideology has servedboth to limit severely the canon of texts that mainstream FirstWorld War criticism has seen as legitimate war writing and hassimultaneously promoted war literature's status as a discrete bodyof work with almost no relation to non-war writing.
Romantic ideology : In The Name of Love - oi
This dissertation traces the role of unauthorized publication in the posthumous construction of British Romanticism as a literary movement. It argues that Romantic ideology emerged from conflicting claims about the nature of intellectual property and the circulation of political and artistic ideas, apparent in the texts and paratexts of pirated books. I examine how these disputes play out in reprints of the works by Percy Bysshe Shelley and Robert Southey that became cornerstones of radical culture. The dissertation goes on to discuss how the underground economy of literary piracy affected Sir Walter Scott and Lord Byron's publication strategies, the significance of foreign reprints to copyright ideology and canon formation, and the relationship between unauthorized publication and the culture of appropriation apparent in radical periodicals and graphic satire. This study thus contributes to the history of the book and print culture in the early nineteenth century while illuminating the economic and legal underpinnings of the body of literature that came to be known as Romantic. It situates British Romanticism as an important moment in the ongoing discourse around intellectual property, emphasizing the contingent and ideologically fraught nature of any such concept.
I romantic ideology. He writes: It has hitherto - JSTOR