 |
 |
|
|
[ Pobierz całość w formacie PDF ] of Romantic Collectors (Ithaca, NY: Cornell UP, 2005) and, on cultural tourism, Nicola J. Watson s The Literary Tourist: Readers and Places in Romantic and Victorian Britain (Basingstoke: Palgrave Macmillan, 2006). On the phenomenon of author-love in the eighteenth and nineteenth centuries, see Helen Deutsch, Loving Dr. Johnson (Chicago: University of Chicago Press, 2005), as well as the essays collected in Frances Wilson, ed., Byromania: Portraits of the Artist in Nineteenth- and Twentieth-Century Culture (New York: St. Martin s, 1999) and Deidre Lynch, ed., Janeites: Austen s Disciples and Devotees (Princeton: Princeton UP, 2000). 4. For this understanding of the lyric, see Helen Vendler, Invisible Listeners: Lyric Intimacy in Herbert, Whitman and Ashbery (Princeton: Princeton UP, 2005) and my discussion below. On lyric reading as a category, see Virginia Jackson and Yopie Prins, Lyrical Studies (Victorian Literature and Culture 27: 2 [1999] 521 30). Compare Jonathan Arac s suggestive idea of the lyric as a mode of mass transport in his Afterword: Lyric Poetry and the Bounds of New Criticism, in Lyric Poetry: Beyond New 156 Notes Criticism, ed. Chaviva Hosek and Patricia Parker (Ithaca, NY: Cornell UP, 1985), pp. 345 56. 5. See Lynch, Janeites. 6. Tom Mole, Byron s Romantic Celebrity: Industrial Culture and the Hermeneutic of Intimacy (Basingstoke: Palgrave Macmillan, 2007), xii. See Mole s Chapter 1 for an excellent survey of Romantic celebrity and an argu- ment that modern celebrity begins with Byron (pp. 1 27). The OED s first record for celebrity as a type of person is 1849, but the term is in use (often with quotation marks that indicate its novelty) by the 1830s; an unsigned 1834 article about the follies of literary stardom, The Duchess D Abrants and the Countess of Blessington, mentions literary celebri- ties (Tait s Edinburgh Magazine [1834] 204 6, p. 205). The most compre- hensive history of celebrity is Leo Braudy s Frenzy of Renown: Fame and Its History (New York: Vintage, 1997). Other useful introductions to the topic include Joshua Gamson s Claims to Fame: Celebrity in Contemporary America (Berkeley: University of California Press, 1994) and Graeme Turner s Understanding Celebrity (London: Sage, 2004). Richard Schickel s Intimate Strangers: The Culture of Celebrity (Garden City, NY: Doubleday, 1986) is the most prominent of many discussions of fame and intimacy in modern culture; Virginia L. Blum s treatment of celebrity and identifica- tion in Flesh Wounds: The Culture of Cosmetic Surgery (Berkeley: University of California Press, 2003) is among the most subtle and provocative. Frank Donoghue s The Fame Machine: Book Reviewing and Eighteenth- Century Literary Careers (Stanford: Stanford UP, 1996) is excellent on the lead-up to the Romantic period, while Claire Brock s The Feminization of Fame, 1750 1830 (Basingstoke: Palgrave Macmillan, 2006) covers the late eighteenth and early nineteenth-century developments. Clara Tuite s Tainted Love and Romantic Literary Celebrity explores the Lamb-Byron affair as an episode in scandalous celebrity poised between older aristo- cratic codes and a modern public sphere (ELH 74: 1 [Spring 2007] 59 88). On celebrity as a point of contact between public and private in the nineteenth century, see Nicholas Dames s Brushes with Fame: Thackeray and the Work of Celebrity (Nineteenth-Century Literature 56: 1 [2001] 23 51). For poetic celebrity in nineteenth-century American context, see David Haven Blake, Walt Whitman and the Culture of American Celebrity (New Haven: Yale UP, 2006) and Eliza Richards, Gender and the Poetics of Reception in Poe s Circle (New York: Cambridge UP, 2004). 7. On the expansion of the reading public, see Richard Altick, The English Common Reader: A Social History of the Mass Reading Public, 1800 1900 (Chicago: University of Chicago Press, 1957), pp. 30 77. New data on this expansion is cataloged and analyzed by William St. Clair in The Reading Nation in the Romantic Period (Cambridge: Cambridge UP, 2004). For examples of very different kinds of arguments emphasizing the growing distance between writers and readers, see Jon P. Klancher, The Making of English Reading Audiences, 1790 1832 (Madison: University of Wisconsin, 1987) and Andrew Franta, Romanticism and the Rise of the Notes 157 Mass Public (Cambridge: Cambridge UP, 2007). On the advent of a mass public, see Susan Stewart s Crimes of Writing: Problems in the Containment of Representation (New York: Oxford UP, 1991). See also Tilottama Rajan s The Supplement of Reading: Figures of Understanding in Romantic Theory and Practice (Ithaca, NY: Cornell UP, 1990) on self and audience seen through theories of hermeneutics. 8. The Writer (1968), quoted in Stewart, Crimes, p. 4. 9. To John Lodge, 20 July 1830, in Felicia Hemans, Poems, Letters, Reception Materials, ed. Susan J. Wolfson (Princeton: Princeton UP, 2000), pp. 510 11. Quoting from Hemans s letters, Norma Clarke describes Hemans s vexed relationship to her overwhelming celebrity: Readers, American readers in particular, were relentless in pursuit of her. Demand for her lyrics was insatiable. Feeling conspicuous, unprotected, and in con- stant want of protection and domestic support, she lived and worked in a constant excitement, homage which made her profoundly uneasy (Ambitious Heights: Writing, Friendship, Love The Jewsbury Sisters, Felicia Hemans and Jane Welsh Carlyle [New York: Routledge: 1990], p. 50). 10. Thomas Medwin, Memoir of Shelley, The Athenaeum (1832) 472 4, 488 9, 502 4, 522 4, 535 7, 554 5 (p. 522). According to Medwin, the stranger immediately disappeared but was soon identified as an Englishman, and an officer in the Portuguese service (p. 522). 11. The Young Author, in M.J.J. [Maria Jane Jewsbury], Phantasmagoria, or, Sketches of Life and Literature, 2 vols (London: Hurst, Robinson, 1825), I, 189 98 (pp. 190, 193). First published in Literary Souvenir (1825) 85 93. 12. Lamb addressed her anonymous letter of 9 March 1812 to Childe Harold: I have read your Book & cannot refrain from telling you that I think it & that all those whom I live with & whose opinions are far more worth having think it beautiful [& ] As this is the first letter I ever wrote without my name & could not well put it, will you promise to burn it immediately & never to mention it? If you take the trouble you may very easily find out who it is, but I shall think less well of Child[e] Harold if he tries though the greatest wish I have is one day to see him & be acquainted with him (Paul Douglass, ed., The Whole Disgraceful Truth: Selected Letters of Lady Caroline Lamb [Basingstoke: Palgrave Macmillan, 2006], p. 77). Barrett Browning s letter is quoted in Patricia Thomson, George Sand and the Victorians: Her Influence and Reputation in Nineteenth-Century England (New York: Columbia UP, 1977), pp. 50 1. I discuss Trelawny s relationship to Shelley in Chapters 3 and 4 and Barrett Browning s fandom in Chapter 6. 13. Quoted in Leslie Marchand, Byron: A Biography (New York: Knopf, 1957), p. 608. [ Pobierz całość w formacie PDF ] |