Titlebook: Romanticism and the Object; Larry H. Peer (Professor of Comparative Literature Book 2009 Palgrave Macmillan, a division of Nature America

LAPSE

,“I‘ll Contrive a Sylvan Room”: Certainty and Indeterminacy in Charlotte Smith’s , (1807),occurred in Britain as a result of the Napoleonic wars. The fables that follow . in the 1807 edition mediate the moral and epistemic conflicts that shape ., which reflects the concomitant breakdown of these certainties within wider British culture in the early Romantic era. By situating Smith’s fabl

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Shelley Incinerated,t of ., the periodical to be edited by Hunt. The meetings and discussions about this project had been long anticipated and, for Shelley, were important in more than one way. Shelley had not seen his friend Hunt in over four years; and though negotiations during the days Shelley stayed at Byron’s vil

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,“Tun’d to Hymns of Perfect Love”: The Anglican Liturgy as Romantic Object in John Keble’s ,ccompaniment to the Anglican liturgical calendar, with a poem for every Sunday, feast day, and special service, went through ninety-five separate editions during Keble’s lifetime, and had sold “half a million copies […] by 1877” (Goodwin475;Nockles 197). According to Kristie Blair, the most percepti

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Journeys to the East: Shelley and Novalis, first to Palestine where he sings to the baby Jesus, then on to “Indostan” where, “drunk with love,” he spreads the glad tidings through words that transcend mortal speech. Around a decade and a half later, the hero of Percy Shelley’s . (1816), similarly a nameless “Poet,” travels from Europe ever

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ctions and potentials defined on a finite or infinite network, on the lines of axiomatic potential theory. Random walks and electrical networks are important sources for the advancement of the theory.978-3-642-21398-4978-3-642-21399-1Series ISSN 1862-9113 Series E-ISSN 1862-9121