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"That strange personal interest": P...

Adams, Theresa Ann.

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"That strange personal interest": Personality, publishing, and poetry in the 1820s.

Record Type:	Electronic resources : Monograph/item
Title/Author:	"That strange personal interest": Personality, publishing, and poetry in the 1820s./
Author:	Adams, Theresa Ann.
Description:	169 p.
Notes:	Source: Dissertation Abstracts International, Volume: 63-04, Section: A, page: 1350.
Contained By:	Dissertation Abstracts International63-04A.
Subject:	English literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3049325
ISBN:	9780493638713

"That strange personal interest": Personality, publishing, and poetry in the 1820s.
Adams, Theresa Ann.

"That strange personal interest": Personality, publishing, and poetry in the 1820s. - 169 p.

Source: Dissertation Abstracts International, Volume: 63-04, Section: A, page: 1350.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2002.

This item must not be sold to any third party vendors.

In a letter to a potential patron, John Keats's publisher, John Taylor, relates the details of the poet's personal history. Taylor acknowledges, "These are odd particulars to give, when I am introducing the Work and not the Man to you---but if you knew him, you would also feel that strange personal Interest in all that concerns him." The blurring of "the Work" and "the Man" is a common occurrence in Keats's poetic career, as well as the careers of his contemporaries: John Clare, Felicia Hemans, and Letitia Elizabeth Landon. In this dissertation, I discuss their responses to the "strange personal interest" fostered by changes in the publication, distribution, and consumption of poetry in Britain during the 1820s. These changes include the emergence of new venues for publication, such as magazines and literary annuals, the diminishing demand for the single-author book of poetry, and the growing influence of women readers. The personal takes several forms, including an interest in the poet's life and appearance and an insistence on the authenticity of the poet's emotions. It is "strange" because as the personal becomes a commodity to be marketed and sold to eager readers, it threatens to overwhelm the work. This personal interest is rooted in the eighteenth-century tradition of sensibility. Although both poet and work became increasingly commodified during the 1820s, readers familiar with the conventions of sensibility were trained to respond to poets' displays of emotion with their own; they wanted a relationship based on sympathy, not economics. These four poets used their poems to encourage the reader's sympathy, but they also resisted the classed and gendered expectations linked to the personal that limited them to "appropriate" topics and sentiments. They participated in the blurring of poet and work while resisting narrowly biographical readings of their poems.

ISBN: 9780493638713Subjects--Topical Terms:

516356
English literature.

"That strange personal interest": Personality, publishing, and poetry in the 1820s.
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500 $a Source: Dissertation Abstracts International, Volume: 63-04, Section: A, page: 1350.
500 $a Supervisor: Sarah M. Zimmerman.
502 $a Thesis (Ph.D.)--The University of Wisconsin - Madison, 2002.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a In a letter to a potential patron, John Keats's publisher, John Taylor, relates the details of the poet's personal history. Taylor acknowledges, "These are odd particulars to give, when I am introducing the Work and not the Man to you---but if you knew him, you would also feel that strange personal Interest in all that concerns him." The blurring of "the Work" and "the Man" is a common occurrence in Keats's poetic career, as well as the careers of his contemporaries: John Clare, Felicia Hemans, and Letitia Elizabeth Landon. In this dissertation, I discuss their responses to the "strange personal interest" fostered by changes in the publication, distribution, and consumption of poetry in Britain during the 1820s. These changes include the emergence of new venues for publication, such as magazines and literary annuals, the diminishing demand for the single-author book of poetry, and the growing influence of women readers. The personal takes several forms, including an interest in the poet's life and appearance and an insistence on the authenticity of the poet's emotions. It is "strange" because as the personal becomes a commodity to be marketed and sold to eager readers, it threatens to overwhelm the work. This personal interest is rooted in the eighteenth-century tradition of sensibility. Although both poet and work became increasingly commodified during the 1820s, readers familiar with the conventions of sensibility were trained to respond to poets' displays of emotion with their own; they wanted a relationship based on sympathy, not economics. These four poets used their poems to encourage the reader's sympathy, but they also resisted the classed and gendered expectations linked to the personal that limited them to "appropriate" topics and sentiments. They participated in the blurring of poet and work while resisting narrowly biographical readings of their poems.
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