{"id":2382,"date":"2019-05-29T23:11:35","date_gmt":"2019-05-29T23:11:35","guid":{"rendered":"http:\/\/www.bars.ac.uk\/blog\/?p=2382"},"modified":"2020-02-12T23:35:33","modified_gmt":"2020-02-12T23:35:33","slug":"the-bars-review-no-52-autumn-2018","status":"publish","type":"post","link":"https:\/\/www.bars.ac.uk\/blog\/?p=2382","title":{"rendered":"The BARS Review<\/i>, No. 52 (Autumn 2018)"},"content":{"rendered":"

\"\"<\/a><\/p>\n

We are delighted to announce the publication of the most recent issue of The BARS Review<\/em> (No 52, Autumn 2018).\u00a0 The issue contains a total (including a double review) of nineteen reviews of recent scholarly work within the field of Romanticism, broadly conceived.\u00a0 Five of the nineteen reviews compromise a \u2018spotlight\u2019 section on \u2018Romanticism, the Landscape, and the Environment\u2019.<\/p>\n

This issue of The BARS Review<\/em> is dedicated to the memory of Professor Michael O\u2019Neill (1953-2018) and includes his review of John Barnard’s 21st-Century Oxford Authors: John Keats<\/i>.<\/p>\n

If you have comments on the new number, or on the Review<\/em> in general, we\u2019d be very grateful for any feedback that would allow us to improve the site or the content.\u00a0 Mark Sandy would also be very happy to hear from people who would like to review for BARS.<\/p>\n

Editor:<\/em> Mark Sandy (Durham University)
\nGeneral Editors:<\/em> Ian Haywood (University of Roehampton), Susan Oliver (University of Essex) & Nicola J. Watson (Open University)
\nTechnical Editor:<\/em> Matthew Sangster (University of Glasgow)<\/p>\n

Table of Contents<\/strong><\/h3>\n

Dedication<\/strong><\/h4>\n\n\n\n\n
To Michael O’Neill (1953-2018)<\/a><\/td>\n<\/td>\n<\/tr>\n
Mark Sandy<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n

Reviews<\/strong><\/h4>\n\n\n\n\n
John Regan, Poetry and the Idea of Progress, 1760-1790<\/i><\/a><\/td>\n<\/td>\n<\/tr>\n
Fiona Milne<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
Roger Maioli, Empiricism and the Early Theory of the Novel<\/i><\/a><\/td>\n<\/td>\n<\/tr>\n
Gillian Skinner<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
Diego Saglia, European Literatures in Britain, 1815-1832<\/i><\/a><\/td>\n<\/td>\n<\/tr>\n
Gillian Dow<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
Jonathan Crimmins, The Romantic Historicism to Come<\/i><\/a><\/td>\n<\/td>\n<\/tr>\n
Francesco Marchionni<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
G. A. Rosso, The Religion of Empire: Political Theology in Blake\u2019s Prophetic Symbolism<\/i> and Chris Bundock and Elizabeth Effinger, eds., William Blake\u2019s Gothic Imagination: Bodies of Horror<\/i><\/a><\/td>\n<\/td>\n<\/tr>\n
Sibylle Erle<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
Heidi Thomson, Coleridge and the Romantic Newspaper: The Morning Post<\/u> and the Road to \u2018Dejection\u2019<\/i><\/a><\/td>\n<\/td>\n<\/tr>\n
Charles W. Mahoney<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
Madeleine Callaghan, Shelley\u2019s Living Artistry: Poems, Letters, Plays<\/i><\/a><\/td>\n<\/td>\n<\/tr>\n
Christopher Stokes<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
O. Bradley Bassler, Kant, Shelley and the Visionary Critique of Metaphysics<\/i><\/a><\/td>\n<\/td>\n<\/tr>\n
Merrilees Roberts<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
Roger Whitson, Steampunk and Nineteenth-Century Digital Humanities: Literary Retrofuturisms, Media Archaeologies, Alternate Histories<\/i><\/a><\/td>\n<\/td>\n<\/tr>\n
Kostas Boyiopoulos<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
Bo Earle, Post-Personal Romanticism: Democratic Terror, Prosthetic Poetics, and the Comedy of Modern Ethical Life<\/i><\/a><\/td>\n<\/td>\n<\/tr>\n
Paul Hamilton<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
Jane Austen, The Beautifull Cassandra: A Novel in Twelve Chapters<\/i>. Afterword by Claudia L. Johnson. Artwork by Leon Steinmetz.<\/a><\/td>\n<\/td>\n<\/tr>\n
Megan Quinn<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
Ainsley McIntosh, ed., Marmion: a Tale of Flodden Field<\/i>. The Edinburgh Edition of Walter Scott\u2019s Poetry.<\/a><\/td>\n<\/td>\n<\/tr>\n
Anna Fancett<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
John Barnard, ed., 21st-Century Oxford Authors: John Keats<\/i><\/a><\/td>\n<\/td>\n<\/tr>\n
Michael O’Neill<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n

Spotlight: Romanticism, Landscape, and the Environment<\/strong><\/h4>\n\n\n\n\n
Julia M. Wright, Representing the National Landscape in Irish Romanticism<\/i><\/a><\/td>\n<\/td>\n<\/tr>\n
Finola O’Kane<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
Thomas H. Ford, Wordsworth and the Poetics of Air: Atmospheric Romanticism in a Time of Climate Change<\/i><\/a><\/td>\n<\/td>\n<\/tr>\n
Yimon Lo<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
David Higgins, British Romanticism, Climate Change, and the Anthropocene \u2013 Writing Tambora<\/i><\/a><\/td>\n<\/td>\n<\/tr>\n
Thomas Bristow<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
Tom Furniss, Discovering the Footsteps of Time: Geological Travel Writing about Scotland, 1700-1820<\/i><\/a><\/td>\n<\/td>\n<\/tr>\n
Gerard Lee McKeever<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n
Paige Tovey, The Transatlantic Eco-Romanticism of Gary Snyder<\/i><\/a><\/td>\n<\/td>\n<\/tr>\n
Antonia Spencer<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n

Whole Number<\/strong><\/h4>\n\n\n\n\n
The BARS Review<\/i>, No. 52 (Autumn 2018) – review compilation<\/a><\/td>\n<\/td>\n<\/tr>\n
The BARS Review Editors<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

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