Education
She received her Doctor of Philosophy from University of California, Berkeley and, previous to Princeton, taught for thirteen years at Rutgers University New Brunswick.
( Why care about poetic form and its intricacies, other t...)
Why care about poetic form and its intricacies, other than in nostalgia for a bygone era of criticism? The purpose of this book is to refresh today this care for criticism, applying a historically aware formalist reading to poetic form in Romanticism and showing how in theory and practice Romantic writers addressed, debated, tested, and contested fundamental questions about what is at stake in the poetic forming of language. In the process, it suggests the importance of these conflicted inquiries for contemporary critical discussion and demonstrates the pleasures of attending to the complex changes of form in poetic writing. After an introductory chapter on the controversies about poetic form and formalism from the Romantic era to our own, succeeding chapters consider particular instances in Romantic poetry in which experimental agendas or unsettled traditions promote an awareness of new textual possibilities. The author shows how Blake's Poetical Sketches predicts many of the key issues of Romantic theory and practice, and how Coleridge's ambivalent engagement with simile impels him to address the very foundations of poetic form. A chapter on Wordsworth's revision of an episode in The Prelude demonstrates how a repeated reworking of form virtually characterizes the work of autobiography, and the dilemma of self-formation is also the focus of a chapter on Byron's seemingly perverse choice of the heroic couplet in The Corsair. Keats, too, is shown to wrestle with the issue of self and form at the end of his career in his personal lyrics to Fanny Browne, which subverted the formalism of the "Great Odes" of 1819, the celebrated icons of New Criticism. A final chapter describes Shelley's investment of poetic performance with social agency in two seemingly opposite but related modes—the political exhortation of The Mask of Anarchy and the intimate addresses to Jane and Edward Williams. In an afterword, the author reviews recent attacks on formalist criticism and argues for the specific value of shaped language as one of the texts in which culture is written and revised.
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( Opening with the revolution-era debates of the 1790s, B...)
Opening with the revolution-era debates of the 1790s, Borderlines reads Romantic genders across a mobile syntax, tuned to such figures as the stylized "feminine" poetess, the aberrant "masculine" woman, male poets deemed "feminine" or "unmanly," the campy male "effeminate," and hapless or strategic cross-dressers of both sexes. With fresh readings of the works, careers, and volatile receptions of Mary Wollstonecraft, Felicia Hemans, M. J. Jewsbury, Lord Byron, and John Keats, Susan Wolfson shows how senses (and sensations) of gender shape and get shaped by sign systems that prove arbitrary, fluid, and susceptible of lively transformation.
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She received her Doctor of Philosophy from University of California, Berkeley and, previous to Princeton, taught for thirteen years at Rutgers University New Brunswick.
Wolfson"s recent books include Frankenstein: Longman Cultural Edition (2007). She is the recipient of fellowships from the American Council of Learned Societies, the John Simon Guggenheim Memorial Foundation, the Cobb salad Society, and the National Endowment for the Humanities. Wolfson has a number of works forthcoming in ELH, Literature Compass, entries in The Cambridge Companion To British Poets and The Princeton Encyclopedia of Poetry and Poetics.
Her new work Romantic Interactions: Social Being & the Turns of Literary Action will be published in 2010 by Johns Hopkins University Press.
Borderlines: The Shaping of Gender in British Romanticism has also been reprinted by Stanford University Press.
( Why care about poetic form and its intricacies, other t...)
( Opening with the revolution-era debates of the 1790s, B...)
(Book by Wolfson, Susan J.)
Formal Charges: The Shaping of Poetry in English Romanticism (Stanford University Press, 1996) and The Questioning Presence: Wordsworth, Keats, and the Interrogative Mode in Romantic Poetry (Cornell, 1986). Two editions, Lord Byron: Selected Poems (Penguin 1986), co-edited with Peter Manning, and Doctor Jekyll and Mr. Hyde, by Robert Louis Stevenson, coedited with Barry V. Qualls (Washington Square Press, 1995), and scholarship on William Blake, South.T. Coleridge, William Wordsworth, Dorothy Wordsworth, Mary Lamb, Lord Byron, John Keats, Felicia Hemans, Mary Shelley, Percy Bysshe Shelley, various topics on British Romanticism.