Orientalist Poetics: The Islamic Middle East in Nineteenth-Century English and French Poetry

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Format: Hardcover
Pub. Date: 2002-01-28
Publisher(s): Routledge
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Summary

Orientalist Poetics is the only book on literary orientalism that spans the nineteenth century in both England and France with particular attention to poetry and poetics. It convincingly demonstrates orientalism's centrality to the evolution of poetry and poetics in both nations, and provides a singularly comprehensive and definitive analysis of the aesthetic impact of orientalism on nineteenth-century poetry. Because it examines the poetry of the entire century across both national literatures, the book is in a unique position to articulate the essential part orientalism plays in major developments of nineteenth-century poetics.Orientalist Poetics effectively bridges the gap between the analysis of poetics and the analysis of orientalism. In showing that major poetic developments have roots in orientalism, Haddad's book offers a valuable and innovative revisionist view of nineteenth-century literary history.

Author Biography

Emily A. Haddad received her PhD in Comparative Literature from Harvard University. Since 1997 she has taught in the Department of English at the University of South Dakota, where she is an associate professor

Table of Contents

Acknowledgments vii
Introduction 1(10)
To instruct without displeasing: Percy Shelley's The Revolt of Islam and Robert Southey's Thalaba the Destroyer
11(43)
Instruction in The Revolt of Islam
13(4)
Tyranny: the Orient's chief export
17(4)
Tyranny's comrades: religion and sexism
21(4)
Orientalism and Shelley's poetics
25(3)
Morals vs. materials: instruction and pleasure in Thalaba the Destroyer
28(5)
The desert, Islam: foreignness as a hermeneutic category
33(2)
Foreignness general and particular: character as archetype
35(6)
Extremes: too many notes?
41(4)
Southey and his readers: delighted, informed, or distressed
45(2)
Representation and the ``Arabesque ornament''
47(7)
Representing, misrepresenting, not representing: Victor Hugo's Les Orientales and Alfred de Musset's ``Namouna''
54(47)
Hugo's preface: poetic ideals and the Orient as subject
55(4)
``La Douleur du pacha'': the Orient as origin or as end
59(3)
``Adieux de l'hotesse arabe'': stasis
62(3)
``Novembre'': returning to Paris, the self, and mimesis
65(5)
Hugo's critics: E.J. Chetelat
70(4)
George Gordon Byron's Don Juan: ``But what's reality?''
74(5)
``Namouna'': fragmentary representation
79(6)
No narrative no representation
85(5)
Authority referents, and representation
90(7)
The Middle East: ``impossible a decrire''
97(4)
Orientalist poetics and the nature of the Middle East
101(54)
William Wordsworth and the nature of the Middle East
103(6)
Felicia Hemans's ambivalence
109(4)
Truth in illustrating Robert Southey and Thomas Moore
113(5)
Leconte de Lisle: ``Le Desert,'' ``le desert du monde''
118(7)
Theophile Gautier: the composite desert
125(5)
``In deserto'': European nature in absentia
130(6)
Out of the desert: Byron's ``Turkish Tales''
136(5)
Matthew Arnold in Bukhara: nature in the Middle Eastern city
141(6)
Alfred Tennyson's Basra: natural phenomena and urban construction
147(5)
Orientalist poetics, Oscar Wilde
152(3)
The Orient's art, orienting art
155(47)
A confederation of the Middle East and art: Wordsworth
155(2)
The Middle East as a source of art: Leconte de Lisle
157(7)
Middle Eastern art and Gautier's imagination
164(7)
Nightingales and roses I: Walter Savage Landor and oriental literature
171(4)
Nightingales and roses II: Moore and the Orient as an ideal
175(3)
Hemans's Middle Eastern models
178(5)
Grounding a poetics in the 1001 Nights: Tennyson
183(4)
The Orient and Tennyson's p(a)lace of art
187(5)
Gautier's orientalist poetics and art for art's sake
192(7)
Orientalist poetics, Oscar Wilde: culmination
199(3)
Bibliography 202(14)
Index 216

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