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