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Poetry, Politics and Pictures

Culture and Identity in Europe, 1840–1914

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Edited By Ingrid Hanson, Jack Rhoden and Erin Snyder

This collection offers new perspectives on the connections between politics, identity and representation in art and poetry in nineteenth- and early twentieth-century Britain and Europe. Contributions explore questions such as the following: what was the effect of the reciprocity of political, religious and artistic influence in nineteenth-century Britain and Europe? How were key political moments or movements influenced by or influential on literary and artistic form? How did the styles and forms of the past shape the political expressions of the nineteenth-century present? By what means did politically inflected art and literature shape the emerging construction of national, class or religious identities in the nineteenth century?
Ranging across not only Britain but also France, Germany, Belgium, Finland, Spain and Italy, the essays draw on different discourses and art forms. They all utilise concepts of cultural materialism to shape an understanding of the contingent relationships between national and international public discourse and identity, political change and cultural production as well as the reproduction, translation, influence and dissemination of both politics and culture in art and literature.

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Acknowledgements

Extract

We’re grateful to the University of Shef field, which supported the confer- ence out of which this collection has grown, and in particular to Timothy Baycroft and Michael Perraudin for their warm support of the conference and their encouragement and advice as we’ve worked on the book. The publication of images has been made possible by a grant from the Scouloudi Foundation in association with the Institute of Historical Research. We owe a debt of thanks to our editor at Peter Lang, Laurel Plapp, for her patience and clarity in guiding us through the process of producing this book, and to the readers for their useful comments on earlier drafts. Personally, each of us would like to express our gratitude to those who have sustained, supported and encouraged us in various ways: Erin to David Robey for advice and mentoring, and to Tim Ralphs for his unfail- ing encouragement; Wilfred to Timothy Baycroft and Suzannah Rockett for lending an ear and an eye to ideas, to the fellow editors for their ef fort, enthusiasm and dedication, and to his family, housemates and Suzannah for generally putting up with him; Ingrid to Kevin Cawley for language advice and intellectual comradeship, to David Kennedy for thoughts on the various discourses of art, and, as always, to Richard Hanson for support and nourishment of all kinds.

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