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Studies in Romanticism, 2006, Spring, 45, 1

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Your weekly journal entries can be in any literary medium, i. I will even allow video. You must utilize all of the mediums below throughout the year and cannot use the same medium in back to back weeks. For your monthly entries, at the beginning of every month, the teacher will inform you of the medium you must use.

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In will normally coincide with what is being discussed in class. The monthly entries should some up the weekly entries and also explain the progress of the monthly goal. If you have difficulty with your goal or need help chronicling your journal, you will rely on your group for help.

Those in the group must assist a fellow group-mate with their project, such as shooting video barring it doesn't take too much time outside of school or put them in any danger or uncomfortable position.

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Any student who feels this way should report it to the teacher immediately. No one will be there to meet him. The word 'autobiography' is a late eighteenth-century coinage; yet by it was used as the title for a multi-volume anthology of self-writing, and in Thomas Carlyle wrote of 'these Autobiographical times of ours'. Over the course of those few decades, readers and writers came to recognize and name a new genre.

This book is the first full study of the phenomenon, examining both the conditions and the practice of autobiographical writing in Romantic literature. Historians of autobiography have often pointed to the turn of the nineteenth century as a pivotal moment. In Rousseau and De Quincey's 'Confessions', Wordsworth's 'Prelude', and other canonical documents, it has been argued, self-writing begins to serve the purpose of expressing the individuality, autonomy, and interiority of the self.

A more wide-ranging view of the actual state of autobiography at the time exposes this narrative as a misrepresentation. Self-writing does gain a new kind of prominence around ; not, however, because it articulates 'Romantic' ideologies of selfhood, but because it becomes a focus of scrutiny, and of contention. The decades of the Romantic period identified themselves as 'Autobiographical times' - but did so anxiously.

This book asks: what forms did that recognition and that anxiety take within the literary culture of the period?

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What did autobiography mean to Romantic readers and writers? How do autobiographical texts of the period reflect, express, and negotiate these conditions? As well as reading a wide variety of those documents, with single chapters devoted to works by Coleridge, Byron, and Lamb, Treadwell examines writing on and around autobiography: essays, reviews, and other forms of commentary. By preserving a continuous relation between the texts and their contexts, this book offers the first proper study of what is actually meant by 'Romantic autobiography'.

What do Wagner's operas really mean? How much room do they leave for different perspectives? In this fresh and inventive book, James Treadwell lays open the rich possibilities for interpretation offered across the full range of Wagner's art. Focussing steadily on Wagner's music, dramas and prose writings, rather than on questions of biography or influence, the book carefully traces the tensions and uncertainties embedded within the composer's central themes.

The result is a new and vivid depiction of the essential character of Wagner's work. Addressing both general Wagner enthusiasts and more scholarly students of music, Treadwell identifies and pursues the habitual concerns of Wagner's operas and writings: enchantment, seduction, heroism, victory, transcendence and sacredness.

While Wagner's work repeatedly and urgently sets itself to deny various or ambiguous interpretations, the operas themselves are nevertheless far more intricate and conflicted than this denial allows for.