Romanticism and the Contingent Self: The Challenge of Representation

Acknowledgements
Contents
List of Figures
List of Tables
Chapter 1: Introduction: Strange Multiplicities
	1.1 Forms of Self and Forms of Writing
	1.2 Romanticism and the Necessary Self
	1.3 Frankenstein’s Contingent Selves
		1.3.1 Subjective and Objective Selfhood: ‘I’ and ‘Me’
		1.3.2 Three Conditioning Forces: Sensation, Passion, the Will
		1.3.3 The Challenge of Representation: Multiplicity and Monstrosity
	References
Chapter 2: Philosophy: Eighteenth-Century Theories of Contingent Selfhood
	2.1 Sensation: John Locke and Mary Astell
	2.2 Passion: David Hume and Adam Smith
	2.3 The Will: Jean-Jacques Rousseau and Immanuel Kant
	2.4 Three Romantic Thinkers
	References
Chapter 3: Fiction: Growing Down in Edgeworth and Opie’s Novels
	3.1 Character: Unnecessary Beings
	3.2 Plot: Attachments vs. Connections
	3.3 Language: Subjective and Objective Anamorphosis
	References
Chapter 4: Lyric: Self-Abnegation in the Sonnets of Clare and Smith
	4.1 Genre: Self and the Sonnet
	4.2 Narrative Mode: Sequencing and Paratexts
	4.3 Lyrical Mode I: Person-Deixis
	4.4 Lyrical Mode II: Place-Deixis
	References
Chapter 5: Drama: Inner Seas in the Tragedies of Baillie and Harpur
	5.1 Theory: Kinds of Romantic Tragedy
	5.2 Setting: Psychic and Social Worlds
	5.3 Imagery: The Metaphysic of Passion
	References
Chapter 6: Prose: Moore’s Multiform Byron
	6.1 Style: The Prose of ‘Character’ and ‘Genius’
	6.2 Plot: Ordered and Disordered Lives
	6.3 Autobiography: Moore Through a Glass, Darkly
	References
Chapter 7: Conclusion
	References
Appendices
	Online Repository
	Romantic Novel Corpus
	Moore’s Byron
	References
Index