By Mike Sanders
Among 1838 and 1852, the top Chartist newspaper, the Northern big name, released over 1,000 poems written through greater than 350 poets - because the readership of the Northern superstar numbered thousands, those poems have been among the main largely learn of the Victorian period. Why did the writing and analyzing of poetry play such an immense function in Chartism's fight to safe basic democratic rights? this primary ever full-length learn of the Northern Star's poetry column analyses the interaction among politics, aesthetics and heritage within the aftermath of the Newport riot (1839), throughout the mass moves of 1842 and the 12 months of eu Revolutions (1848). Mike Sanders transforms our realizing of Chartism and its position within the background of Victorian literature and ideas.
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Extra resources for The Poetry of Chartism: Aesthetics, Politics, History
94 The main features of the ‘political-historical’ level have already been discussed and the mere existence of Chartist poetry offers local corroboration of its positing of a generative relationship between social contradiction and textual production. 95 Once again, this is uncontentious with regard to Chartist poetry. Indeed, it is difficult to imagine a critical approach to such poetry which did not take cognizance of this dimension. For Jameson, the second level is also the level of the ‘ideologeme’; a notoriously slippery concept as suggested by Jameson’s own description of it as ‘an amphibious formation’.
The scholarly world also recognised its existence and contribution to the field of English literature. The Poets and Poetry of the Century, a mammoth nine-volume series edited by Alfred H. Miles (published between 1892 and 1897), which combined the functions of anthology and critical study, contains entries on W. J. 4 The entries on Ernest Jones and Gerald Massey are particularly interesting for the way in which they combine acknowledgement of the aesthetic achievement of each poet with an attempt to reassure a middle-class readership of the respectable nature of the poets’ radicalism.
128–9. ,132. , 133. 86 However, the idea of the Chartist imaginary departs from the structure of feeling in two particular ways. 87 In contrast, this study is generally concerned with poetry that is more closely associated with the ‘residual’ rather than the ‘emergent’. Although by a dialectical twist it might be argued that the residual elements of Chartism are also precursors of an emergent formation, in as much as the ‘red republicanism’ which emerges in the late 1840s anticipates the socialism of the late nineteenth century.