A01=Rachel Schulkins
asexual
Asexual Female
Author_Rachel Schulkins
Basil Pot
belle
Category=DC
Category=DSB
Category=DSBF
Category=DSC
Cruikshank's Print
Cruikshank’s Print
dame
Elfin Grot
eq_bestseller
eq_biography-true-stories
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_poetry
Fanny Brawne
female
female desire representation
Feminine Subject Matter
feminist literary criticism
gender studies
Isabella's Brothers
Isabella's Love
Isabella’s Brothers
Isabella’s Love
Keats's Contemporaries
Keats's Letters
Keats's Life
Keats's Poems
Keats's Poetry
Keats's Relationship
Keats's Romances
Keats's Work
keatss
Keats’s Contemporaries
Keats’s Letters
Keats’s Life
Keats’s Poems
Keats’s Poetry
Keats’s Relationship
Keats’s Romances
Keats’s Work
Knight's Narrative
Knight's Tale
Knight’s Narrative
Knight’s Tale
La Belle
Madeline's Dream
Madeline’s Dream
Mary Wollstonecraft
merci
nineteenth-century cultural history
poem
poetry
romances
Romantic period literature
sans
sexual politics in Romantic poetry
sexuality in poetry
Social Reformation
Solitary Sex
Stood Tip Toe
Young Man
Product details
- ISBN 9781138272835
- Weight: 453g
- Dimensions: 156 x 234mm
- Publication Date: 26 Oct 2016
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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Examining John Keats’s reworking of the romance genre, Rachel Schulkins argues that he is responding to and critiquing the ideals of feminine modesty and asexual femininity advocated in the early nineteenth century. Through close readings of Isabella; or the Pot of Basil, The Eve of St. Agnes, Lamia and ’La Belle Dame sans Merci,’ Schulkins offers a re-evaluation of Keats and his poetry designed to demonstrate that Keats’s sexual imagery counters conservative morality by encoding taboo desires and the pleasures of masturbation. In so doing, Keats presents a version of female sexuality that undermines the conventional notion of the asexual female. Schulkins engages with feminist criticism that largely views Keats as a misogynist poet who is threatened by the female’s overwhelming sexual and creative presence. Such criticism, Schulkins shows, tends towards a problematic identification between poet and protagonist, with the text seen as a direct rendering of authorial ideology. Such an interpretation neither distinguishes between author, protagonist, text, social norms and cultural history nor recognises the socio-sexual and political undertones embedded in Keats’s rendering of the female. Ultimately, Schulkins’s book reveals how Keats’s sexual politics and his refutation of the asexual female model fed the design, plot and vocabulary of his romances.
Dr Rachel Schulkins received her PhD from the University of Liverpool and is currently a lecturer at Liverpool Hope University, UK.
