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Anne DeLong - Mesmerism, Medusa, and the Muse: The Romantic Discourse of Spontaneous Creativity

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Mesmerism, Medusa, and the Muse: The Romantic Discourse of Spontaneous Creativity explores the connections among the Romantic discourse of spontaneous literary creativity, the nineteenth-century cultural practice of mesmerism, and the mythical Medusa as an icon of the gendered gaze. An analysis of Medusan mesmerism in the poetry of Mary Robinson, Samuel Taylor Coleridge, Percy Bysshe Shelley and Letitia Elizabeth Landon (L.E.L.) and the prose of Mary Shelley reveals that these Romantic-era writers equate the enraptured state that produces spontaneous literary creation with the mesmeric trance. These writers employ Medusan imagery to portray both the mesmerist and the mesmerized subject, a conflation of subject/object positions that complicates issues of agency, subjectivity, and gender. Images of Medusan mesmerism ultimately work to deconstruct Romantic ideological dichotomies of self/other, female/male, muse/artist, and sublime/beautiful. In contrast to a traditional, masculinized Romantic discourse that emphasizes self-possession, this study uncovers a feminized, improvisational, Romantic discourse, characterized Other-possession, an assumption of the mesmerized subject position that enhances subjective fluidity.
This study interrogates the Romantic discourse of spontaneous literary creativity through an examination of Romantic poetry, prose, and theory that utilizes mesmeric and Medusan metaphors to suggest creative inspiration. Building on recent scholarship about improvisational poetics, the subversive potential of mesmerism, and Medusa as a feminist icon, this work suggests that the mesmeric Medusan muse not only enables creativity for women writers but also provides a mirror in which they view (and through which they give voice to) their own societal oppression. The mesmeric Medusan muse in Romantic-era literaturefrom the Ancient Mariner and the Frankenstein monster to the tragic, abandoned Sapphic poetessoften represents the face of oppression, an unwelcome and monstrous truth in nineteenth-century British society. For women writers in particular, braving the stare of the Medusan muse enhances empathy, and therefore inspiration and literary productivity.

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About the Author

Anne DeLong is Assistant Professor of English at Kutztown University in Kutztown, Pennsylvania, where she teaches courses in nineteenth-century British literature and womens studies. Dr. DeLong is co-editor of The Journal of Dracula Studies. She also serves on the editorial board of Romantic Women Writers Reviewed. Her recent publications include a critical edition of Marie Corellis 1887 novel A Romance of Two Worlds and an online annotated version of Dracula.

Acknowledgments

This book reflects the provocative insights of several discerning readers in its early stages as a dissertation at Lehigh University. I am particularly indebted to my dissertation director, Elizabeth A. Dolan, for her feedback and encouragement. Rosemary Mundhenk, Alexander Doty, and Norman Girardot all gave generously of their time to read and comment on several drafts. Special thanks to Dina DeLong, with whom countless energetic conversations helped to clarify my arguments.

I am also indebted to the P.E.O. (Philanthropic Educational Organization) Sisterhood, both for the generous Scholar Award that funded my London research and for their friendship and support. Id also like to acknowledge the staffs of the Bodleian Library at Oxford University, the British Library, the Wellcome Library for the History and Understanding of Medicine, and Lehigh Universitys Linderman and Fairchild-Martindale Libraries, particularly the Inter-Library Loan staff. And, of course, the Lehigh University English department, for giving me the precious gift of time in the form of a dissertation fellowship.

Finally, warmest thanks are due my personal musesJimmy, Jake, Erika, and Momfor their patient support and unconditional love.

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