Romanticism and the Poetics of Orientation

Joey S. Kim

What happens when we redirect our lines of reading along new lines, borders, and orientations-those that fail to fit neatly into the cardinal directions of North, South, East, and West? What is, who stands for, and where exactly is the 'Orient' in British Romantic poetry? To where does the 'Orient' lead? Romanticism and the Poetics of Orientation responds by tracing shifting orientations-cultural, geographical, aesthetic, racial, and gendered- through Orientalist sites, subjects, and settings. Kim coins the term 'poetics of orientation' to describe a poetics newly aware of cultural difference as a site of aesthetic contestation. She focuses on the contestation that occurs at the site of the lyric subject. A 'poetics of orientation', rather than situating the lyric subject in assumed racial whiteness, repositions the lyric subject within discussions of Orientalism and racial formation, tracing the white supremacist logics that have for too long been dismissed as inessential or nonconsequential to Romantic studies.

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Romanticism and the Poetics of Orientation

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Contents

Frontmatter
pp i-iv

Contents
pp v-v

List of Figures
pp vi-vii

Acknowledgements
pp viii-x

Introduction: Romanticism, Orientalism, Orientation
pp 1-15

1 - Situating the “Orient” in British Romantic Poetry
pp 16-55

2 - Byron’s Cosmopolitan “East”
pp 56-85

3 - The Racialized Poetess
pp 86-117

4 - Disorienting Romanticism: William Blake’s Orientalist Poetics
pp 118-158

Conclusion
pp 159-164

Works Cited
pp 165-176

Index
pp 177-182

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