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<TABLE CELLSPACING=0 CELLPADDING=0><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>List of illustrations</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>vii</TD><TD></TD></TR><TR><TD>Notes on contributors</TD><TD WIDTH=40></TD><TD VALIGN=TOP>viii</TD><TD></TD></TR><TR><TD>Acknowledgements</TD><TD WIDTH=40></TD><TD VALIGN=TOP>xi</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Introduction</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>1</TD><TD VALIGN=TOP>(12)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Edward Larrissy</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>From sublimity to indeterminacy: new world order or aftermath of Romantic ideology</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>13</TD><TD VALIGN=TOP>(16)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Paul Hamilton</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Turnabouts in taste: the case of late Turner</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>29</TD><TD VALIGN=TOP>(18)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>William Vaughan</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>`Conquered good and conquering ill': femininity, power and Romanticism in Emily Bronte's poetry</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>47</TD><TD VALIGN=TOP>(26)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Emma Francis</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>A sense of endings: some Romantic and postmodern comparisons</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>73</TD><TD VALIGN=TOP>(13)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>J. Drummond Bone</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>A being all alike? Teletropic syntax in Ashbery and Wordsworth</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>86</TD><TD VALIGN=TOP>(12)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Geoff Ward</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Virtual Romanticism</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>98</TD><TD VALIGN=TOP>(15)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Fred Botting</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>The sins of the fathers: the persistence of Gothic</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>113</TD><TD VALIGN=TOP>(28)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>John Fletcher</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Romantic irony and the postmodern sublime: Geoffrey Hill and `Sebastian Arrurruz'</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>141</TD><TD VALIGN=TOP>(16)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Andrew Michael Roberts</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>`Uprooting the rancid stalk': transformations of Romanticism in Ashbery and Ash</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>157</TD><TD VALIGN=TOP>(22)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Stephen Clark</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Postmodernism/fin de siecle: defining `difference' in late twentieth-century poetics</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>179</TD><TD VALIGN=TOP>(31)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Marjorie Perloff</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD>Notes</TD><TD WIDTH=40></TD><TD VALIGN=TOP>210</TD><TD VALIGN=TOP>(21)</TD></TR><TR><TD>Index</TD><TD WIDTH=40></TD><TD VALIGN=TOP>231</TD><TD></TD></TR></TABLE>

Romanticism and postmodernism