This book analyses the tropes and motifs employed by Smith’s artist-associates in the context of the popular aesthetics of the period and undertakes parallel readings between such visual artistry and Smith’s literary works. The book deliberates on how Smith utilises these aesthetics as narrative devices, making use of the tropes of the picturesque, the sublime and the beautiful, as well as that of a national British heraldic artwork, in order to produce and enhance meaning in her literary oeuvre. Thus, Smith uses aesthetic structures as vehicles for social critique, commentating on political, gender, moral and class concerns in addition to enhancing the perceived authenticity of her own artistry. The scholarship aims to correct the common misperception that Smith was a lonely marginal figure of Romanticism and instead asserts her central position in an enormous network of key artistic figures of British Romanticism.
About the author
Valerie Derbyshire received her PhD from the School of English at the University of Sheffield where she was the winner of an Arts and Humanities Research Council Competition Student scholarship. Her doctoral research focused on visual artistry in the works of Charlotte Smith. Valerie’s research interests include Romanticism and the romance genre in general from the eighteenth century to the present day. She lives in Derbyshire, England with her husband and two sons.