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The article offers information on a special issue of The Wordsworth Circle dedicated to remembering Michael O'Neill, a renowned critic, editor, and poet, known for his expertise in Romanticism and Percy Bysshe Shelley's writings. Topics include O'Neill's significant contributions to Shelley studies through his scholarly works and editorial projects, highlighting his book-length studies and editing of major Shelley works.

The article offers information on Shelley's imaginative encounters with Wordsworth, as explored by Mark Sandy. Topics include Michael O'Neill's analysis of Shelley's portrayal of Wordsworth as a poet of the 'unseen' in "Peter Bell the Third," and Shelley's fascination with the 'unseen' in his own writing and its influence on his encounters with Wordsworth's poetry.

Byron's treatment of subjective modes of being are characterised by a poetic mobility that permits competing and contradictory perspectives of the self to coalesce. Starting with Michael O'Neill's sense of fixity and fluidity as a marker of Byronic identity, this article examines Byron's darker poetics of madness that permit a glimpse into the destructive and transformative elements of selfhood. In Childe Harold's Pilgrimage and Beppo, Venice emerges as the imaginative site of Byron's self-aware artistry and psychodrama of self. Elsewhere Byron's poetics of selfhood are read as inextricably bound to deliberate self-conscious acts of writing and reading that both dread and delight in the fictionality of self, memory, and history.1 [ABSTRACT FROM AUTHOR]

Attending to the hoped-for connection between young and older generations, this essay revisits Wordsworth's poetic fascination with the elderly and the question of what, if any, consolation for emotional and physical loss could be attained for growing old. Wordsworth's imaginative impulse is to idealise the elderly into transcendent figures, which offers the compensation of a harmonious vision to the younger generation for the losses of old age that, in all likelihood, they will themselves experience. The affirmation of such a unified and compensatory vision is dependent upon the reciprocity of sympathy that Wordsworth's poetry both sets into circulation and calls into question. Readings of 'Simon Lee', 'I know an aged Man constrained to dwell', and 'The Old Cumberland Beggar' point up the limitations of sympathy and vision (physical and poetic) avowed in these poems as symptomatic of Wordsworth's misgivings about the debilitating effects of growing old and old age. Finally, Wordsworth's unfolding tragedy of 'Michael' is interpreted as reinforcing a frequent pattern, observed elsewhere in his poetry, whereby idealised figures of old men transform into disturbingly spectral second selves of their younger counterparts or narrators. These troubling transformations reveal that at the heart of Wordsworth's poetic vision of old age as a harmonious, interconnected, and consoling state, there are disquieting fears of disunity, disconnection, disconsolation, and, lastly, death. [ABSTRACT FROM AUTHOR]

Recognising the importance of Wordsworth's sense of nascent light (elegised in his 'Ode: Intimations of Immortality'), the essay traces how influential this idea was on later Romantic poetic treatments of light. Wordsworth's qualitative distinction between the 'fountain light of all our day' and the 'light of common day' reveals his alertness to the revelatory and blinding effects of light and establishes the terms of Byron's and Shelley's imaginative engagement with the transformative aspects of light in their depiction of Italian cityscapes and coastal scenes. This transformative quality of light, for Byron and Shelley, is inextricable from those utopian aspirations to recapture future edenic states, which are configured in terms that consign such future idylls to the irrecoverable past. Finally, Shelley's The Triumph of Life is read as avowing an apocalyptic, rather than transformative, light whose 'severe excess' is still reimagined in terms familiar to the reader of Wordsworth's 'Ode'. [ABSTRACT FROM AUTHOR]

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The article focuses on the changes in the crystallinity of cellulose in response to changes in relative humidity and acid treatment on cultural artefacts and cellulosic materials. It states that the crystallinity was measured for three different cellulosic materials including cotton linter chromatography paper, woodpulp paper and raffia. It reports that crystallinity indexes for all three materials are measured using X-Ray diffraction.

Focuses on the differences between the poems of John Keats and Friedrich Nietzsche. Thematic parallels; Rejection of Enlightenment's understanding of the subject as singular and autonomous; Keats' definition of poetic identity.

The article provides information on a research project conducted by the Collections Conservation and Care Section at the Horniman Museum and the Camberwell College of Arts which is focused on the plant material "raffia" used in ethnographic artifacts. Noting that raffia appears in many African objects in the museum's collection, the authors describe efforts to discover more about the causes of deterioration and develop conservation strategies.