Focusing on the convergence of Romantic studies and literary theory since 1970, this text examines Paul de Man's deconstructive use of Shelley, Jerome McGann's Marxist-inflected appropriation of Heinrich Heine, contemporary feminist interpretations of Mary Wollstonecraft, and Harold Bloom's pragmatic reading of Ralph Waldo Emerson. Through these examinations, along with commentary on Keats, Jameson, Lovejoy, and Spitzer, this text attempts a series of readings of both the theory being used by the various critics, and the primary Romantic texts under consideration.
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