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2019.NEXUS 01 edita: Antonio Ballesteros � Percy John BYsshe Keats SheLLey POETRY 1819 WaLt WhitMAn IRIS NOVEL 1919 MURDOCHCONTENT& ESSAY LANGUAGE INTEGRATED ČLIL LEARNING � Presidente ALBERTO LÁZARO LAFUENTE Universidad de Alcalá Secretario ANTONIO BALLESTEROS GONZÁLEZ 2019.NEXUS 01 UNED Vocal 1a CRISTINA ALSINA RÍSQUEZ Copyright De los textos, sus autores. Universitat de Barcelona Editor ANTONIO BALLESTEROS GONZÁLEZ Vocal 2a ROSARIO ARIAS DOBLAS Universidad de Málaga Graphic TONI CAMPS design useixantaquatre.com Tesorera CRISTINA SUÁREZ GÓMEZ Universitat de les Illes Balears ISSN 1697-4646 http://www.aedean.org nexus 2019-01 ÍNDICE LITERATURE AND CULTURE AND LITERATURE TRIBUTES BILL PHILLIPS Universitat de Barcelona 8 Percy Bysshe Shelley & John Keats are Dead White European Men EULALIA PIÑERO GIL Universidad Autónoma de Madrid 15 Do I contradict myself ? Very well then I contradict myself Walt Whitman, el poeta de las emociones y los sentidos. MARIÁNGEL SOLÁNS GARCÍA Universidad Nacional de Educación a Distancia 25 Vida y posteridad de una mente brillante Iris Murdoch (1919-1999) LINGUISTICS ARTICLE XABIER SAN ISIDRO Moray House School of Education; University of Edinburgh 33 The Multi-faceted Effects of CLIL A Literature Review 3 nexus 2019-01 ÍNDICE LINGUISTICS PAPER RESEARCH JAVIER PÉREZ GUERRA Universidade de Vigo Linguistic variation all over 50 the place Some Briefing Notes about the LVTC Research Group BOOK REVIEWS VICENT BELTRÁN-PALANQUES Universitat Jaume I Speaking in a Second 55 Language Rosa Alonso Alonso, ed. LAURA ROLDÁN SEVILLANO Universidad de Zaragoza Women on the Move. Body, 60 Memory and Femininity in Present-Day Transnational Diasporic Writing Silvia Pellicer-Ortín and Julia Tofantšuk, eds. LAURA DE LAS MERCEDES BUJÁN-SÁNCHEZ Independent Scholar 63 Queering Women's and Gender Studies Begoña Crespo, Isabel Moskowich and Carolina Núñez-Puente, eds. 4 nexus 2019-01 ÍNDICE BOOK REVIEWS MARÍA LUISA PASCUAL GARRIDO Universidad de Córdoba Mid Eighteenth-Century Female 66 Literary Careers in the Monthly Review and The Critical Review María Jesús Lorenzo Modia and Mónica Amenedo-Costa FRANCESCA BLANCH-SERRAT Universitat Autònoma de Barcelona Mid Eighteenth-Century Female 71 Literary Careers in the Monthly Review and The Critical Review María Jesús Lorenzo Modia and Mónica Amenedo-Costa JESÚS BOLAÑO QUINTERO Universidad de Cádiz Paul Auster's Ghosts. The 74 Echoes of European and American Tradition María Laura Arce Álvarez DAVID YAGÜE GONZÁLEZ Texas A&M University 77 Tradition and (R)evolution: Reframing Latina / o Identities in Contemporary US Culture Carmen Mª Méndez García, ed. 5 nexus 2019-01 ÍNDICE BOOK REVIEWS BURCU GÜLÜM TEKIN Universidad de Zaragoza Voice and Discourse in the 80 Irish Context Diana Villanueva Romero, Carolina P. Amador-Moreno, and Manuel Sánchez García, eds. MARÍA ISABEL SEGURO Universitat de Barcelona Gender Issues in Contemporary 83 Irish Literature. Electronic Journal of the Spanish Association for Irish Studies 13:2 Melania Terrazas, ed. JUAN NAVARRO Universidad de Murcia Teoría y práctica de los 88 estudios culturales. David Walton JAVIER ÁLVAREZ CABALLERO Universidad de Salamanca/ University College, Dublin Otro mundo es posible. Un 91 canadiense en la Guerra Civil española Ted Allan. Edición de Juan Manuel Camacho Ramos 6 nexus 2019-01 ÍNDICE CONFERENCE REPORT CONFERENCE DINA PEDRO & VICTORIA PUCHAL TEROL Universitat de València Celebrating Women in 93 Literature and the Arts of the Nineteenth Century LAP (Literature, Arts and Performance) Research Group. Universitat de València (Spain), 21 November 2018. In-house research seminar. 7 nexus 2019-01 TRIBUTE | LITERATURE AND CULTURE BILL PHILLIPS Universitat de Barcelona Percy Bysshe Shelley and John Keats are Dead White European Men 8 nexus 2019-01 ercy Bysshe Shelley and John Keats are Dead retelling of the narrative itself. John Wilson Croker, the White European Men and no longer enjoy a unsigned reviewer of Quarterly Review, writes in similar pre-eminent position in the hearts and minds style: “Reviewers”, he complains, P of poetry lovers and teachers; the canon is not what it was. Now that they are forced to jostle with the competition to gain our attention we need to ask ourselves whether they were any good in the first place. have been sometimes accused of not reading the works which they affect to criticise. On the present occasion we shall Few of their contemporaries thought so. Friends, of anticipate the author’s complaint, and honestly confess that course, supported them, often in print, but nobody else. we have not read his work. Not that we have been wanting In Shelley’s case there were two complaints. His earliest in our duty —far from it— indeed, we have made efforts poems, considered both by himself and later supporters almost as superhuman as the story itself appears to be, to get to be juvenilia, received scathing criticisms: “There is through it; but with the fullest stretch of our perseverance, we no ‘original poetry’ in this volume; there is nothing but are forced to confess that we have not been able to struggle downright scribble,” exclaimed an anonymous critic in beyond the first four books of which this Poetic Romance 1814: “it is really annoying to see the waste of paper consists (Matthews 110). which is made by such persons as the putters-together of these sixty four pages”(Barcus 45). But the main objection was moral; Shelley’s works were indefensible. Lockhart, once again writing in Blackwood’s Edinburgh Strangely enough, when his verse was criticised for its Magazine, eschews drollery and viciously questions content, his qualities as a poet were often extolled: pre- Keats’s sanity instead: “The phrenzy of the Poems was bad sumably his moral crimes were exacerbated by the waste enough in its way”, he exclaims; “but it did not alarm us of talent displayed together with the fear that his lyrical half so seriously as the calm, settled, imperturbable driv- proficiency might lead susceptible readers astray. In a elling idiocy of Endymion” (Matthews 98). These criti- review of The Revolt of Islam in Blackwood’s Edinburgh cisms, and especially Lockhart’s, were considered, at the Magazine, John Gibson Lockhart, writing anonymous- time, to have precipitated Keats’s early death. More re- ly, conceded that Shelley “is strong, nervous, original; cent commentators, however, such as Keats’s biographer, well entitled to take his place near to the great creative Andrew Motion, blame the walking trip to The Lake Dis- masters, whose works have shed its truest glory around trict and Scotland that Keats undertook in the summer the age wherein we live” (Barcus 117). The problem of 1818: “for two days he trudged thirty seven miles, was was that he would insist on dabbling in politics, and saturated by rain, exhausted by stumbling through bogs, Lockhart is in no mood to be merciful: “As a political chilled by sleeping in bleak huts, drained by the effort and infidel treatise”, he thunders, “The Revolt of Islam is of merely continuing […] It was on Mull that his short contemptible” (Barcus 117). life started to end, and his slow death began” (Motion 290). It is ironic that it was a walking tour, so closely Keats tended to escape the accusations of moral turpitude associated with Romanticism, practised and championed (though his association with Leigh Hunt was considered by Wordsworth, and de rigueur for any would be poet, reason enough to condemn him), but his quality as a poet which hastened his end. was rarely recognised beyond his own limited circle of friends and supporters. His first volume of poetry, Poems, Keats’s third and final volume of poetry, Lamia, Isabella, appeared in 1817, was largely ignored, and remained un- The Eve of St Agnes, and Other Poems, like the previous sold. According to the publishers, Charles and James Ol- two, was limited to a small print run of 500 copies. It lier, “the greater number of persons who have purchased received slightly better reviews, but there was still much it from us have found fault with it in such plain terms, hostility, and Keats was a long way from the reverence his that we have in many cases offered to take the book back name would inspire a century later. An unsigned review rather than be annoyed with the ridicule which has, time in Eclectic Review in April 1820 claims that “Mr Keats’s after time, been showered upon it” (Matthews 7). Keats, failure is, not the want of talent, but the misdirection of naturally enough, changed publishers, and his next vol- it; and this circumstance presents the only chance there ume to be published, Endymion, was brought out by Tay- is that some day or other he will produce something bet- lor and Hessey. Their diligence in promoting Keats’s work ter” (Matthews 238). Keats’s problem is his youth. “Mr was successful in the sense that reviews appeared in several Keats,” argues the same critic, “it will be sufficiently ev- of the major literary magazines of the time, but they were ident, is a young man —whatever be his age, we must deeply hostile. The British Critic and Quarterly Review consider him as still but a young man” (Matthews 236). were sarcastic, or, as they preferred to put it, “droll”. “This His best work, the argument goes, is still to come. is the most delicious poem of its kind, which has fallen within our notice” (Matthews 91), begins the anonymous But it is not, really, Keats’s and Shelley’s poetry that cap- reviewer of the British Critic, and concludes with the sol- tured the imaginations of later generations of poetry emn assurance “that this poem, containing 4074 lines, is readers and literary gossips, but their lives and deaths. printed on very nice hot-pressed paper, and all sold for In Keats’s case it is —put simply— his early death from nine shillings, by a very respectable London bookseller” tuberculosis in 1821 at the age of 25.

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