"Imagining Byron in the Nineteenth Century" After Byron's death, many commentators predicted that his poetry would be unread, and himself forgotten, within a generation. But Byron and his poetry remained in the public eye throughout the nineteenth century and beyond. How? My current research attempts to answer that question by examining Byron's mediation through a variety of cultural products, from statues to circus acts. This requires a shift in paradigms of reception history, from a 'critical heritage' to a capillary model of cultural transmission. "Romanticism and the Economy of Attribution" During my Leverhulme fellowship, I studied the varied ways in which names and texts become connected in Romantic print culture. I used bibliographic methods to explore the cultural history of attribution in an effort to expose the emergence of the terms in which we talk about authorship today. This project aimed to reveal the rich complexity of the period's attribution styles and the importance of attribution as an interface of artistic and commercial concerns. "Byron's Romantic Celebrity: Industrial Culture and the Hermeneutic of Intimacy" My thesis is that the modern phenomenon of celebrity emerged in the Romantic period, and that Byron should be studied as one of its earliest examples and most astute critics. Under that rubric I investigate the often strained interactions of artistic endeavour and commercial enterprise, the material conditions of Byron's publications, and the place of celebrity culture in the history of the self. "Revealing Lord Byron: Revelation and Concealment in The Giaour, Manfred and Beppo" This dissertation suggests that Byron's popularity rested in part on the play of (self-) revelation and concealment in his poems, and that this paradigm was established in The Giaour, underwent a crisis at the time of Manfred, and was displaced by a new paradigm in Beppo. "Doubting Tongues: Geoffrey Hill and the Language of Faith" This examines Hill's troubled engagement with biblical and liturgical language, and his questioning of the contemporary possibilities of public devotional art.