This deep dive reveals how our foundational concepts of art, identity, and civilization in the 18th and 19th centuries were not organic developments but actively engineered constructs. The analysis begins by dismantling the myth of the apolitical Romantic poet, demonstrating how the material context of a poem’s publication—such as Coleridge’s work in a radical anthology or Keats’s in an anti-establishment journal—was a deliberate political act that shaped its original meaning and argument.

This same mechanism of construction is then applied to social identity, specifically the ideal of motherhood. This prescriptive, desexualized, and domestic role was aggressively promoted by the rising middle class as a moral contrast to the "monstrous mother" trope, a strategy for social distinction. Figures like Mary Wollstonecraft pushed back, critiquing this engineered role by connecting domestic patriarchy to broader political injustice.

Finally, the framework scales up to Edward Said’s Orientalism, defined as a Western discourse of power over the "Orient." Key concepts like "exteriority" and the "textual attitude" show how the West constructed a simplified, theatrical image of the East to justify imperial domination. This thinking even infiltrated early feminism, as seen in Harriet Taylor’s essay, which used Orientalist hierarchies to argue for Western women's superiority. The lasting insight is that the authority of these historical ideas—from poems to social roles to entire civilizations—was manufactured through specific political, material, and imperial strategies, urging us to question the accepted "truths" of our own time.

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