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"Essays that highlight the pervasive role of Romantic poetry and poetics on modern and contemporary innovative poetry"--
Claiming that the scholarship and criticism of Romanticism and its works have for too long been dominated by a Romantic ideology—by an uncritical absorption in Romanticism's own self-representations—Jerome J. McGann presents a new, critical view of the subject that calls for a radically revisionary reading of Romanticism. In the course of his study, McGann analyzes both the predominant theories of Romanticism (those deriving from Coleridge, Hegel, and Heine) and the products of its major English practitioners. Words worth, Coleridge, Shelley, and Byron are considered in greatest depth, but the entire movement is subjected to a searching critique. Arguing that poetry is produced and reproduced within concrete historical contexts and that criticism must take these contexts into account, McGann shows how the ideologies embodied in Romantic poetry and theory have shaped and distorted contemporary critical activities.
The Romantic period coincided with revolutionary transformations of traditional political and human rights discourses, as well as witnessing rapid advances in technology and a primitivist return to nature. As a broad global movement, Romanticism strongly impacted on the literature and arts of the late eighteenth and early nineteenth centuries in ways that are still being debated and negotiated today. Examining the poetry, fiction, non-fiction, drama, and the arts of the period, this book considers: Important propositions and landmark ideas in the Romantic period; Key debates and critical approaches to Romantic studies; New and revisionary approaches to Romantic literature and art; The ways in which Romantic writing interacts with broader trends in history, politics, and aesthetics; European and Global Romanticism; The legacies of Romanticism in the twentieth and twenty-first centuries. Containing useful, reader-friendly features such as explanatory case studies, chapter summaries, and suggestions for further reading, this clear and engaging book is an invaluable resource for anyone who intends to study and research the complexity and diversity of the Romantic period, as well as the historical conditions which produced it.
Wild Romanticism consolidates contemporary thinking about conceptions of the wild in British and European Romanticism, clarifying the emergence of wilderness as a cultural, symbolic, and ecological idea. This volume brings together the work of twelve scholars, who examine representations of wildness in canonical texts such as Frankenstein, Northanger Abbey, "Kubla Khan," "Expostulation and Reply," and Childe Harold ́s Pilgrimage, as well as lesser-known works by Radcliffe, Clare, Hölderlin, P.B. Shelley, and Hogg. Celebrating the wild provided Romantic-period authors with a way of thinking about nature that resists instrumentalization and anthropocentricism, but writing about wilderness also engaged them in debates about the sublime and picturesque as aesthetic categories, about gender and the cultivation of independence as natural, and about the ability of natural forces to resist categorical or literal enclosure. This book will be of great interest to students and scholars of Romanticism, environmental literature, environmental history, and the environmental humanities more broadly.
This book investigates the productive crosscurrents between visual culture and literary texts in the Romantic period, focusing on the construction and manipulation of the visual, the impact of new visual media on the literary and historical imagination, and on fragments and ruins as occupying the shifting border between the visible and the invisible. It examines a broad selection of instances that reflect debates over how seeing should itself be viewed: instances, from Daguerre's Diorama, to the staging of Coleridge's play Remorse, to the figure of the Medusa in Shelley's poetry and at the Phantasmagoria, in which the very act of seeing is represented or dramatized. In reconsidering literary engagements with the expanding visual field, this study argues that the popular culture of Regency Britain reflected not just emergent and highly capitalized forms of mass entertainment, but also a lively interest in the aesthetic and conceptual dimensions of looking. What is commonly thought to be the Romantic resistance to the visible gives way to a generative fascination with the visual and its imaginative--even spectacular--possibilities.
This book presents a series of essays which focus on the role of Romantic philosophy and ideology in the sciences.
As eighteenth-century scholarship expands its range, and disciplinary boundaries such as Enlightenment and Romanticism are challenged, novels published during the rich period from 1750 to 1832 have become a contested site of critical overlap. In this volume, scholars who typically write under the rubric of either the long eighteenth century or Romanticism examine novels often claimed by both scholarly periods. This shared enterprise opens new and rich discussions of novels and novelistic concerns by creating dialogue across scholarly boundaries. Dominant narratives, critical approaches, and methodological assumptions differ in important ways, but these differences reveal a productive tension. Among the issues engaged are the eighteenth-century novel's development of emotional interiority, including theories of melancholia; the troubling heritage of the epistolary novel for the 1790s radical novel; tensions between rationality and romantic affect; issues of aesthetics and politics; and constructions of gender, genre, and race. Rather than positing a simple opposition between an eighteenth-century Enlightenment of rationality, propriety, and progress and a Romantic Period of inspiration, heroic individualism, and sublime emotionality, these essays trace the putatively 'Romantic' in the early 1700s as well as the long legacy of 'Enlightenment' values and ideas well into the nineteenth century. The volume concludes with responses from Patricia Meyer Spacks and Stephen C. Behrendt, who situate the essays and elaborate on the stakes.
This set reissues 28 books on Romanticism originally published between 1940 and 2006. Routledge Library Editions: Romanticism provides an outstanding collection of scholarship which explores not only Romantic literature but the Romantic Movement as a whole, including art, philosophy and science.
Published in 1987, this book was the first full-length interpretative study in English of the later writings of the outstanding Soviet novelist and playwright Mikhail Bulgakov (1891-1940). The focus is the 1930s, the period when Bulgakov was writing The Master and Margarita, an extraordinary novel that has had a profound impact in the Soviet Union and which is now generally regarded as his masterpiece. Using material from Soviet archives and libraries, Dr Curtis suggests that Bulgakov's fundamental preoccupation in this movel with the destiny of literature and of the writer is reflected in other major works of the same period, in particular his writings on Pushkin and Molière. Bulgakov emerges as a belated romantic, a figure unique on the early Soviet literacy scene.
Interest in German Romanticism has been revitalized in recent years by new post-structural, interdisciplinary, and intertextual perspectives. However until now this renewed interest has not led to a re-examination of Jakob Böhme's formative influence on