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Romantic Capabilities discusses the relationship between popular new media uses of literary texts. Devising and modelling an original critical methodology that bridges historicist literary criticism and reception studies with media studies and formalism, this volume contends that how a literary text behaves when it encounters new media reveals medial capabilities of the text that can transform how we understand its significance for the original historical context for which it was created. Following an introductory theoretical chapter that explains the book's unconventional approach to the archive, Romantic Capabilities analyzes significant popular "media behaviors" exhibited by three major Romantic British literary corpuses: the viral circulation of William Blake's pictures and proverbs across contemporary media, the gravitation of Victorian panorama painters and 3D photographers to Walter Scott's historical fictions, and the ongoing popular practice of writing fanfiction set in the worlds of Jane Austen's novels and their imaginary country estates. The result is a book that reveals Blake to be an important early theorist of viral media and the law, Scott's novels to be studies in vision that helped give rise to modern immersive media, and Austenian realism to be a mode of ecological design whose project fanfiction grasps and extends. It offers insight into the politics of virality, the dependence of immersion on a sense of frame, and the extent to which eighteenth-century landscape gardening anticipated Deleuzian ideas of the "virtual" by granting existence to reality's as-yet-unrealized capabilities.
Sir Walter Scott (1771-1832) was once a household name, but is now largely forgotten. This book explores how Scott's work became an all-pervasive point of reference for cultural memory and collective identity in the nineteenth century, and why it no longer has this role. Ann Rigney breaks new ground in memory studies and the study of literary reception by examining the dynamics of cultural memory and the 'social life' of literary texts across several generations and multiple media. She pays attention to the remediation of the Waverley novels as they travelled into painting, the theatre, and material culture, as well as to the role of 'Scott' as a memory site in the public sphere for a century after his death. Using a wide range of examples and supported by many illustrations, Rigney demonstrates how remembering Scott's work helped shape national and transnational identities up to World War I, and contributed to the emergence of the idea of an English-speaking world encompassing Scotland, the British Empire, and the United States. Scott's work forged a potent alliance between memory, literature, and identity that was eminently suited to modernization. His legacy continues in the widespread belief that engaging with the past is a condition for transcending it.
Offering a new understanding of canonical Romanticism, Daniela Garofalo suggests that representations of erotic love in the period have been largely misunderstood. Commonly understood as a means for transcending political and economic realities, love, for several canonical Romantic writers, offers, instead, a contestation of those realities. Garofalo argues that Romantic writers show that the desire for transcendence through love mimics the desire for commodity consumption and depends on the same dynamic of delayed fulfillment that was advocated by thinkers such as Adam Smith. As writers such as William Blake, Lord Byron, Sir Walter Scott, John Keats, and Emily Brontë engaged with the period's concern with political economy and the nature of desire, they challenged stereotypical representations of women either as self-denying consumers or as intemperate participants in the market economy. Instead, their works show the importance of women for understanding modern economics, with women's desire conceived as a force that not only undermines the political economy's emphasis on productivity, growth, and perpetual consumption, but also holds forth the possibility of alternatives to a system of capitalist exchange.