Download Free Romantic Blasphemy Book in PDF and EPUB Free Download. You can read online Romantic Blasphemy and write the review.

This book argues for the importance of blasphemy in shaping the literature and readership of Percy Bysshe Shelley and of the Romantic period more broadly. Not only are perceptions of blasphemy taken to be inextricable from politics, this book also argues for blasphemous ‘irreverence’ as both inspiring and necessitating new poetic creativity. The book reveals the intersection of blasphemy, censorship and literary property throughout the ‘Long Eighteenth Century’, attesting to the effect of this connection on Shelley’s poetry more specifically. Paul Whickman notes how Shelley’s perceived blasphemy determined the nature and readership of his published works through censorship and literary piracy. Simultaneously, Whickman crucially shows that aesthetics, content and the printed form of the physical text are interconnected and that Shelley’s political and philosophical views manifest themselves in his writing both formally and thematically.
Criticism has largely emphasised the private meaning of 'Romantic Satanism', treating it as the celebration of subjectivity through allusions to Paradise Lost that voice Satan's solitary defiance. The first full-length treatment of its subject, Romantic Satanism explores this literary phenomenon as a socially produced myth exhibiting the response of writers to their milieu. Through contextualized readings of the major works of Blake, Shelley, and Byron, this book demonstrates that Satanism enabled Romantic writers to interpret their tempestuous age: it provided them a mythic medium for articulating the hopes and fears their age aroused, for prophesying and inducing change.
The fact that Eliot disapproved of Romanticism is clear from his critical essays, where he often appears to reject it absolutely. However, Eliot’s understanding of the term and his appreciation of literature developed and altered greatly from his adolescence to his years of scholarly study, yet he was never unable to dismiss Romanticism entirely as a critical issue. This study, first published in 1985, analyses Eliot’s approach and criticism to Romanticism, with an analysis of The Waste Land, adding to the layers of its meaning, context and content to the poem. This title will be of interest to students of literature.
Romantic Poetry encompasses twenty-seven new essays by prominent scholars on the influences and interrelations among Romantic movements throughout Europe and the Americas. It provides an expansive overview of eighteenth- and nineteenth-century poetry in the European languages. The essays take account of interrelated currents in American, Argentinian, Brazilian, Bulgarian, Canadian, Caribbean, Chilean, Colombian, Croatian, Czech, Danish, English, Estonian, Finnish, French, German, Greek, Hungarian, Irish, Italian, Mexican, Norwegian, Peruvian, Polish, Romanian, Russian, Serbian, Slovak, Spanish, Swedish, and Uruguayan literature. Contributors adopt different models for comparative study: tracing a theme or motif through several literatures; developing innovative models of transnational influence; studying the role of Romantic poetry in socio-political developments; or focusing on an issue that appears most prominently in one national literature yet is illuminated by the international context. This collaborative volume provides an invaluable resource for students of comparative literature and Romanticism.SPECIAL OFFER: 30% discount for a complete set order (5 vols.).The Romanticism series in the Comparative History of Literatures in European Languages is the result of a remarkable international collaboration. The editorial team coordinated the efforts of over 100 experts from more than two dozen countries to produce five independently conceived, yet interrelated volumes that show not only how Romanticism developed and spread in its principal European homelands and throughout the New World, but also the ways in which the affected literatures in reaction to Romanticism have redefined themselves on into Modernism. A glance at the index of each volume quickly reveals the extraordinary richness of the series' total contents. Romantic Irony sets the broader experimental parameters of comparison by concentrating on the myriad expressions of “irony” as one of the major impulses in the Romantic philosophical and artistic revolution, and by combining cross-cultural and interdisciplinary studies with special attention also to literatures in less widely diffused language streams. Romantic Drama traces creative innovations that deeply altered the understanding of genre at large, fed popular imagination through vehicles like the opera, and laid the foundations for a modernist theater of the absurd. Romantic Poetry demonstrates deep patterns and a sharing of crucial themes of the revolutionary age which underlie the lyrical expression that flourished in so many languages and environments. Nonfictional Romantic Prose assists us in coping with the vast array of writings from the personal and intimate sphere to modes of public discourse, including Romanticism's own self-commentary in theoretical statements on the arts, society, life, the sciences, and more. Nor are the discursive dimensions of imaginative literature neglected in the closing volume, Romantic Prose Fiction, where the basic Romantic themes and story types (the romance, novel, novella, short story, and other narrative forms) are considered throughout Europe and the New World. This enormous realm is seen not just in terms of Romantic theorizing, but in the light of the impact of Romantic ideas and narration on later generations. As an aid to readers, the introduction to Romantic Prose Fiction explains the relationships among the volumes in the series and carries a listing of their tables of contents in an appendix. No other series exists comparable to these volumes which treat the entirety of Romanticism as a cultural happening across the whole breadth of the “Old” and “New” Worlds and thus render a complex picture of European spiritual strivings in the late eighteenth and the nineteenth centuries, a heritage still very close to our age.
Romantic Atheism explores the links between English Romantic poetry and the first burst of outspoken atheism in Britain from the 1780s onwards. Martin Priestman examines the work of Blake, Coleridge, Wordsworth, Shelley, Byron and Keats in their most intellectually radical periods, establishing the depth of their engagement with such discourses, and in some cases their active participation. Equal attention is given to less canonical writers: such poet-intellectuals as Erasmus Darwin, Sir William Jones, Richard Payne Knight and Anna Laetitia Barbauld, and controversialists including Holbach, Volney, Paine, Priestley, Godwin, Richard Carlile and Eliza Sharples (these last two in particular representing the close links between punishably outspoken atheism and radical working-class politics). Above all, the book conveys the excitement of Romantic atheism, whose dramatic appeals to new developments in politics, science and comparative mythology lend it a protean energy belied by the common and more recent conception of 'loss of faith'.
Cinema, Religion and the Romantic Legacy surveys the ways in which notions of religion and spirituality have impinged upon the cinema. Cinema is conceived as a post-Romantic form for which religion and spirituality can be unified only problematically. While inspecting many of the well-established themes and topoi of writing on religion and film (such as films about priests and 'Christ-figures') it also seeks to problematize them, focusing primarily upon the issues of religious representation foregrounded by such European directors as Kieslowski and Godard. Coates draws on theories of theologians, philosophers and cultural and literary critics including: Otto, Kant, Schiller and Girard. Addressing the relationship between religion and spirituality from a film studies specialist's perspective, this book offers all those concerned with film, media or religious studies an invaluable examination of artistic interaction with the theological and aesthetic issues of representation and representability. Paul Coates is Reader in Film Studies at the University of Aberdeen, Scotland, and author of many books including: The Gorgon's Gaze (CUP), Film at the Intersection of High and Mass Culture (CUP), The Story of the Lost Reflection (Verso).
This volume examines both historical developments and contemporary expressions of blasphemy across the world. The transgression of religious boundaries incurs more or less severe sanctions in various religious traditions. This book looks at how religious and political authorities use ideas about blasphemy as a means of control. In a globalised world where people of different faiths interact more than ever before and world-views are an increasingly important part of identity politics, religious boundaries are a source of controversy. The book goes beyond many others in this field by widening its scope beyond the legal aspects of freedom of expression. Approaching blasphemy as effective speech, the chapters in this book focus on real-life situations and ask the following questions: who are the blasphemers, who are their accusers and what does blasphemy accomplish? Utilising case studies from Europe, the Middle East and Asia that encompass a wide variety of faith traditions, the book guides readers to a more nuanced appreciation of the historical roots, political implications and religious rationale of attitudes towards blasphemy. Incorporating historical and contemporary approaches to blasphemy, this book will be of great use to academics in Religious Studies and the Sociology of Religion as well as Political Science, Media Studies, History.