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The Oxford Handbook of European Romanticism focuses on the period beginning with the French Revolution and extending to the uprisings of 1848 across Europe. It brings together leading scholars in the field to examine the intellectual, literary, philosophical, and political elements of European Romanticism. The volume begins with a series of chapters examining key texts written by major writers in languages including French, German, Italian, Spanish, Russian, Hungarian, Greek, and Polish amongst others. Then follows a second section based on the naturally inter-disciplinary quality of Romanticism, encapsulated by the different discourses with which writers of the time, set up an internal comparative dynamic. These chapters highlight the sense a discourse gives of being written knowledgeably against other pretenders to completeness or comprehensiveness of understanding, and the Enlightenment encyclopaedic project. Discourses typically push their individual claims to resume European culture, collaborating and trying to assimilate each other in the process. The main examples featuring here are history, geography, drama, theology, language, geography, philosophy, political theory, the sciences, and the media. Each chapter offers original and individual interpretation of individual aspects of an inherently comparative world of individual writers and the discursive idioms to which they are historically subject. Together the forty-one chapters provide a comprehensive and unique overview of European Romanticism.
Covers comparative literature; English literature; Italian literature in the 18th and 19th centuries.
This groundbreaking study considers Italian Romanticism and the modern myth of Italy. Ranging across European and international borders, he examines the metaphors, facts, and fictions about Italy that were born in the Romantic age and continue to haunt the global literary imagination.
Making extensive use of untranslated texts, Arnold Schmidt discusses the impact of Byron's life and works on the discourse of Italian nationalism between 1818 and 1948, his participation in Grand Tour and salon culture, and his influence on Italian Classicists and Romantics.
As a result of Napoleon’s campaigns in Italy, Old Master art flooded into Britain and its acquisition became an index of national prestige. Maureen McCue argues that their responses to these works informed the writing of Romantic period authors, enabling them to forge often surprising connections between Italian art, the imagination and the period’s political, social and commercial realities. Dr McCue examines poetry, plays, novels, travel writing, exhibition catalogues, early guidebooks and private experiences recorded in letters and diaries by canonical and noncanonical authors, including Felicia Hemans, William Buchanan, Henry Sass, Pierce Egan, William Hazlitt, Percy Shelley, Lord Byron, Anna Jameson, Maria Graham Callcott and Samuel Rogers. Her exploration of the idea of connoisseurship shows the ways in which a knowledge of Italian art became a key marker of cultural standing that was no longer limited to artists and aristocrats, while her chapter on the literary production of post-Waterloo Britain traces the development of a critical vocabulary equally applicable to the visual arts and literature. In offering cultural, historical and literary readings of the responses to Italian art by early nineteenth-century writers, Dr McCue illuminates the important role they played in shaping the themes that are central to our understanding of Romanticism.
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.
Focusing on key members of the Pisan Circle, Byron, the Shelleys, and Leigh Hunt, Maria Schoina explores configurations of identity and the acculturating practices of British expatriates in post-Napoleonic Italy. The problems involved in British Romanticism's relations to its European 'others' are her point of departure, as she argues that the emergence and mission of what Mary Shelley termed the 'Anglo-Italian' is inextricably linked to the social, political, economic, and cultural conditions of the age: the forging of the British identity in the midst of an expanding empire, the rise of the English middle class and the establishment of a competitive print culture, and the envisioning, by a group of male and female Romantic liberal intellectuals, of social and political reform. Schoina's emphasis on the political implications of the British Romantics' hyphenated self-representation results in fresh readings of the Pisan Circle's Italianate writings that move them away from interpretations focused on a purely aesthetic or poetic attachment to Italy to uncover their complex ideological underpinnings. Recognizing that Mary Shelley was instrumental in conceptualizing the Romantics' discourse of acculturation expands our understanding of this phenomenon, as does Schoina's convincing case for the importance of gender as a major determinant of Mary Shelley's construction of Anglo-Italianness.
From the artistic practice of improvisation to the politics of nationalism, the essays in this volume break new ground and significantly extend our understanding of the relations between British and Italian culture in its analysis of the reception of Dante and Italian literature in British Romanticism.
Sheds new light on the presence and impact of Continental European literary traditions in post-Napoleonic Britain.