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Juxtaposing pre-eminent and popular writers, Cuill? reads their fictional works in light of their treatises on art and society, exploring the significance of musical tableaux that have revolutionized the form and function of music in the text.
Corinne, or Italy (1807) is both the story of a love affair and Madame de Stael's homage to the landscape, literature, and art of Italy. The Scottish peer Lord Nelvil is torn between his passion for the beautiful Italian poetess Corinne and respect for his dead father's wish that he should marry Lucile, a traditionally dutiful English girl. His choice leads to tragedy for Corinne and a seared conscience for himself. Madame de Stael weaves discreet French Revolutionary allusion and allegory into her novel. It stands at the birth of modern nationalism and is also one of the first works to put a woman's creativity centre stage. Sylvia Raphael's new translation preserves the natural character of the French original and is complemented by notes and an introduction which sets an extraordinary work of European Romanticism in its historical context.
This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
Sensibility, or the capacity to feel, played a vital role in philosophical reflection about the natural sciences, the social sciences, and the arts in eighteenth-century France. Yet scholars have privileged the Marquis de Sade's vindication of physiological sensibility as the logical conclusion of Enlightenment over Germaine de Sta l's exploration of moral sensibility's potential for reform and renewal that paved the way for Romanticism. This volume of essays showcases Sta l's contribution to the "affective revolution" in Europe, investigating the personal and political circumstances that informed her theory of the passions and the social and aesthetic innovations to which it gave rise. Contributors move seamlessly between her political, philosophical, and fictional works, attentive to the relationship between emotion and cognition and aware of the coherence of her thought on an individual, national, and international scale. They first examine the significance Sta l attributed to pity, happiness, melancholy, and enthusiasm in The Influence of the Passions as she witnessed revolutionary strife and envisioned the new republic. They then explore her development of a cosmopolitan aesthetic, in such works as On Literature, Corinne, or Italy, On Germany, and The Spirit of Translation, that transcended traditional generic, national, and linguistic boundaries. Finally, they turn to her contributions to the visual and musical arts as she deftly negotiated the transition from a Neoclassical to a Romantic aesthetic. Sta l's Philosophy of the Passions concludes that, rather than founding a republic based on the rights of man, Sta l's reflection fostered international communities of women (artists, models, and collectors; authors, performers, and spectators), enabling them to participate in the re-articulation of sociocultural values in the wake of the French Revolution. Contributors: Tili Boon Cuill , Catherine Dubeau, Nanette Le Coat, Christine Dunn Henderson, Karen de Bruin, M. Ione Crummy, Jennifer Law-Sullivan, Lauren Fortner Ravalico, C. C. Wharram, Kari Lokke, Susan Tenenbaum, Mary D. Sheriff, Heather Belnap Jensen, Fabienne Moore, Julia Effertz
The volume explores the interrelated topics of transnational identity in all its ambiguity and complexity, and the new ways of imagining community or Gemeinschaft (as distinct from society or Gesellschaft)) that this broader climate made possible in the Romantic period. The period crystallized, even if it did not inaugurate, an unprecedented interest in travel and exploration, as well as in the dissemination of the knowledge thus acquired through print media and learned societies. This dissemination expanded but also unmoored both epistemic and national boundaries. It thus led to what Antoine Berman in his study of translation tellingly calls “the experience of the foreign,” as a zone of differences between and within selves, of which translation was the material expression and symptom. As several essays in the collection suggest, it is this mental travel that distinguishes the Romantic probing of transitional zones from that of earlier periods when travel and exploration were more purely under the sign of trade and commerce and thus of appropriation and colonization. The renegotiation of national and cultural boundaries also raises the question of what kinds of community are possible in this environment. A group of essays therefore explores the period’s alternative communities, and the ways in which it tested the limits of the very concept of community. Finally, the volume also explores the interrelationship between notions of identity and community by turning to Romantic theatre. Concentrating on the stage as monitor and mirror of contemporary ideological developments, a dedicated section of this book looks at the evolution of the tragic in European Romanticisms and how its inherent conflicts became vehicles for contrasting representations of individual and communal identities. This book was published as a special issue of European Romantic Review
What happens to poets' genius when they die? The peculiar affinity which was felt to exist between their physical and literary 'remains' - their bodies and books - is the subject of this original cultural study, which concentrates on poets and poetry from the Romantic to late Victorian period. Poetical Remains deals with issues such as the place of burial, the kind of monument deemed appropriate, the poet's 'last words' and last poems, the creation of memorial volumes, and the commercial boost given to a poet's reputation by 'celebrity death', focussing in each case on the powerful, complex, often unstated but ever-present connections between the poet's body and their poetic 'corpus'. As well as the works of the poets themselves, Matthews draws on contemporary biography and memoirs, family correspondence, newspaper reports, and tribute verse among other texts, and places the literature of poetic death in its social, material, and affective context: the conflict between the idealized 'country churchyard' and the secular urban cemetery, the ideal of private, familial burial as against the pressure for public ceremony, the recuperation of death-in-exile as an extension of national pride, transactions between spiritual and material, poetic and pragmatic, in a secularizing age. Some of the most poignant and darkly comic moments in nineteenth-century literary history arose around the deathbeds of poets and the events which followed their deaths. What happened to Shelley's heart, and to Thomas Hood's monument; the different fates which dictated that the first Poet Laureate appointed by Queen Victoria, Wordsworth, was buried in his family plot in Grasmere, while her second, Tennyson, was wrested from his family's grasp and interred in Westminster Abbey - these are some of the stories which Matthews tells, and which are bound up in a sustained and powerful argument about the way in which our culture deals with artists and their work on the boundary between life and death.