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Sympathy and the State in the Romantic Era explores a fascinating connection between two seemingly unrelated Romantic-era discourses, outlining the extent to which eighteenth and early nineteenth century theories of sympathy were generated by crises of state finance. Through readings of authors such as David Hume, Adam Smith, William Wordsworth, and P.B. Shelley, this volume establishes the ways in which crises of state finance encouraged the development of theories of sympathy capable of accounting for both the fact of "social systems" as well as the modes of emotional communication by means of which such systems bound citizens to one another. Employing a methodology that draws on the systems theory of Niklas Luhmann, Michel Serres, and Giovanni Arrighi, as well as Gilles Deleuze’s theories of time and affect, this book argues that eighteenth and early nineteenth century philosophies of sympathy emerged as responses to financial crises. Individual chapters focus on specific texts by David Hume, Adam Smith, Jean-Jacques Rousseau, Ann Yearsley, William Wordsworth, and P.B. Shelley, but Mitchell also draws on periodicals, pamphlets, and parliamentary hearings to make the argument that Romantic era theories of sympathy developed new discourses about social systems intended both to explain, as well as contain, the often disruptive effects of state finance and speculation.
Though traditionally defined as a relatively brief time period - typically the half century of 1780-1830 - the "Romantic era" constitutes a crucial, indeed unique, transitional phase in what has come to be called "modernity," for it was during these fifty years that myriad disciplinary, aesthetic, economic, and political changes long in the making accelerated dramatically. Due in part to the increased velocity of change, though, most of modernity’s essential master-tropes - such as secularization, instrumental reason, individual rights, economic self-interest, emancipation, system, institution, nation, empire, utopia, and "life" - were also subjected to incisive critical and methodological reflection and revaluation. The chapters in this collection argue that Romanticism’s marked ambivalence and resistance to decisive conceptualization arises precisely from the fact that Romantic authors simultaneously extended the project of European modernity while offering Romantic concepts as means for a sustained critical reflection on that very process. Focusing especially on the topics of form (both literary and organic), secularization (and its political correlates, utopia and apocalypse), and the question of how one narrates the arrival of modernity, this collection collectively emphasizes the importance of understanding modernity through the lens of Romanticism, rather than simply understanding Romanticism as part of modernity. This book was previously published as a special issue of European Romantic Review.
A one-stop resource containing introductory material through to practical case studies in reading primary and secondary texts to introducing criticism and new directions in research.
What makes it possible for self-interest, cruelty and violence to become part of the benevolent, compassionate ideology of eighteenth-century sensibility? This book explores forms of emotional response, including sympathy, tears, swoons and melancholia through a range of eighteenth-century literary, philosophical and scientific texts.
The Other Adam Smith represents the next wave of critical thinking about the still under-examined work of this paradigmatic Enlightenment thinker. Not simply another book about Adam Smith, it allows and even necessitates his inclusion in the realm of theory in the broadest sense. Moving beyond his usual economic and moral philosophical texts, Mike Hill and Warren Montag take seriously Smith's entire corpus, his writing on knowledge, affect, sociability and government, and political economy, as constituting a comprehensive—though highly contestable—system of thought. We meet not just Smith the economist, but Smith the philosopher, Smith the literary critic, Smith the historian, and Smith the anthropologist. Placed in relation to key thinkers such as Hume, Lord Kames, Fielding, Hayek, Von Mises, and Agamben, this other Adam Smith, far from being localized in the history of eighteenth-century economic thought or ideas, stands at the center of the most vibrant and contentious debates of the twentieth and twenty-first centuries.
In the middle of the eighteenth century, something new made itself felt in European culture—a tone or style that came to be called the sentimental. The sentimental mode went on to shape not just literature, art, music, and cinema, but people’s very structures of feeling, their ways of doing and being. In what is sure to become a critical classic, An Archaeology of Sympathy challenges Sergei Eisenstein’s influential account of Dickens and early American film by tracing the unexpected history and intricate strategies of the sentimental mode and showing how it has been reimagined over the past three centuries. James Chandler begins with a look at Frank Capra and the Capraesque in American public life, then digs back to the eighteenth century to examine the sentimental substratum underlying Dickens and early cinema alike. With this surprising move, he reveals how literary spectatorship in the eighteenth century anticipated classic Hollywood films such as Capra’s It Happened One Night, Mr. Deeds Goes to Town, and It’s a Wonderful Life. Chandler then moves forward to romanticism and modernism—two cultural movements often seen as defined by their rejection of the sentimental—examining how authors like Mary Shelley, Joseph Conrad, James Joyce, and Virginia Woolf actually engaged with sentimental forms and themes in ways that left a mark on their work. Reaching from Laurence Sterne to the Coen brothers, An Archaeology of Sympathy casts new light on the long eighteenth century and the novelistic forebears of cinema and our modern world.
Drawing upon a wide range of source material, this study reassesses the idea that the Romantic defence of spiritual and humanistic culture developed as a reaction to the perceived individualistic, philistine values of the science of political economy.
Through a close analysis of the pamphlets, reviews, lectures, journalism, editorials, poems, and novels surrounding the introduction of the gold standard in 1816, this book examines the significance of monetary policy and economic debate to the culture and literature of Britain during the age of Romanticism.
The categories of authenticity and sincerity, treated sceptically since the early twentieth century, remain indispensable for the study of Romantic literature and culture. This book, focusing on authors including Wordsworth, Macpherson and Austen, highlights their complexities, showing how they can become meaningful to current critical debates.
Analyzing Romantic conservative critiques of modernity found in literature, philosophy, natural history, and agricultural periodicals, this book finds a common theme in the 'intergenerational imagination.' This impels an environmental ethic in which obligations to past and future generations shape decisions about inherited culture and land.