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Interweaving past and present texts, The Challenge of Coleridge engages the British Romantic poet, critic, and philosopher Samuel Taylor Coleridge in a "conversation" (in Hans-Georg Gadamer’s sense) with philosophical thinkers today who share his interest in the relationship of interpretation to ethics and whose ideas can be both illuminated and challenged by Coleridge’s insights into and struggles with this relationship. In his philosophy, poetry, theology, and personal life, Coleridge revealed his concern with this issue, as it manifests itself in the relation between technical and ethical discourse, between fact and value, between self and other, and in the ethical function of aesthetic experience and the role of love in interpretation and ethical action. Relying on Gadamer’s hermeneutics to supply a framework for his approach, Haney connects Coleridge’s ideas with, among others, Emmanuel Levinas’s other-oriented notion of ethical subjectivity, Paul Ricoeur’s view about the other’s implication in the self, reinterpretations of Greek drama by Bernard Williams and Martha Nussbaum, and Gianni Vattimo's post-Nietzschean hermeneutics. Coleridge is treated not as a product of Romantic ideology to be deconstructed from a modern perspective, but as a writer who offers a "challenge" to our modern tendency to compartmentalize interpretive issues as a concern for literary theorists and ethical issues as a concern for philosophers. Looking at the two together, Haney shows through his reading of Coleridge, can enrich our understanding of both.
Sublime Coleridge focuses on the role of the Opus Maximum in explaining Samuel Taylor Coleridge's ideas about religion, psychology, and the sublime. This book is an introduction, a reader's guide, and an interpretation of this central text in British Romanticism.
Experimental Life establishes the multiple ways in which Romantic authors appropriated the notion of experimentation from the natural sciences. Winner of the Michelle Kendrick Memorial Book Prize of the Society for Literature, Science, and the Arts, BSLS Book Prize of the British Society for Literature and Science If the objective of the Romantic movement was nothing less than to redefine the meaning of life itself, what role did experiments play in this movement? While earlier scholarship has established both the importance of science generally and vitalism specifically, with regard to Romanticism no study has investigated what it meant for artists to experiment and how those experiments related to their interest in the concept of life. Experimental Life draws on approaches and ideas from contemporary science studies, proposing the concept of experimental vitalism to show both how Romantic authors appropriated the concept of experimentation from the sciences and the impact of their appropriation on post-Romantic concepts of literature and art. Robert Mitchell navigates complex conceptual arenas such as network theory, gift exchange, paranoia, and biomedia and introduces new concepts, such as cryptogamia, chylopoietic discourse, trance-plantation, and the poetics of suspension. As a result, Experimental Life is a wide-ranging summation and extension of the current state of literary studies, the history of science, cultural critique, and theory.
This volume illustrates the meanings the Romantics took from Shakespeare. It studies the critical practices and theories that evolved in England, Germany, and France, as well as the English stage and the relations between performance, criticism, and scholarship.
Perry reveals Shakespeare derived modes of tragic characterization, previously seen as presciently modern, via engagement with Rome and Senecan tragedy.
This book is the first in-depth investigation of Coleridge's responses to his dreams and to contemporary debates on the nature of dreaming, a subject of perennial interest to poets, philosophers and scientists throughout the Romantic period. Coleridge wrote and read extensively on the subject, but his richly diverse and original ideas have hitherto received little attention, scattered as they are throughout his notebooks, letters and marginalia. Jennifer Ford's emphasis is on analysing the ways in which dreaming processes were construed, by Coleridge in his dream readings, and by his contemporaries in a range of poetic and medical works. This historical exploration of dreams and dreaming allows Ford to explore previously neglected contemporary debates on 'the medical imagination'. By avoiding purely biographical or psychoanalytic approaches, she reveals instead a rich historical context for the ways in which the most mysterious workings of the Romantic imagination were explored and understood.
Great Shakespeareans offers a systematic account of those figures who have had the greatest influence on the interpretation, understanding and cultural reception of Shakespeare, both nationally and internationally. In this volume, leading scholars assess the contribution of Voltaire, Goethe, Schlegel and Coleridge to the afterlife and reception of Shakespeare and his plays. Each substantial contribution assesses the double impact of Shakespeare on the figure covered and of the figure on the understanding, interpretation and appreciation of Shakespeare, provide a sketch of their subject's intellectual and professional biography and an account of the wider cultural context, including comparison with other figures or works within the same field.
Focusing on early nineteenth-century England?and on the works and texts of the inventor of paper photography, William Henry Fox Talbot?Singular Images, Failed Copies historicizes the conceptualization of photography in that era as part of a major historical change. Treating photography not merely as a medium or a system of representation but also as an epistemology, Vered Maimon challenges today’s prevalent association of the early photograph with the camera obscura. Instead, she points to material, formal, and conceptual differences between those two types of images by considering the philosophical and aesthetic premises linked with early photography. Through this analysis she argues that the emphasis in Talbot’s accounts on the removal of the “artist’s hand” in favor of “the pencil of nature” did not mark a shift from manual to “mechanical” and more accurate or “objective” systems of representation. In Singular Images, Failed Copies, Maimon shows that the perception of the photographic image in the 1830s and 1840s was in fact symptomatic of a crisis in the epistemological framework that had informed philosophical, scientific, and aesthetic thought for two centuries.
Traces the practice of induction - manipulating textual evidence by selective quotation - and its uses by Romantic-period writers.
Haunting’s consequences for the literary imagination. Reading is a weirdly phantasmic trade: animating words to revive absent voices, rehearing the past, fantasizing a future. In Romantic Shades and Shadows, Susan J. Wolfson explores spectral language, formations, and sensations, defining an apparitional poetics in the finely grained textures of writing and their effects on present reading. Framed by an introductory chapter on writing and apparition and an afterword on haunted reading, the book includes chapters of sustained, revelatory close attention to the particular, often peculiar, literary imaginations of William Wordsworth, William Hazlitt, Percy Bysshe Shelley, Lord Byron, W. B. Yeats, and John Keats. Wolfson also explores the work of Samuel Taylor Coleridge (a self-confessed Ghost-Theorist), Mary Shelley, and other writers of the Long Romantic era, canonical as well as less familiar. All are encountered in freshly pointed ways on an arc of investigation that builds with generative force. Romantic Shades and Shadows is written with a lucidity, wit, and accessibility that will appeal to general readers, and with a critical sophistication and scholarly expertise that will engage advanced students, critics, and professional peers.