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Author: Carmen Faye Mathes Publisher: Stanford University Press ISBN: 1503631753 Category : Literary Criticism Languages : en Pages : 313
Book Description
Critics have long understood the development of Romantic aesthetics as a turning point in the history of literary theory, a turn that is responsible for theories of mind and body that continue to inform our understandings of subjectivity and embodiment today. Yet the question of what aesthetic experience can "do" grates against the fact that much Romantic writing represents subjects as not actually in charge of the feelings they feel, the dreams they dream, or the actions they take. In response to this dilemma, Poetic Form and Romantic Provocation argues that being moved contrary to one's will is itself an aesthetic phenomenon explored by Romantic poets whose experiments with poetic form and genre provoke unanticipated feelings through verse. By analyzing how Romantic poets intervene, affectively and aesthetically, in readerly expectations of form and genre, Mathes shows how provocations disrupt and invite, disturb and compel—interrupting or suspending or retreating in ways that ask readers to orient themselves, materially and socially, in relation to literary experiences that are at once virtual and embodied. Examining the formal tactics of Charlotte Smith, William Wordsworth, Samuel Taylor Coleridge, John Keats, and Percy Bysshe Shelley, alongside their reactions to historical events such as Toussaint Louverture's revolt and the Peterloo Massacre, Mathes reveals that an aesthetics of radical openness is central to the development of literary theory and criticism in Romantic Britain.
Author: Carmen Faye Mathes Publisher: Stanford University Press ISBN: 1503631753 Category : Literary Criticism Languages : en Pages : 313
Book Description
Critics have long understood the development of Romantic aesthetics as a turning point in the history of literary theory, a turn that is responsible for theories of mind and body that continue to inform our understandings of subjectivity and embodiment today. Yet the question of what aesthetic experience can "do" grates against the fact that much Romantic writing represents subjects as not actually in charge of the feelings they feel, the dreams they dream, or the actions they take. In response to this dilemma, Poetic Form and Romantic Provocation argues that being moved contrary to one's will is itself an aesthetic phenomenon explored by Romantic poets whose experiments with poetic form and genre provoke unanticipated feelings through verse. By analyzing how Romantic poets intervene, affectively and aesthetically, in readerly expectations of form and genre, Mathes shows how provocations disrupt and invite, disturb and compel—interrupting or suspending or retreating in ways that ask readers to orient themselves, materially and socially, in relation to literary experiences that are at once virtual and embodied. Examining the formal tactics of Charlotte Smith, William Wordsworth, Samuel Taylor Coleridge, John Keats, and Percy Bysshe Shelley, alongside their reactions to historical events such as Toussaint Louverture's revolt and the Peterloo Massacre, Mathes reveals that an aesthetics of radical openness is central to the development of literary theory and criticism in Romantic Britain.
Author: Angela Esterhammer Publisher: John Benjamins Publishing ISBN: 9789027234506 Category : Literary Criticism Languages : en Pages : 564
Book Description
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.
Author: Karen Swann Publisher: Fordham Univ Press ISBN: 0823284190 Category : Literary Criticism Languages : en Pages : 192
Book Description
Any reader engaging the work of Keats, Shelley, or Coleridge must confront the role biography has played in the canonization of each. Each archive is saturated with stories of the life prematurely cut off or, in Coleridge’s case, of promise wasted in indolence. One confronts reminiscences of contemporaries who describe subjects singularly unsuited to this world, as well as still stranger materials—death masks, bits of bone, locks of hair, a heart—initially preserved by circles and then circulating more widely, often in tandem with bits of the literary corpus. Especially when it centers on the early deaths of Keats and Shelley, biographical interest tends to be dismissed as a largely Victorian and sentimental phenomenon that we should by now have put behind us. And yet a line of verse by these poets can still trigger associations with biographical detail in ways that spark pathos or produce intimations of prolepsis or fatality, even for readers suspicious of such effects. Biographical fascination—the untoward and involuntary clinging of attention to the biographical subject—is thus “posthumous” in Keats’s evocative sense of the term, its life equivocally sustained beyond its period. Lives of the Dead Poets takes seriously the biographical fascination that has dogged the prematurely arrested figures of three romantic poets. Arising in tandem with a sense of the threatened end of poetry’s allotted period, biographical fascination personalizes the precariousness of poetry, binding poetry, the poet-function, and readers to an irrecuperable singularity. Reading romantic poets together with the modernity of Benjamin and Baudelaire, Swann shows how poets’ afterlives offer an opening for poetry’s survival, from its first nineteenth-century death sentences into our present.
Author: James Whitehead Publisher: Oxford University Press ISBN: 0198733704 Category : Literary Criticism Languages : en Pages : 317
Book Description
Madness and the Romantic Poet examines the longstanding and enduringly popular idea that poetry is connected to madness and mental illness. The idea goes back to classical antiquity, but it was given new life at the turn of the nineteenth century. The book offers a new and much more complete history of its development than has previously been attempted, alongside important associated ideas about individual genius, creativity, the emotions, rationality, and the mind in extreme states or disorder - ideas that have been pervasive in modern popular culture. More specifically, the book tells the story of the initial growth and wider dissemination of the idea of the 'Romantic mad poet' in the nineteenth century, how (and why) this idea became so popular, and how it interacted with the very different fortunes in reception and reputation of Romantic poets, their poetry, and attacks on or defences of Romanticism as a cultural trend generally - again leaving a popular legacy that endured into the twentieth century. Material covered includes nineteenth-century journalism, early literary criticism, biography, medical and psychiatric literature, and poetry. A wide range of scientific (and pseudoscientific) thinkers are discussed alongside major Romantic authors, including Wordsworth, Coleridge, Blake, Hazlitt, Lamb, Percy Bysshe Shelley, Keats, Byron, and John Clare. Using this array of sources and figures, the book asks: was the Romantic mad genius just a sentimental stereotype or a romantic myth? Or does its long popularity tell us something serious about Romanticism and the role it has played, or has been given, in modern culture?
Author: Susan B. Rosenbaum Publisher: University of Virginia Press ISBN: 9780813926100 Category : American poetry Languages : en Pages : 308
Book Description
Sincerity--the claim that the voice, figure, and experience of a first-person speaker is that of the author--has dominated both the reading and the writing of Anglo-American poetry since the romantic era. Most critical studies have upheld an opposition between sincerity and the literary marketplace, contributing to the widespread understanding of the lyric poem as a moral refuge from the taint of commercial culture. Guided by the question of why we expect poetry to be sincere, Susan Rosenbaum reveals in Professing Sincerity: Modern Lyric Poetry, Commercial Culture, and the Crisis in Reading that, in fact, sincerity in the modern lyric was in many ways a product of commercial culture. As she demonstrates, poets who made a living from their writing both sold the moral promise that their lyrics were sincere and commented on this conflict in their work. Juxtaposing the poetry of Wordsworth and Frank O'Hara, Charlotte Smith and Sylvia Plath, and Anna Laetitia Barbauld and Elizabeth Bishop, Rosenbaum shows how on the one hand, through textual claims to sincerity poets addressed moral anxieties about the authenticity, autonomy, and transparency of literature written in and for a market. On the other hand, by performing their "private" lives and feelings in public, she argues, poets marketed the self, cultivated celebrity, and advanced professional careers. Not only a moral practice, professing sincerity was also good business. The author focuses on the history of this conflict in both British romantic and American post-1945 poetry. Professing Sincerity will appeal to students and scholars of Anglo-American lyric poetry, of the history of authorship, and of gender studies and commercial culture.
Author: Brian McGrath Publisher: Fordham Univ Press ISBN: 0823299813 Category : Literary Criticism Languages : en Pages : 155
Book Description
Poetry is dead. Poetry is all around us. Both are trite truisms that this book exploits and challenges. In his 1798 Advertisement to Lyrical Ballads, William Wordsworth anticipates that readers accustomed to the poetic norms of the day might not recognize his experiments as poems and might signal their awkward confusion upon opening the book by looking round for poetry, as if seeking it elsewhere. Look Round for Poetry transforms Wordsworth’s idiomatic expression into a methodological charge. By placing tropes and figures common to Romantic and Post-Romantic poems in conjunction with contemporary economic, technological, and political discourse, Look Round for Poetry identifies poetry’s untimely echoes in discourses not always read as poetry or not always read poetically. Once one begins looking round for poetry, McGrath insists, one might discover it in some surprising contexts. In chapters that spring from poems by Wordsworth, Lucille Clifton, John Keats, and Percy Bysshe Shelley, McGrath reads poetic examples of understatement alongside market demands for more; the downturned brow as a figure for economic catastrophe; Romantic cloud metaphors alongside the rhetoric of cloud computing; the election of the dead as a poetical, and not just a political, act; and poetic investigations into the power of prepositions as theories of political assembly. For poetry to retain a vital power, McGrath argues, we need to become ignorant of what we think we mean by it. In the process we may discover critical vocabularies that engage the complexity of social life all around us.
Author: Tilottama Rajan Publisher: JHU Press ISBN: 0801899214 Category : Literary Criticism Languages : en Pages : 314
Book Description
Often identified with its lyric poetry, Romanticism has come to be dismissed by historicists as an ineffectual idealism. By focusing on Romantic narrative, noted humanist Tilottama Rajan takes issue with this identification, as well as with the equation of narrative itself with the governmental apparatus of the Novel. Exploring the role of narrativity in the works of Romantic writers, Rajan also reflects on larger disciplinary issues such as the role of poetry versus prose in an emergent modernity and the place of Romanticism itself in a Victorianized nineteenth century. While engaging both genres, Romantic Narrative responds to the current critical shift from poetry to prose by concentrating, paradoxically, on a poetics of narrative in Romantic prose fiction. Rajan argues that poiesis, as a mode of thinking, is Romanticism’s legacy to an age of prose. She elucidates this thesis through careful readings of Shelley’s Alastor and his Gothic novels, Godwin’s Caleb Williams and St. Leon, Hays’ Memoirs of Emma Courtney, and Wollstonecraft’s The Wrongs of Woman. Rajan, winner of the Keats-Shelley Association's Distinguished Lifetime Award and a fellow of the Royal Society of Canada, is one of Romanticism’s leading scholars. Effective, articulate, and readable, Romantic Narrative will appeal to scholars in both nineteenth-century studies and narrative theory.
Author: Jeffrey Hipolito Publisher: Bloomsbury Publishing ISBN: 1350420301 Category : Poetry Languages : en Pages : 181
Book Description
The first book to offer an overview, at once introductory and comprehensive, of the philosophical thought of Owen Barfield, sometimes known as the first and last Inkling and as the British Heidegger. Beginning by placing Barfield's early poetics in the context of the critical hurly-burly of modernist London of the 1920s, Owen Barfield's Poetic Philosophy: Meaning and Imagination shows how Barfield's subsequent development of a philosophy of history, metaphysics, and ethics culminates in his development of a poetic cosmology. Hipolito situates Barfield's poetic philosophy in relation to his significant contemporaries (and predecessors) including T.S. Eliot, D.H. Lawrence, I.A. Richards, Jean Paul Sartre, Martin Heidegger and Ernst Cassirer, bringing to light for the first time many important aspects of Barfield's thought. The book concludes with an analysis of the Burgeon trilogy, in which Barfield recapitulates the themes and arguments of his poetic philosophy by exemplifying them in three genre-defying works of fiction. Structured chronologically and giving a systematic examination of Barfield's thought, Owen Barfield's Poetic Philosophy paints a much-needed picture of a major thinker and poet, who was entirely engaged with his times and who remains crucially relevant to our own.
Author: Walter Benjamin Publisher: Harvard University Press ISBN: 9780674945852 Category : Art Languages : en Pages : 538
Book Description
Even as a young man Benjamin possessed astonishing intellectual range and depth. His topics here include poetry and fiction, drama, philosophy, history, religion, love, violence, morality, mythology, painting and much more.
Author: Andrew Eastham Publisher: Bloomsbury Publishing ISBN: 1441130012 Category : Literary Criticism Languages : en Pages : 272
Book Description
Since the development of British Aestheticism in the 1870s, the concept of irony has focused a series of anxieties which are integral to modern literary practice. Examining some of the most important debates in post-Romantic aesthetics through highly focused textual readings of authors from Walter Pater and Henry James to Samuel Beckett and Alan Hollinghurst, this study investigates the dialectical position of irony in Aestheticism and its twentieth-century afterlives. Aesthetic Afterlives constructs a far-reaching theoretical narrative by positioning Victorian Aestheticism as the basis of Literary Modernity. Aestheticism's cultivation of irony and reflexive detachment was central to this legacy, but it was also the focus of its own self-critique. Anxieties about the concept and practice of irony persisted through Modernism, and have recently been positioned in Hollinghurst's work as a symptom of the political stasis within post-modern culture. Referring to the recent debates about the 'new aestheticism' and the politics of aesthetics, Eastham asks how a utopian Aestheticism can be reconstructed from the problematics of irony and aesthetic autonomy that haunted writers from Pater to Adorno.
Author: Carmen Faye Mathes
Author: Carmen Faye Mathes
Author: Angela Esterhammer
Author: Karen Swann
Author: James Whitehead
Author: Susan B. Rosenbaum
Author: Brian McGrath
Author: Tilottama Rajan
Author: Jeffrey Hipolito
Author: Walter Benjamin
Author: Andrew Eastham