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A Handbook of Romanticism Studies (Critical Theory by Joel Faflak, Julia M. Wright

By Joel Faflak, Julia M. Wright

The guide to Romanticism Studies is an available and indispensible source supplying scholars and students with a wealthy array of historic and up to date serious and theoretical contexts for the learn of Romanticism.

* makes a speciality of British Romanticism whereas additionally addressing continental and transatlantic Romanticism and previous periods
* makes use of keyword phrases corresponding to mind's eye, elegant, poetics, philosophy, race, historiography, and visible tradition as issues of entry to the examine of Romanticism and the theoretical matters and the tradition of the period
* Explores themes vital to Romanticism experiences and the severe tendencies of the final thirty years

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Extra info for A Handbook of Romanticism Studies (Critical Theory Handbooks)

Sample text

The “affectional poets” of the period between 1800 and 1835, as Marlon Ross shows, composed ambitious, popular historical works in verse, relying on a concept of “suffering action”; sensibility was “newly expressed in a public form” that engages with and influences the canonical Romantic poets (13, 287). Sensibility is both easy to find and hard to pin down – easy to find, because the pros and cons of sensibility were a matter of obsessive interest in the nations, colonies, and former colonies of Britain and Europe.

In the latter, physician John Haygarth painted wooden tractors to look like Perkins’s metallic tractors, and he used these to “cure” his patients. Perkins had touted the magnetic healing powers of his metals, and patented his “tractors” in 1798. The Quakers built a “Perkinean Institution” specifically for the curing of the diseases of the 32 Aesthetics and Media poor. The fact that Haygarth’s tractors were wood, not metal, meant that it was the hope of a cure, the imagined cure that effected any cure.

Here is Pyle tracing Paul de Man’s usage of the “the prosaic materiality of the signifier” (20): “the redemptive gestures or recuperative structures inevitably fail to account for the ‘prosaic’ materiality of language, which is both productive of and incommensurate with those structures and gestures” (21). And here is White: “in de Man’s work, the materiality of the letter is the unmediated remainder that disrupts the dialectical and interpretative allegories of literary criticism – including those of historicism” (21).

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