By Joel Faflak, Julia M. Wright
The guide to Romanticism Studies is an obtainable and indispensible source offering scholars and students with a wealthy array of old and up to date serious and theoretical contexts for the research of Romanticism.
* makes a speciality of British Romanticism whereas additionally addressing continental and transatlantic Romanticism and past periods
* makes use of key words resembling mind's eye, chic, poetics, philosophy, race, historiography, and visible tradition as issues of entry to the learn of Romanticism and the theoretical issues and the tradition of the period
* Explores subject matters vital to Romanticism stories and the severe tendencies of the final thirty years
Read Online or Download A Handbook of Romanticism Studies (Critical Theory Handbooks) PDF
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Extra info for A Handbook of Romanticism Studies (Critical Theory Handbooks)
Southey. Omniana. Fontwell: Centaur Press, 1969. Davy, H. ” Philosophical Transactions of the Royal Society 116 (1826): 383–422. De Man, P. The Resistance to Theory. Minneapolis: University of Minnesota Press, 1986. Eaves, M. ” Huntington Library Quarterly 58. 3–4 (1997): 413–440. Engells, J. The Creative Imagination: Enlightenment to Romanticism. Cambridge, MA: Harvard University Press, 1981. Fry, P. H. ” Studies in Romanticism 25 (1986): 211–219. Gigante, D. Life: Organic Form and Romanticism.
Percy Bysshe Shelley wanted the imagination to be “the great instrument of moral good” and it could function as such by operating as an organ of sympathy (517). In her “Ode to Imagination Under the denomination of Fancy,” Scottish novelist and poet Elizabeth Hamilton addressed the imagination as “Offspring of celestial light, / Spirit of the subtlest kind, / Fancy! ” In one go, she desires the imagination to embody fecundity, Enlightenment, spirit, genius, and mind. 2 The very powers of naming and addressing are thereby undermined.
While Oerlemans studies the ways in which Romantic poets use the 30 Aesthetics and Media materiality of nature as a springboard for consciousness while refusing to reduce consciousness to nature (52–53), Heringman reads the irreducible materiality of rocks in Romantic poetry as a counter to the social that nonetheless seem to derive a sublime power from materiality itself (67). 8 Even more crucially: if Romantic materiality even in its scientific forms did not deny the spiritual; if it were active, dynamic, changing, and energetic, then, language could not do anything that materiality could not.