A Handbook of Romanticism Studies

A Handbook of Romanticism Studies

Julia M. Wright

Language: English

Pages: 434

ISBN: 1444334964

Format: PDF / Kindle (mobi) / ePub

The Handbook to Romanticism Studies is an accessible and indispensible resource providing students and scholars with a rich array of historical and up-to-date critical and theoretical contexts for the study of Romanticism.

  • Focuses on British Romanticism while also addressing continental and transatlantic Romanticism and earlier periods
  • Utilizes keywords such as imagination, sublime, poetics, philosophy, race, historiography, and visual culture as points of access to the study of Romanticism and the theoretical concerns and the culture of the period
  • Explores topics central to Romanticism studies and the critical trends of the last thirty years

La Peinture Française (Mega Square)

Synesthesia and the Arts

Mastering Revit Architecture 2010

Dalí (Mega Square)

The Panama Canal

The Perfect Bait














that philosophers, scientists, historians, and political commentators investigated as an element of mind, matter, and society. In its day, “sensibility” was part of a cluster of closely related terms. “Sensibility,” “sensitivity,” “sympathy,” and “sentiment” were often interchangeable. These words could be used as synonyms and they could mark real distinctions. In all of its diverse manifestations, the value of sensibility was not only dramatized but also debated: “The celebratory and the

micro-protocols of bourgeois social life in an imperial nation (3–5). In Maria Edgeworth’s Belinda (1801), characters who disagree about how to treat a black servant exhibit different kinds of sensibility (Ellison 71–72). One kind is clearly good, the other is clearly bad. Belinda has acted sympathetically on behalf of Juba. Juba is a black man – a servant who is probably a former slave – who has been terrified by a fake phantasm crafted by the “freakishly” radical Mrs. Freke. The character of

limitations that other visual media tried to overcome: its lack of movement and sound militated against the success of its illusion creation. In response, visual spectacles such as dioramas and phantasmagorias added movement and atmospheric change, and both played effectively to a strong desire to represent the invisible, indeed, to make things appear. The diorama, for example, offered a visual experience that involved an unexpected alteration in the scenery before the viewer, such as from day to

authority. Moreover, characters (the subjects of statements) vie with the narrator and the overarching authorial voice for credibility and authority, for our faith and trust. Yet all of them are projections of the author, identified with but not identical to the author, functioning in different ways to sustain the discursive world of the text. As Foucault points out, prior to the convention of signed publications, texts (stories, legends, epics, folk tales) were circulated as anonymous, “their

not trouble the anonymous author for whom true poetry does not “deviate from [its] original intention” (iv). The enchantment of rules also 146 Theories of Literature permeates the Circle of the Sciences’ regular publications concerning poetry, such as The Art of Poetry on a New Plan (1762) and Poetry Made Familiar and Easy to Young Gentlemen and Ladies (1769), although in these texts genius is once again a valued addition. In the first text, poetry is presented as the original science, while

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