European Romantic Review最新文献_第6页

Florence as Muse: Byron and Shelley’s Tuscan Competition 佛罗伦萨作为缪斯:拜伦和雪莱的托斯卡纳竞赛

IF 0.2

European Romantic Review Pub Date : 2023-11-24 DOI: 10.1080/10509585.2023.2272901

Madeleine Callaghan

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Coleridge in the Pleasure Dome of Hebrew 柯勒律治在希伯来语的欢乐穹顶中

IF 0.2

European Romantic Review Pub Date : 2023-11-24 DOI: 10.1080/10509585.2023.2272889

Lilach Naishtat-Bornstein

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Wordsworth, Ecocriticism, and Natural Education 华兹华斯、生态批评与自然教育

IF 0.2

European Romantic Review Pub Date : 2023-11-24 DOI: 10.1080/10509585.2023.2272895

Catherine Engh

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Towards an “Aesthetics of Weather”: Gustaf Fröding and Percy Bysshe Shelley’s “Hymn to Intellectual Beauty” 走向“天气美学”:古斯塔夫Fröding与雪莱的“知性美赞美诗”

IF 0.2

European Romantic Review Pub Date : 2023-11-24 DOI: 10.1080/10509585.2023.2272897

Carl-Ludwig Conning

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Of Bearish Persons, Lions, and Puppy-Dogs: Biographic Historicism in Hazlitt, De Quincey and Trelawny 看跌的人、狮子和小狗:黑兹利特、德昆西和特里劳尼的传记历史主义

European Romantic Review Pub Date : 2023-09-03 DOI: 10.1080/10509585.2023.2248769

Brecht de Groote

{"title":"Of Bearish Persons, Lions, and Puppy-Dogs: Biographic Historicism in Hazlitt, De Quincey and Trelawny","authors":"Brecht de Groote","doi":"10.1080/10509585.2023.2248769","DOIUrl":"https://doi.org/10.1080/10509585.2023.2248769","url":null,"abstract":"ABSTRACTThis article reads selected biographical work by Hazlitt, De Quincey and Trelawny on a range of key figures—chiefly, Byron, Wordsworth, Coleridge, and Shelley. In line with extant scholarship, its aim is to trace how these auto/biographic texts endeavor to disentangle auto from bios; that is, how they construct the authors whose lives they recount to carve out a space for the biographer, rather than for his subject. The article makes a distinct contribution in specifically reading this competitive dialectic of major and minor authorship in historiographic terms. The writers analyzed will be shown to activate a historical construction of Romanticism, at once insisting on the representative termination of the writers whose lives are recounted, as well as on their own capacity to succeed where the former failed. Such biographic historicism finally effects the construction of a late-Romantic subperiod, which in turn redounds on what was beginning to be periodized as Romanticism. Notes1 Similar assessments of Parry’s character were so often publicly expressed by contemporary men and women of letters that Parry eventually sued his most aggressive detractors, winning damages from The Examiner for libeling him in May 1825 as “exceedingly ignorant, boasting, bullying, and drunken” (329). Much to the delight of his enemies, the trial also revealed that Parry used a ghostwriter. Undeterred by the verdict against it, The Examiner published another screed against Parry in June 1827, describing him as an “illiterate pretender” who “came forward in the mask of an author” (375.) It should be noted that, in addition to class-related prejudices, another reason for this enmity may be Leigh Hunt’s uneasiness with facing a competitor for his own Lord Byron and His Contemporaries. Such tugs of war between potential biographers were a frequent occurrence; see, for example, Sheridan’s discussion of Percy Bysshe Shelley.2 Carlyle conjectures this conversation may have occurred on 26 February 1835 (283–84n1). Southey would himself become a focus of De Quincey’s recollections in 1839. For further context regarding De Quincey’s Recollections and their reception, see de Groote (29–30, 41–43) and Jordan.3 For an example of this prescriptive perspective, see Edel.4 On this latter point, see Linder and James & North, as well as Sheridan.5 See Thomas Moore 4: 191–92. On Byron’s celebrity, see Mole.6 See Leask’s “The Shadow Line” 64.7 See Addison in The Spectator: “I remember, upon Mr. Baxter's Death, there was Published a Sheet of very good Sayings, inscribed, The last Words of Mr. Baxter. The Title sold so great a Number of these Papers, that about a Week after there came out a second Sheet, inscrib’d, More last Words of Mr. Baxter” (qtd. in Addison and Steele 9: 104–08).8 On biography and its (re)creation of a sociability that involves subjects, writers, and readers, see North’s “Intertextual Sociability.”9 The tension between the living author and a mode premised on t","PeriodicalId":43566,"journal":{"name":"European Romantic Review","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134949141","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Romantic Survival: Disaster Beyond Repair in Lyrical Ballads 浪漫的生存:抒情歌谣中无法修复的灾难

European Romantic Review Pub Date : 2023-09-03 DOI: 10.1080/10509585.2023.2249207

Konstantinos (Kos) Pozoukidis

{"title":"Romantic Survival: Disaster Beyond Repair in Lyrical Ballads","authors":"Konstantinos (Kos) Pozoukidis","doi":"10.1080/10509585.2023.2249207","DOIUrl":"https://doi.org/10.1080/10509585.2023.2249207","url":null,"abstract":"ABSTRACTThis article explores representations of disaster and survival in the 1798 edition of the Lyrical Ballads. It starts with Samuel Taylor Coleridge’s “The Rime of the Ancyent Marinere,” a poem exemplary of the survival narrative, a poetic articulation of disaster fraught with fragmentation, repetition, and stagnation, in form and content. The article then reads the survival narrative in William Wordsworth’s “Simon Lee” and “The Last of the Flock,” arguing that, in Wordsworth’s poems, what has been affected by disaster can exist beyond repair. I focus on disastrous thinking, considering it another aspect of disaster that penetrates thought. Disastrous thinking appears in Wordsworth’s poems but also in our critical tradition, from New Criticism to more recent post-critical readings. It attempts to ameliorate catastrophe even when disaster has eliminated the historical and philosophical causes that make it comprehensible. The article finally re-turns to Coleridge’s poem to highlight the presence of active passivity, a mode of being that resists productivity and marketability while it emphasizes political thought over thoughtless action. Active passivity constitutes a form of arresting resistance that bears the potential for radical world change through the practice of patience, another name for constant laboring without quantifiable results. Notes1 Marie-Hélène Huet employs this term to remind us that before disaster was used as a noun to indicate a catastrophic event, it was employed to signify one’s experience of disaster, the feeling of being “uprooted” from one’s place “in the cosmos and cast adrift” (19). Disaster in this context is synonymous to worldlessness, the experience of being forced to leave your world without being able to inhabit a new one.2 The term “political” in this context does not carry the meaning it has in liberal democracies, where it is associated with “citizenship, elections, the particular forms of political representation and the various ideological families” (Stavrakakis 71). It rather refers to ways of being-in-the-world as a member of the polis, of an organized community.Even though this article does not claim that either resistance to repair or active passivity, a mode of existing beyond repair, make their first appearance in Romantic poetry, it argues that the Lyrical Ballads of 1798 provide, probably for the first time, a clear articulation of these modes of being.3 In his essay “Technomagism, Coleridge’s Mariner, and the Sentence Image,” Orrin N. C. Wang employs Rancière’s notion of symbolic montage to read the poem’s shattered narrative. Wang focuses on the 1817 version of the poem that includes the addition of the gloss. He indicates that the meaning in Mariner comes through the parataxis of “disparate semes” that “are juxtaposed together” but through their sequence on the page, they create meaning (296). “Technomagism” is the name that Wang gives to this process that makes something out of “nothing at all","PeriodicalId":43566,"journal":{"name":"European Romantic Review","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134949142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

“A heroine of ancient times”: Maternity, History, and Empire in Jane West’s The Advantages of Education and The Mother “古代的女英雄”:简·韦斯特《教育的好处》与《母亲》中的母性、历史与帝国

European Romantic Review Pub Date : 2023-09-03 DOI: 10.1080/10509585.2023.2248773

Angela Rehbein

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Vital Heat and the Organized Body: Burke, Blake, The French Revolution and The [First] Book of Urizen 生命热与有组织的身体:伯克，布莱克，法国大革命和乌里岑的[第一部]书

European Romantic Review Pub Date : 2023-09-03 DOI: 10.1080/10509585.2023.2248587

Tara Lee

{"title":"Vital Heat and the Organized Body: Burke, Blake, The French Revolution and The [First] Book of Urizen","authors":"Tara Lee","doi":"10.1080/10509585.2023.2248587","DOIUrl":"https://doi.org/10.1080/10509585.2023.2248587","url":null,"abstract":"ABSTRACTDuring the French Revolution, it had become apparent that the conventional metaphor of the body politic, framed around a stable hierarchical relationship between the monarchical head and the subservient body, was no longer fit for such a purpose. Indeed, in the late eighteenth century, medical understandings of the body were far more sophisticated than ever before. This article puts Blake in intimate dialogue with Burke, Sieyès, and other revolutionary and reactionary writers who evocatively updated the body politic metaphor to describe a radically changing political landscape. Reading The [First] Book of Urizen against Blake’s neglected, unpublished The French Revolution, this article demonstrates how Blake’s biological myth, though obscure, was deeply embedded in contemporary revolutionary discourse. In doing so, this article contests assumptions in recent Blake criticism that Blake found images of freedom in the organic phenomenon of self-organization (a logic of form taken up in Burkean conservatism), emphasizing instead Blake’s indebtedness to the Hunterian doctrine of vital heat. Notes1 After all, Paine thought that political revolution was no more than the “consequence of a mental revolution priorly existing in France,” for since “the mind of the nation had changed beforehand … the new order of things has naturally followed the new order of thoughts” (93).2 Both brothers occasionally employed Blake’s engraving master James Basire (Kreiter 113–14). At one point John Hunter and Blake lived in the same vicinity (Erdman 101–02), and it is likely that Blake would have attended William Hunter’s lectures on anatomy at the Royal Academy (Connolly 35).3 Blake would have encountered the juxtaposed metaphors of growing and consuming flames as virtuous and selfish love respectively in Swedenborg’s Conjugal Love (1768). In this work, Swedenborg identifies love with vital heat: “Love therefore is the heat of the life of man (hominis), or his vital heat; the heat of the blood, and also its redness, are from this source and no other; this is an effect of the fire of the angelic sun, which is pure love” (41). This heat could also develop into more dangerous emotions: “man is enkindled, grows warm, and is set on fire, whilst his love is exalted into zeal, anger, and wrath” (362). The difference between good and evil desire is that while the one sustains and unites, the other consumes: “[T]he zeal of evil love is as an infernal flame, which of itself bursts forth, and rushes on, and is desirous to consume another” (349). Conversely, virtuous love brings us together, and “considered in itself [it] is nothing else but a desire and consequent tendency to conjunction” (43).4 The morphological similarities are particularly apparent in the 1794 copy housed at the British Library. Images of this copy can be accessed through the online Blake Archive: <http://www.blakearchive.org/copy/urizen.d>5 Urizen, described as “surging sulphureous,” has been identified ","PeriodicalId":43566,"journal":{"name":"European Romantic Review","volume":"138 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134949145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Jerusalem Moves West: Undoing the Hebrew Bible in Blake’s Milton and Jerusalem 耶路撒冷向西移动:在布莱克的弥尔顿和耶路撒冷中解开希伯来圣经

European Romantic Review Pub Date : 2023-09-03 DOI: 10.1080/10509585.2023.2248588

Zoe Beenstock

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“Do ye Sweep the Lyre?”: Romantic Resonances in The Poems of Ossian “你们会拉琴吗?”——《奥西安诗》中的浪漫共鸣

European Romantic Review Pub Date : 2023-09-03 DOI: 10.1080/10509585.2023.2248599

Renee K. Buesking

{"title":"“Do ye Sweep the Lyre?”: Romantic Resonances in The Poems of Ossian","authors":"Renee K. Buesking","doi":"10.1080/10509585.2023.2248599","DOIUrl":"https://doi.org/10.1080/10509585.2023.2248599","url":null,"abstract":"ABSTRACTJames Macpherson’s The Poems of Ossian establishes an elegiac bardic voice that emerges out of the Ossian poems and was especially inspirational for Romantic writers. Fragments of Ancient Poetry (1760) contains not only an epic bardic voice, but, more importantly, the echoing melancholic voice of the elegy. My reading of The Poems of Ossian as a polyphonic text in which the elegiac voices join the songs of the epic bard helps us to reimagine texts influenced by Ossian, and thus Romanticism itself, as a kind of resonant echo chamber in which elegiac mourners emerge and simultaneously speak to the past and to the future. I bring these readings to bear on a text directly responding to Anne Bannerman’s sonnet “From Ossian” (1807). By reading Ossian’s elegiac voice in the context of works which participate in the burgeoning Romantic tradition, I uncover an alternate literary history which embraces necessary fragmentation, a chorus of voices both alive and dead, a prophetic voice shrouded in uncertainty, and an ambivalent relationship with gender as integral to Romanticism writ large. Interpreting the powerfully hybrid elegiac voices in Ossian identifies a new lineage in Romanticism in which the elegy emerges as a dominant form. Notes1 This and all subsequent citations from The Poems of Ossian come from Howard Gaskill’s edition The Poems of Ossian and Related Works.2 Dafydd R. Moore compiles a complete list of contemporary debates surrounding the authenticity of The Poems of Ossian in Ossian and Ossianism (2004).3 JoEllen DeLucia argues for the particularity and importance of women writers in addressing Ossian because the Ossian poems “demonstrate the centrality of gender to the Scottish Enlightenment, and to establish the grounds for women writers’ engagement with the narratives of progress found in the literature and philosophy of Scottish literati” (21). Alongside her reading of the ways Macpherson challenges Adam Scott’s ideas about historiography, DeLucia gives a compelling reading of poet Catherine Talbot’s poems, in which her speaker adopts Ossian’s viewpoint. Talbot “theorize[s] women's ambivalent placement in progressive narratives of history and explore[s] the tension between imperial development and the refinement of social sentiments” (53). Katie Trumpener reads The Poems of Ossian as an important engagement with the figure of the bard: “controversies around the figure of the bard—and the problem of bardic memory—recapitulate at once the recurring epistemological dilemmas of antiquarian work and a specific history of debate about the politics of cultural memory and the future role of national cultures in the new multinational Britain” (xv). Fiona Stafford argues that Ossian, along with Gray’s poem “The Bard,” demonstrate an important cultural moment in which the figure of the last of the bards becomes significant for the ways in which it “suggests an antithetical need to grasp the fact of the past having passed. Indeed, the primitiv","PeriodicalId":43566,"journal":{"name":"European Romantic Review","volume":"253 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134949144","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0