European Romantic Review最新文献

{"title":"Climate Changes: Mary Shelley on Roger Dodsworth","authors":"Leila Walker","doi":"10.1080/10509585.2023.2205141","DOIUrl":"https://doi.org/10.1080/10509585.2023.2205141","url":null,"abstract":"ABSTRACT In the summer of 1826, melting snows revealed a man frozen nearly 200 years, reanimated by a passing doctor. Reports of Roger Dodsworth, formerly deceased, spread from the French papers to launch a flurry of essays in the English periodicals. While the summer of 1816 has been central to discussions of climate, global politics, and Romantic literature, the thaw of 1826 has been relatively neglected. In this paper, I examine how Shelley's treatment of nature in “Roger Dodsworth: The Reanimated Englishman” presents climate changes as plural and contingent, simultaneously disrupting historical narrative and entangling natural history with human embodiment. As scientists grapple with evolutionary records revealed by our own “great thaw,” “Roger Dodsworth” offers a philosophical model for grappling with changes that cannot be overcome through human intervention. At the conclusion to the essay, as Shelley speculates that Dodsworth may have died a second time, finding “his ancient clay could not thrive on the harvests of these latter days,” she suggests a fundamental incompatibility of past and present, even as she collapses the distinction between the two. A changed world, she suggests, cannot support the past as it was, but only as it has become.","PeriodicalId":43566,"journal":{"name":"European Romantic Review","volume":"34 1","pages":"377 - 382"},"PeriodicalIF":0.2,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47042078","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}

{"title":"Funny Feelings in Nature","authors":"Erin Lafford, M. Ward","doi":"10.1080/10509585.2023.2205089","DOIUrl":"https://doi.org/10.1080/10509585.2023.2205089","url":null,"abstract":"ABSTRACT Funny Feelings and the Natural World, a panel convened for the joint NASSR/BARS conference at Edge Hill in August 2022, offered new ways of reflecting on the relation between human emotions and the environment. In contrast to the more sublime aesthetic categories and solemn moods that continue to dominate approaches to Romanticism and environmental criticism more broadly, we considered various forms of funny business in Romantic feelings towards the non-human world. This article develops some of the concerns of that panel, by engaging with current ideas in Romantic emotions, affect, and environmental literature. Our readings of John Clare and William Wordsworth suggest that both poets relay experiences of the non-human as funny in various senses and are inspired by the idea that poetic form is itself affective and a model of ecological thinking or feeling. Our enquiry attends to the Romantic period as a time not only when a new appreciation of the environment was emerging, but also different understandings of, and attitudes towards, the ludicrous took hold. ‘Funny’ here operates as it was understood at the time: as a compound of amusement and bemusement, and as a means of considering what the laughable and nature might share.","PeriodicalId":43566,"journal":{"name":"European Romantic Review","volume":"34 1","pages":"329 - 340"},"PeriodicalIF":0.2,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42977229","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}

{"title":"New Romanticisms","authors":"A. Mcinnes, T. Rajan, D. Collings","doi":"10.1080/10509585.2023.2205072","DOIUrl":"https://doi.org/10.1080/10509585.2023.2205072","url":null,"abstract":"The joint NASSR/BARS conference, “New Romanticisms,” eventually held at Edge Hill University in August 2022, grew from a silly pun on the New Romantics, a 1980s musical subculture characterized by flamboyant fashion, into a serious consideration of new approaches to Romantic studies, asking how and why we study Romanticism today. Originally planned for August 2021 as a straightforwardly in-person affair, the “New Romanticisms” which took place a year later in a world transformed by the Covid-19 pandemic had to consider how scholars of Romanticism could gather together safely, opting for a hybrid mode combining in-person conviviality with inclusive online access. Inclusivity and conviviality were the watchwords of the conference, bringing Romanticists back together in multiple forms after painful separation. The essays gathered for this special issue reflect the ethos of the conference, combining diversity and collaboration to think about the multiplicity of Romanticisms available to scholars today. We begin by celebrating the winners of the joint NASSR/BARS Graduate Student Essay Prizes, Dana Moss and Diana Little. In “Waste in the Nineteenth-Century Lyric,” Dana Moss explores an erotics of waste whereby, in Shelley’s “The SensitivePlant,” plants thrive as they rot, so that things already used enter into a queer mode of survival, a nonhuman thriving. Diana Little’s “Wordsworth’s Webs: Spinning the Ecological Elegy” explores the relationship between Wordsworth’s elegiac practice and ecological interests in two poems which probe the natural world’s resistance to being co-opted by the pathetic fallacy. Little argues not only that ecological concerns inform Wordsworth’s poetic elegies but also that the elegy form as practiced by Wordsworth, alert to the disconnections between humans and our environment, has something to teach ecology. The next section of this special issue privileges the ethos of collaboration which informed “New Romanticisms” with a series of co-authored articles reflecting upon panels embodying the international spirit of the conference. Indu Ohri and Lenora Hanson’s “Reflections on Remixing Romanticism: A Plenary Workshop on Anti-Racist Teaching” argues for the importance of anti-racist teaching by setting out how to create an inclusive and activist classroom through making links between international experiences of injustice and revolution. The series of co-authored articles which follow Ohri and Hanson’s reflections remix Romanticism in their own idiosyncratic ways from the musical to the environmental. Amanda Blake Davis and Matthew Sangster’s “‘Load Every Rift’: Power, Opposition, and Community in Romantic Poetry and","PeriodicalId":43566,"journal":{"name":"European Romantic Review","volume":"34 1","pages":"255 - 257"},"PeriodicalIF":0.2,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46873353","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}

{"title":"New Romantic Painting and the Image of History","authors":"Christopher Bundock","doi":"10.1080/10509585.2023.2205098","DOIUrl":"https://doi.org/10.1080/10509585.2023.2205098","url":null,"abstract":"ABSTRACT For contemporary Cree artist Kent Monkman, painting offers a means of rehistoricizing Indigenous life. However, rather than attempt to capture a putative authenticity, Monkman's work questions the relationship between visual representation and historical truth, deeply complicating his own task. This complication is managed in part through the careful deployment of self-reflection, such that the images of history he composes always advertise their unstable relationship to the past and the present, questioning theirs authority in the process of exposing how European artists attempted to establish their own. This exploration produces works that are highly citational, in which figures and elements from across European history and art history are juxtaposed and arranged into fantastic, anachronistic tableaus. But it is especially the works of Romantic painters that serve him as models for remodeling and settings for repopulation. Indeed, if Romantic painters such as George Catlin (1769–1872), Paul Kane (1810–71), and Albert Bierstadt (1830–1902) flatten Indigenous people or actually evacuate them from North American landscapes, Monkman does not simply reject their work but realizes in it a rich potential for dialogic revision. In Monkman's painting, Romanticism's own historical self-consciousness finds new expression.","PeriodicalId":43566,"journal":{"name":"European Romantic Review","volume":"34 1","pages":"341 - 348"},"PeriodicalIF":0.2,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41520039","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}

{"title":"Romantic Priority Claims, or, Who Has Priority in Deep Time?","authors":"Noah Heringman","doi":"10.1080/10509585.2023.2205155","DOIUrl":"https://doi.org/10.1080/10509585.2023.2205155","url":null,"abstract":"ABSTRACT This essay seeks to extend the definition of the term priority claim, arguing that some kinds of priority claims operate across literature and science and may be made on behalf of past actors as well as oneself. My examples are drawn primarily from eighteenth- and nineteenth-century accounts of the place of early or ancestral humans in deep time, particularly those of Thomas Carlyle, John Lubbock, and Johann Gottfried Herder. In making this argument, I attend specifically to the role of race and gender in these accounts and to the rhetorical and affective intensity accruing around the identities of those imagined to inhabit deep time. Deep time, as a contentious and vaguely defined sphere of discovery prior to the establishment of radiometric dating, provides a field especially adapted to priority claims in this extended sense.","PeriodicalId":43566,"journal":{"name":"European Romantic Review","volume":"34 1","pages":"383 - 396"},"PeriodicalIF":0.2,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46226802","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}

{"title":"Wordsworth’s Webs: Spinning the Ecological Elegy","authors":"Diana Little","doi":"10.1080/10509585.2023.2205077","DOIUrl":"https://doi.org/10.1080/10509585.2023.2205077","url":null,"abstract":"ABSTRACT This article investigates two sites of Wordsworthian entanglement: the spider’s web across the abandoned well in “The Ruined Cottage” and the “web spun” in a neglected room in “The Brothers, A Pastoral Poem.” Both webs show Wordsworth’s attention to a theory of ecological entanglement that was emerging in the late 1790s, and more: Wordsworth’s experimental weaving of ecology and elegy. Wordsworth’s two surrogate elegists, the Pedlar and the Priest, use webs to track the subtle but active ways in which nature reacts to human grief and death. I show how both elegists develop distinct elegiac crafts to test different versions of the ecological elegy. Through their divergent poetics, they consider how elegy can incorporate ecological knowledge, how ecology reshapes past elegiac conventions, and how mourning itself becomes entangled in nature. Together their experiments allow Wordsworth to probe the close but precarious alliances between pathos, poetry, and ecology.","PeriodicalId":43566,"journal":{"name":"European Romantic Review","volume":"34 1","pages":"267 - 278"},"PeriodicalIF":0.2,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49029461","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}

{"title":"The Politics of Speculative Collectivities in the Work of Friedrich Schelling","authors":"Gabriel Trop","doi":"10.1080/10509585.2023.2205121","DOIUrl":"https://doi.org/10.1080/10509585.2023.2205121","url":null,"abstract":"ABSTRACT In Friedrich Schelling’s philosophy of nature, the attempt to think the unconditioned absolute of nature performs unconditioning, thereby transforming the present into a field of experimentation. Schelling’s nature-philosophy produces a series of interventions into cultural fields of consistency, drawing on material operations to reconceptualize forms of collective organization. In Schelling’s First Outline, beings have a specific signature: to be is to resist. In the Deities of Samothrace, philosophy performs a “magic singing” that gathers initiates together by continually exorcising—and preserving—the unruly obstinacy of pre-socialized drives. This conception of philosophy coheres with a gesture from his earlier lectures on the philosophy of art in which music forms the basis of inorganic communities, implicitly cultivating collective forms called upon to navigate the dangers of overly cohesive (harmonic) and overly transgressive (rhythmic) forms of life, while directing an unconditioning power to the conditions of the present.","PeriodicalId":43566,"journal":{"name":"European Romantic Review","volume":"34 1","pages":"359 - 368"},"PeriodicalIF":0.2,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42846087","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}

{"title":"Frances Burney: A Houstory","authors":"Francesca Saggini","doi":"10.1080/10509585.2023.2181487","DOIUrl":"https://doi.org/10.1080/10509585.2023.2181487","url":null,"abstract":"ABSTRACT This article maps Frances Burney’s life and works from the vantage point of material studies, considering the houses the author lived, sojourned, and worked in. The tension between the contending discourses of “public” house and “private” house—the house as a space for entertainment and a cultural hub used to promote visibility and augment cultural capital, as opposed to the “private” house as the locus of intimacy and family life—is exemplified by the juxtaposition between the houses Frances Burney lived in as her father’s daughter (in particular the famous house at 35 St. Martin’s Street, London) and the idyllic Surrey dwellings Burney moved into with her husband, Alexandre d’Arblay, after 1793. This article will consider the symbolic, often mythopoetic value associated with Burney’s houses as artificial, cultural mythoi and her poetics of indirect, oblique association to accrue cultural and social capital.","PeriodicalId":43566,"journal":{"name":"European Romantic Review","volume":"34 1","pages":"223 - 242"},"PeriodicalIF":0.2,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44896651","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}

{"title":"Poetry that “will live and do good”: Fulfilling Wordsworth’s Hopes for His Work Through Interpretation and Outreach at Dove Cottage in Wordsworth 250","authors":"J. Cowton","doi":"10.1080/10509585.2023.2181489","DOIUrl":"https://doi.org/10.1080/10509585.2023.2181489","url":null,"abstract":"ABSTRACT Just over 200 years ago, while living at Dove Cottage in Grasmere from 1799 to 1808, William Wordsworth wrote ground-breaking poetry that he hoped, as he wrote in a letter to Richard Sharp on 29 April 1804, would “live and do good” (Collected Letters 1: 470). Wordsworth calls for us to reconnect with nature; he asks that we show empathy for others; he encourages us to nurture our creative imagination. Were his hopes fulfilled? Does his poetry “live and do good” today? This article examines the function of a literary house museum in fulfilling the wishes of its central figure, examining the role that new interpretation techniques can play in bringing the writer’s life and writing to new audiences. In particular, the article seeks to describe the developing role of Wordsworth Grasmere as a hub of poetry, people and place, with associated collections, that has its roots in European Romanticism c. 1800, but which aims to make the literature “live and do good” in the modern world. While the roots are in the past; the purpose of Dove Cottage and Museum today is very much more than simply preserving them.","PeriodicalId":43566,"journal":{"name":"European Romantic Review","volume":"34 1","pages":"243 - 254"},"PeriodicalIF":0.2,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59870171","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}

{"title":"The House as Repository of Knowledge and Intercultural Transfers","authors":"Maximiliaan van Woudenberg","doi":"10.1080/10509585.2023.2181484","DOIUrl":"https://doi.org/10.1080/10509585.2023.2181484","url":null,"abstract":"ABSTRACT This article explores the house during the Romantic period as a site of intercultural transfer of knowledge. Hosting decentralized networks, the house functioned as a significant conduit in disseminating knowledge or creating new productions. The first part of the paper examines the opening of mummies by Professor Blumenbach as an example of how private collections were curated in several houses of the Fellows of the Royal Society. The second part presents an analysis of the role of the professorial house in Göttingen in transferring knowledge of Edward Jenner’s smallpox vaccination in Germany. The final example takes a closer look at a confluence of Anglo-Franco-German literature converging on Villa Diodati in 1816, showing how the famous villa is not a site of solitary creation as illustrated in prints of Byron and Villa Diodati, but the site of communal reading inspiring creativity.","PeriodicalId":43566,"journal":{"name":"European Romantic Review","volume":"34 1","pages":"207 - 222"},"PeriodicalIF":0.2,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45426631","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}