How did romanticism define its relationship with its sources? How
has romanticism since been understood and misunderstood across a
range of cultural activities? These are among the questions taken
up in this reexamination of the place of adaptation within
romanticism. Renegotiating the cultural topography of the period
and the place of romanticism in subsequent cultural history, the
volume focuses on the adaptation of source material by romantic
writers and the adaptation in subsequent periods of the tropes and
ideologies associated with romanticism. In place of a hierarchical
distinction between source and text, between 'romanticism' and its
contexts, the collection identifies distinct but overlapping and
mutually constitutive genres such as the Gothic and romance.
Whether their essays deal with early nineteenth-century periodical
reviews, affordable editions of Pride and Prejudice aimed at the
late nineteenth-century mass audience, or the ongoing cultural
presence of romanticism in late twentieth- and early
twenty-first-century debates about embryology and stem cell
research, the contributors remain cognizant of the tension between
the processes of adaptation and the apparent ideology of romantic
originality.
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