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Romanticism and Speculative Realism features a range of scholars
working at the intersection of literary poetics and philosophy. It
considers how the writing of the Romantic era reconceptualizes the
human imagination, the natural world, and the language that
correlates them in radical ways that can advance current
speculative debates concerning new ontologies and new materialisms.
In their wide-ranging examinations of canonical and non-canonical
romantic writers, the scholars gathered here rethink the
connections between the human and non-human world to envision
speculative modes of social being and ecological politics. Spanning
historical and national frameworks-from historical romanticism to
contemporary post-romantic ecology, and from British and German
romanticism to global modernity-these essays examine life in all
its varied forms in, and beyond, the Anthropocene.
Romanticism and Speculative Realism features a range of scholars
working at the intersection of literary poetics and philosophy. It
considers how the writing of the Romantic era reconceptualizes the
human imagination, the natural world, and the language that
correlates them in radical ways that can advance current
speculative debates concerning new ontologies and new materialisms.
In their wide-ranging examinations of canonical and non-canonical
romantic writers, the scholars gathered here rethink the
connections between the human and non-human world to envision
speculative modes of social being and ecological politics. Spanning
historical and national frameworks-from historical romanticism to
contemporary post-romantic ecology, and from British and German
romanticism to global modernity-these essays examine life in all
its varied forms in, and beyond, the Anthropocene.
Whether the rapt trances of Romanticism or the corpse-like figures
that confounded Victorian science and religion, nineteenth-century
depictions of bodies in suspended animation are read as
manifestations of broader concerns about the unknowable in Anne C.
McCarthy's Awful Parenthesis. Examining various aesthetics of
suspension in the works of poets such as Coleridge, Shelley,
Tennyson, and Christina Rossetti, McCarthy shares important
insights into the nineteenth-century fascination with the sublime.
Attentive to differences between "Romantic" and "Victorian"
articulations of suspension, Awful Parenthesis offers a critical
alternative to assumptions about periodization. While investigating
various conceptualizations of suspension, including the suspension
of disbelief, suspended animation, trance, paralysis, pause, and
dilatation, McCarthy provides historically-aware close readings of
nineteenth-century poems in conversation with prose genres that
include devotional works, philosophy, travel writing, and
periodical fiction. Awful Parenthesis reveals the cultural
obsession with the aesthetics of suspension as a response to an
expanding, incoherent world in crisis, one where the audience is
both active participant and passive onlooker.
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