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Memory in German Romanticism treats memory as a core element in the
production and reception of German art and literature of the
Romantic era. The contributors explore the artistic expression of
memory under the categories of imagination, image, and reception.
Romantic literary aesthetics raises the subjective imagination to a
level of primary importance for the creation of art. It goes beyond
challenging reason and objectivity, two leading intellectual
faculties of eighteenth-century Enlightenment, and instead elevates
subjective invention to form and sustain memory and imagination.
Indeed, memory and imagination, both cerebral functions, seek to
assemble the elements of one's own experience, either directed
toward the past (memory) or toward the future (imagination),
coherently into a narrative. And like memories, images hold the
potential to elicit charged emotional responses; those responses
live on through time, becoming part of the spatial and temporal
reception of the artist and their work. While imagination creates
and images trigger and capture memories, reception creates a
temporal-spatial context for art, organizing it and rendering it
"memorable," both for good and for bad. Thus, through the
categories of imagination, images, and reception, this volume
explores the phenomenon of German Romantic memory from different
perspectives and in new contexts.
This collection of essays turns on a shift in Romantic studies from
viewing wholeness as an absolute value to critiquing it as a
limiting construction. Wholeness and its concomitant sense of
harmony, rather than a natural given, is a construct that was
assembled and disassembled, theorized and criticized, by diverse
authors and artists in a wide variety of disciplines and
socio-historical contexts, and instrumentalized for diverse
purposes. The plurality of these constructions - that Goethe's
Urpflanze, for example, is not synonymous with Friedrich Schlegel's
universal progressive poetry - is but one manifestation of how
"assembly" strives but fails to be absolute. The "other" of
assembly referenced in the title suggests two divergent but
inseparable tendencies: firstly, how a construction can take on the
appearance of a natural given; and secondly, how assemblages of
wholeness harbor within themselves their own principle of
disarticulation. These two tendencies underlie the "inexhaustible"
character of Romantic "gatherings". As a construction passes itself
off as nature, the natural fails to account for itself as a whole.
The scope of this volume encompasses the establishment, mapping,
and interrogation of assembly and its other in German Romanticism
through interdisciplinary studies on literature, aesthetics,
philosophy, drama, music, synaesthesia, mathematics, science, and
exploration. List of contributors: Beate Allert, Frederick Burwick,
Alexis B. Smith, Margaret Strair, Christina Weiler, Joshua Wilner.
New essays offering fresh glimpses of Romanticism as
interdisciplinary and cross-linguistic, illuminating the discursive
features and the pan-European nature of the movement. Romanticism
bubbled up as lava from such historical eruptions as the Napoleonic
Wars. The power of its flow across disciplines and linguistic
borders reminds us that the use of the term in a context limited to
one linguistic, national, or political tradition, or to one
discipline or area of human development, shows an essential
ignorance of the ideational configurations elaborated and lived out
by the movement. Among its consistent norms are the notion
ofreality as a transcendent self-unfolding Geist, everything
existing in a dialectical relationship with all else; the position
that art reveals mythic understructures of reality; and that all
kinds of kinship are more normalthan isolation. This book brings
together essays that highlight the inclusivity of Romanticism. A
team of eleven scholars offers fresh glimpses of Romanticism as it
manifests itself in a number of disciplines, including most
prominently literature, but also music, painting, and the sciences.
In so doing, the contributors treat Romanticism as
interdisciplinary and cross-linguistic, providing data and
interpretive viewpoints that illuminate the discursive features and
the pan-European nature of the movement. Contributors: Lloyd
Davies, Ellis Dye, Stacey Hahn, Hollie Markland Harder, Jennifer
Law-Sullivan, Sarah Lippert, Marjean D. Purinton, Ashley Shams,
Kaitlin Gowan Southerly. Larry H. Peer is Professor of Comparative
Literature at Brigham Young University. Christopher R. Clason is
Professor of German at Oakland University.
This collection of essays addresses a very broad range of E. T. A.
Hoffmann's most significant works, examining them through the lens
of "transgression." Transgression bears relevance to Hoffmann's
life and professions in three ways. First, his official career path
was that of jurisprudence; he was active as a lawyer, a judge and
eventually as one of the most important magistrates in Berlin.
Second, his personal life was marked by numerous conflicts with
political and social authorities. Seemingly no matter where he
went, he experienced much chaos, grief and impoverishment in
leading his always precarious existence. Third, his works explore
characters and concepts beyond the boundaries of what was
considered aesthetically acceptable. "Normal" bourgeois existence
was often juxtaposed to the lives of criminals, sinners, and other
deviants, both within the spaces of the known world as well as in
supernatural realms. He, perhaps more than any other author of the
German Romantic movement, regularly portrayed the dark side of
existence in his works, including unconscious psychological
phenomena, nightmares, somnambulism, vampirism, mesmerism,
Doppelganger, and other forms of transgressive behavior. It is the
intention of this volume to provide a new look at Hoffmann's very
diverse body of work from numerous perspectives, stimulating
interest in Hoffmann in English language audiences.
Older research on the premodern world limited its focus on the
Church, the court, and, more recently, on urban space. The present
volume invites readers to consider the meaning of rural space, both
in light of ecocritical readings and social-historical approaches.
While previous scholars examined the figure of the peasant in the
premodern world, the current volume combines a large number of
specialized studies that investigate how the natural environment
and the appearance of members of the rural population interacted
with the world of the court and of the city. The experience in
rural space was important already for writers and artists in the
premodern era, as the large variety of scholarly approaches
indicates. The present volume signals how much the surprisingly
close interaction between members of the aristocratic and of the
peasant class determined many literary and art-historical works. In
a surprisingly large number of cases we can even discover elements
of utopia hidden in rural space. We also observe how much the rural
world was a significant element already in early-medieval
mentality. Moreover, as many authors point out, the impact of
natural forces on premodern society was tremendous, if not
catastrophic.
This collection of essays addresses a very broad range of E. T. A.
Hoffmann's most significant works, examining them through the lens
of "transgression." Transgression bears relevance to Hoffmann's
life and professions in three ways. First, his official career path
was that of jurisprudence; he was active as a lawyer, a judge and
eventually as one of the most important magistrates in Berlin.
Second, his personal life was marked by numerous conflicts with
political and social authorities. Seemingly no matter where he
went, he experienced much chaos, grief and impoverishment in
leading his always precarious existence. Third, his works explore
characters and concepts beyond the boundaries of what was
considered aesthetically acceptable. "Normal" bourgeois existence
was often juxtaposed to the lives of criminals, sinners, and other
deviants, both within the spaces of the known world as well as in
supernatural realms. He, perhaps more than any other author of the
German Romantic movement, regularly portrayed the dark side of
existence in his works, including unconscious psychological
phenomena, nightmares, somnambulism, vampirism, mesmerism,
Doppelganger, and other forms of transgressive behavior. It is the
intention of this volume to provide a new look at Hoffmann's very
diverse body of work from numerous perspectives, stimulating
interest in Hoffmann in English language audiences.
A wide overview of court culture in the middle ages. The court
exercised an enormous amount of influence on the culture of the
middle ages, as the essays collected here demonstrate. They examine
a wide variety of different areas of medieval courtly culture, from
the history of the book through courtly music to the theory of
courtesy and courtly love. While some authors deal with the central
texts of courtly literature, such as Castiglione's Book of the
Courtier, Marie de France's Lais, the romances of Chretien de
Troyes, Wolfram von Eschenbach, Gottfried von Strassburg, and the
corpus of courtly lyric in various languages, others consider
less-studied works like Galeran de Bretagne, or the French version
of the Disciplina Clericalis. Several contributions take a
comparative approach to courtly texts outside the Western
tradition, while others point to the courtly nature of chronicle
literature and to courtly influences on religious-didactic works.
The volume as a whole thus presents an overview of medieval court
culture. Contributors: GLORIA ALLAIRE, LAURA D. BAREFIELD, ANNE
BERTHELOT, BERT BEYNEN, JEAN BLACKER, WALTER BLUE, MAUREEN BOULTON,
FRANKBRANDSMA, EMMA CAYLEY, MARCO CEROCCHI, CHRISTOPHER R. CLASON,
ALAIN CORBELLARI, IVY A. CORFIS, PAUL CREAMER, EVELYN DATTA, JUDITH
M. DAVIS, FIDEL FAJARDO-ACOSTA, YASMINA FOEHR-JANSSENS, STACY L.
HAHN, CAROL HARVEY, C. STEPHEN JAEGER, KATHY M. KRAUSE, JUNE HALL
MCCASH, MATTHIAS MEYER, EDWARD J. MILOWICKI, JEANNE A. NIGHTINGALE,
CHRISTOPHER PAGE, ANA PAIRET, WENDY PFEFFER, RUPERT T. PICKENS,
MARIA PREDELLI, SILVIA RANAWAKE, PAUL ROCKWELL, SAMUEL, N.
ROSENBERG, JUDITH RICE ROTHSCHILD, MARY ROUSE, RICHARD ROUSE,
MARIANNE SANDELS, SUSAN STAKEL, ALEXANDRA STERLING-HELLENBRAND,
JOSEPH M. SULLIVAN, YUKO TAGAYA, RICHARD TRACHSLER, ADRIAN TUDOR,
MARION UHLIG, LORI J. WALTERS, LOGAN E. WHALEN, VALERIE M. WILHITE,
MONICA L. WRIGHT.
Alexander von Humboldt: Perceiving the World provides an
interdisciplinary exploration into Humboldt's approach to seeing
and describing the many subjects he pursued. Though remembered
primarily as an environmental thinker, Humboldt's interests were
vast and documented not just in his published works, but also in
his extensive correspondence with scientists, artists, poets, and
philosophers internationally. Perceiving the World covers
Humboldt's perceptions during intercontinental travels and
scientific discoveries, as well as how he visualized nature,
geography, environments, and diverse cultures, including Indigenous
Peoples.This collection draws heavily on the English translations
of Humboldt's work housed in the Purdue University Archives, which
were collected by John Purdue. The book is divided into three
parts: Humboldt's contributions to science since the nineteenth
century; his work on nature, climates, environments, and the
cosmos; and his lasting cultural impact, including his imaging
techniques, modes of visual presentation, and contributions to the
arts. Humboldt's intricate approach to perception still resonates
today, as his nuanced and unique way of seeing the world was just
as important as what he wrote.
Alexander von Humboldt: Perceiving the World provides an
interdisciplinary exploration into Humboldt's approach to seeing
and describing the many subjects he pursued. Though remembered
primarily as an environmental thinker, Humboldt's interests were
vast and documented not just in his published works, but also in
his extensive correspondence with scientists, artists, poets, and
philosophers internationally. Perceiving the World covers
Humboldt's perceptions during intercontinental travels and
scientific discoveries, as well as how he visualized nature,
geography, environments, and diverse cultures, including Indigenous
Peoples.This collection draws heavily on the English translations
of Humboldt's work housed in the Purdue University Archives, which
were collected by John Purdue. The book is divided into three
parts: Humboldt's contributions to science since the nineteenth
century; his work on nature, climates, environments, and the
cosmos; and his lasting cultural impact, including his imaging
techniques, modes of visual presentation, and contributions to the
arts. Humboldt's intricate approach to perception still resonates
today, as his nuanced and unique way of seeing the world was just
as important as what he wrote.
For most of the eighteenth century, automata were deemed a
celebration of human ingenuity, feats of science and reason. Among
the Romantics, however, they prompted a contradictory apprehension
about mechanization and contrivance: such science and engineering
threatened the spiritual nature of life, the source of compassion
in human society. A deep dread of puppets and the machinery that
propels them consequently surfaced in late eighteenth and early
nineteenth century literature. Romantic Automata is a collection of
essays examining the rise of this cultural suspicion of mechanical
imitations of life. Recent scholarship in post-humanism,
post-colonialism, disability studies, post-modern feminism,
eco-criticism, and radical Orientalism has significantly affected
the critical discourse on this topic. In engaging with the work and
thought of Coleridge, Poe, Hoffmann, Mary Shelley, and other
Romantic luminaries, the contributors to this collection open new
methodological approaches to understanding human interaction with
technology that strives to simulate, supplement, or supplant
organic life. Published by Bucknell University Press. Distributed
worldwide by Rutgers University Press.Â
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