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Romantic Ecocriticism: Origins and Legacies is unique due to its
rare assemblage of essays, which has not appeared within an edited
collection before. Romantic Ecocriticism is distinct because the
essays in the collection develop transnational and transhistorical
approaches to the proto-ecological early environmental aspects in
British and American Romanticism. First, the edition's
transnational approach is evident through transatlantic connections
such as, but are not limited to, comparisons among the following
writers: William Wordsworth, William Howitt, and Henry D. Thoreau;
John Clare and Aldo Leopold; Charles Darwin and Ralph W. Emerson.
Second, the transhistorical approach of Romantic Ecocriticism is
evident in connections among the following writers: William
Wordsworth and Emily Bronte; Thomas Malthus and George Gordon
Byron; James Hutton and Percy Shelley; Erasmus Darwin and Charlotte
Smith; Gilbert White and Dorothy Wordsworth among others. Thus,
Romantic Ecocriticism offers a dynamic collection of essays
dedicated to links between scientists and literary figures
interested in natural history.
Romantic Ecocriticism: Origins and Legacies is unique due to its
rare assemblage of essays, which has not appeared within an edited
collection before. Romantic Ecocriticism is distinct because the
essays in the collection develop transnational and transhistorical
approaches to the proto-ecological early environmental aspects in
British and American Romanticism. First, the edition's
transnational approach is evident through transatlantic connections
such as, but are not limited to, comparisons among the following
writers: William Wordsworth, William Howitt, and Henry D. Thoreau;
John Clare and Aldo Leopold; Charles Darwin and Ralph W. Emerson.
Second, the transhistorical approach of Romantic Ecocriticism is
evident in connections among the following writers: William
Wordsworth and Emily Bronte; Thomas Malthus and George Gordon
Byron; James Hutton and Percy Shelley; Erasmus Darwin and Charlotte
Smith; Gilbert White and Dorothy Wordsworth among others. Thus,
Romantic Ecocriticism offers a dynamic collection of essays
dedicated to links between scientists and literary figures
interested in natural history.
The major work of German literature, Johann Wolfgang von Goethe's
Faust (1808), was translated into English by one of Britain's most
capable mediators of German literature and philosophy, Samuel
Taylor Coleridge. Goethe himself twice referred to Coleridge's
translation of his Faust. Goethe's character wrestles with the very
metaphysical and theological problems that preoccupied Coleridge:
the meaning of the Logos, the apparent opposition of theism and
pantheism. Coleridge, the poet of tormented guilt, of the demonic
and the supernatural, found himself on familiar ground in
translating Faust. Because his translation reveals revisions and
reworkings of Coleridge's earlier works, his Faust contributes
significantly to the understanding of Coleridge's entire oeuvre.
Coleridge began, but soon abandoned, the translation in 1814,
returning to the task in 1820. At Coleridge's own insistence, it
was published anonymously in 1821, illustrated with 27 line
engravings copied by Henry Moses after the original plates by
Moritz Retzsch. His publisher, Thomas Boosey, brought out another
edition in 1824. Although several critics recognized that it was
Coleridge's work, his role as translator was obscured because of
its anonymous publication. Coleridge himself declared that he
'never put pen to paper as translator of Faust', and subsequent
generations mistakenly attributed the translation to George Soane,
a minor playwright, who had actually commenced translating for a
rival press. This edition of Coleridge's translation provides the
textual and documentary evidence of his authorship, and presents
his work in the context of other contemporary efforts at
translating Goethe's Faust.
This book traces the development of Coleridge's philosophy of
language, situating it in the intellectual climate of his era.
James C. McKusick offers the persuasive and original argument that
Coleridge's linguistic theories for a coherent body of thought
underlying his poetry, criticism, and aesthetics.
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