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Our collection of essays re-evaluates the much critically contested
term of Modernism that, eventually, came to be used of the
dominant, or paradigmatic, strain of literary discourse in
early-twentieth-century culture. Modernism as a category is one
which is constantly challenged, hybridised, and fractured by voices
operating from inside and outside the boundaries it designates.
These concerns are reflected by those figures addressed by our
contributors' chapters, which include Rupert Brooke, G. K.
Chesterton, E.M. Forster, Thomas Hardy, M. R. James, C.L.R James,
Vernon Lee, D.H. Lawrence, Richard La Galliene, Pamela Colman
Smith, Arthur Symons, and H.G. Wells. Alert to these disturbing
voices or unsettling presences that vex accounts of an emergent
Modernism in late nineteenth-century and early twentieth-century
literary cultures predominately between 1890-1939, our volume
questions traditional critical mappings, taxonomies, and
periodisations of this vital literary cultural moment. Our volume
is equally sensitive to how the avant garde felt for those living
and writing within the period with a view to offering a renewed
sense of the literary and cultural alternatives to Modernism.
This volume reflects on the ghostly and its varied manifestations
including the uncanny, the revenant, the echo, and other forms of
artistic allusion. These unsettling presences of the spectral other
occur in literature, history, film, and art. The ghostly (and its
artistic, literary, filmic, and cultural representations) remains
of burgeoning interest and debate to twenty-first century literary
critics, cultural historians, art historians, and linguists. Our
collection of essays considers the wider implications of these
representations of the ghostly and notions of the spectral to
define a series of different, but inter-related, cultural topics
(concerned with questions of ageing, the uncanny, the spectral,
spiritualism, eschatology), which imaginatively testify to our
compulsion to search for evidence of the ghostly in our everyday
encounters with the material world.
Our collection of essays re-evaluates the much critically contested
term of Modernism that, eventually, came to be used of the
dominant, or paradigmatic, strain of literary discourse in
early-twentieth-century culture. Modernism as a category is one
which is constantly challenged, hybridised, and fractured by voices
operating from inside and outside the boundaries it designates.
These concerns are reflected by those figures addressed by our
contributors' chapters, which include Rupert Brooke, G. K.
Chesterton, E.M. Forster, Thomas Hardy, M. R. James, C.L.R James,
Vernon Lee, D.H. Lawrence, Richard La Galliene, Pamela Colman
Smith, Arthur Symons, and H.G. Wells. Alert to these disturbing
voices or unsettling presences that vex accounts of an emergent
Modernism in late nineteenth-century and early twentieth-century
literary cultures predominately between 1890-1939, our volume
questions traditional critical mappings, taxonomies, and
periodisations of this vital literary cultural moment. Our volume
is equally sensitive to how the avant garde felt for those living
and writing within the period with a view to offering a renewed
sense of the literary and cultural alternatives to Modernism.
In tracing those deliberate and accidental Romantic echoes that
reverberate through the Victorian age into the beginning of the
twentieth century, this collection acknowledges that the Victorians
decided for themselves how to define what is 'Romantic'. The essays
explore the extent to which Victorianism can be distinguished from
its Romantic precursors, or whether it is possible to conceive of
Romanticism without the influence of these Victorian definitions.
Romantic Echoes in the Victorian Era reassesses Romantic
literature's immediate cultural and literary legacy in the late
nineteenth century, showing how the Victorian writings of Matthew
Arnold, Wilkie Collins, the BrontA"s, the Brownings, Elizabeth
Gaskell, Charles Dickens, Gerard Manley Hopkins, Thomas Hardy, and
the Rossettis were instrumental in shaping Romanticism as a
cultural phenomenon. Many of these Victorian writers found in the
biographical, literary, and historical models of Chatterton,
Coleridge, Byron, Shelley, Keats, and Wordsworth touchstones for
reappraising their own creative potential and artistic identity.
Whether the Victorians affirmed or revolted against the Romanticism
of their early years, their attitudes towards Romantic values
enriched and intensified the personal, creative, and social
dilemmas described in their art. Taken together, the essays in this
collection reflect on current critical dialogues about literary
periodisation and contribute to our understanding of how these
contemporary debates stem from Romanticism's inception in the
Victorian age.
Concerned with the intermingled thematic and formal preoccupations
of Romantic thought and literary practice in works by
twentieth-century British, Irish, and American artists, this
collection examines the complicated legacy of Romanticism in
twentieth-century novels, poetry, and film. Even as key
twentieth-century cultural movements have tried to subvert or
debunk Romantic narratives of redemptive nature, individualism,
perfectibility, and the transcendence of art, the forms and modes
of feeling associated with the Romantic period continue to exert a
signal influence on the modern moment - both as a source of tension
and as creative stimulus. As the essays here show, the exact
meaning of the Romantic bequest may be bitterly contested, but it
has been difficult to leave behind. The contributors take up a wide
range of authors, including Virginia Woolf, F. Scott Fitzgerald, W.
H. Auden, Doris Lessing, Seamus Heaney, Hart Crane, William
Faulkner, Don DeLillo, and Jonathan Franzen. What emerges from this
lively volume is a fuller picture of the persistence and variety of
the Romantic period's influence on the twentieth-century.
In the era of the Grand Tour, Venice was the cultural jewel in the
crown of Europe and the epitome of decadence. This edited
collection of eleven essays draws on a range of disciplines and
approaches to ask how Venice's appeal has affected Western culture
since 1800.
This significant collection of essays examines the cultural,
literary, philosophical and historical representation of beauty in
British, Irish and American literature. Contributors use the works
of Charles Dickens, T S Eliot, W H Auden and Stephen Spender among
others to explore the role of beauty and its wider implications in
art and society.
The subject of Romanticism, Memory, and Mourning could not be
timelier with Zizek's recent proclamation that we are 'living in
the end times' and in an era which is preoccupied with the process
and consequences of ageing. We mourn both for our pasts and futures
as we now recognise that history is a continuation and record of
loss. Mark Sandy explores the treatment of grief, loss, and death
across a variety of Romantic poetic forms, including the ballad,
sonnet, epic, elegy, fragment, romance, and ode in the works of
poets as diverse as Smith, Hemans, Blake, Wordsworth, Coleridge,
Byron, Shelley, Keats, and Clare. Romantic meditations on grief,
however varied in form and content, are self-consciously aware of
the complexity and strength of feelings surrounding the consolation
or disconsolation that their structures of poetic memory afford
those who survive the imaginary and actual dead. Romantic mourning,
Sandy shows, finds expression in disparate poetic forms, and how it
manifests itself both as the spirit of its age, rooted in precise
historical conditions, and as a proleptic power, of lasting
transhistorical significance. Romantic meditations on grief and
loss speak to our contemporary anxieties about the inevitable, but
unthinkable, event of death itself.
Concerned with the intermingled thematic and formal preoccupations
of Romantic thought and literary practice in works by
twentieth-century British, Irish, and American artists, this
collection examines the complicated legacy of Romanticism in
twentieth-century novels, poetry, and film. Even as key
twentieth-century cultural movements have tried to subvert or
debunk Romantic narratives of redemptive nature, individualism,
perfectibility, and the transcendence of art, the forms and modes
of feeling associated with the Romantic period continue to exert a
signal influence on the modern moment - both as a source of tension
and as creative stimulus. As the essays here show, the exact
meaning of the Romantic bequest may be bitterly contested, but it
has been difficult to leave behind. The contributors take up a wide
range of authors, including Virginia Woolf, F. Scott Fitzgerald, W.
H. Auden, Doris Lessing, Seamus Heaney, Hart Crane, William
Faulkner, Don DeLillo, and Jonathan Franzen. What emerges from this
lively volume is a fuller picture of the persistence and variety of
the Romantic period's influence on the twentieth-century.
In the era of the Grand Tour, Venice was the cultural jewel in the
crown of Europe and the epitome of decadence. Though visited by
only the lucky few, its seductive charms were shared with those
back home through the art and literature it inspired. This edited
collection draws on a range of disciplines and approaches to
explore how Venice has been represented in Western culture since
1800. Essays from experts in their field consider the city's
depiction in poetry, fiction, art, music and film. Beyond simply
affirming the allure of Venice, this book functions as a case study
with broader implications for the understanding of artistic and
cultural legacies, and the relationships between art and money,
history and myth.
For Decadent authors, Romanticism was a source of powerful
imaginative revisionism, perversion, transition, and partial
negation. But for all these strong Decadent reactions against the
period, the cultural phenomenon of Decadence shared with
Romanticism a mutual distrust of the philosophy of utilitarianism
and the aesthetics of neo-Classicism. Reflecting on the interstices
between Romantic and Decadent literature, Decadent Romanticism
reassesses the diverse and creative reactions of Decadent authors
to Romanticism between 1780 and 1914, while also remaining alert to
the prescience of the Romantic imagination to envisage its own
distorted, darker, perverted, other self. Creative pairings include
William Blake and his Decadent critics, the recurring figure of the
sphinx in the work of Thomas De Quincey and Decadent writers, and
Percy Shelley with both Mathilde Blind and Swinburne. Not
surprisingly, John Keats's works are a particular focus, in essays
that explore Keats's literary and visual legacies and his resonance
for writers who considered him an icon of art for art's sake.
Crucial to this critical reassessment are the shared obsessions of
Romanticism and Decadence with subjectivity, isolation, addiction,
fragmentation, representation, romance, and voyeurism, as well as a
poetics of desire and anxieties over the purpose of aestheticism.
For Decadent authors, Romanticism was a source of powerful
imaginative revisionism, perversion, transition, and partial
negation. But for all these strong Decadent reactions against the
period, the cultural phenomenon of Decadence shared with
Romanticism a mutual distrust of the philosophy of utilitarianism
and the aesthetics of neo-Classicism. Reflecting on the interstices
between Romantic and Decadent literature, Decadent Romanticism
reassesses the diverse and creative reactions of Decadent authors
to Romanticism between 1780 and 1914, while also remaining alert to
the prescience of the Romantic imagination to envisage its own
distorted, darker, perverted, other self. Creative pairings include
William Blake and his Decadent critics, the recurring figure of the
sphinx in the work of Thomas De Quincey and Decadent writers, and
Percy Shelley with both Mathilde Blind and Swinburne. Not
surprisingly, John Keats's works are a particular focus, in essays
that explore Keats's literary and visual legacies and his resonance
for writers who considered him an icon of art for art's sake.
Crucial to this critical reassessment are the shared obsessions of
Romanticism and Decadence with subjectivity, isolation, addiction,
fragmentation, representation, romance, and voyeurism, as well as a
poetics of desire and anxieties over the purpose of aestheticism.
In tracing those deliberate and accidental Romantic echoes that
reverberate through the Victorian age into the beginning of the
twentieth century, this collection acknowledges that the Victorians
decided for themselves how to define what is 'Romantic'. The essays
explore the extent to which Victorianism can be distinguished from
its Romantic precursors, or whether it is possible to conceive of
Romanticism without the influence of these Victorian definitions.
Romantic Echoes in the Victorian Era reassesses Romantic
literature's immediate cultural and literary legacy in the late
nineteenth century, showing how the Victorian writings of Matthew
Arnold, Wilkie Collins, the BrontA"s, the Brownings, Elizabeth
Gaskell, Charles Dickens, Gerard Manley Hopkins, Thomas Hardy, and
the Rossettis were instrumental in shaping Romanticism as a
cultural phenomenon. Many of these Victorian writers found in the
biographical, literary, and historical models of Chatterton,
Coleridge, Byron, Shelley, Keats, and Wordsworth touchstones for
reappraising their own creative potential and artistic identity.
Whether the Victorians affirmed or revolted against the Romanticism
of their early years, their attitudes towards Romantic values
enriched and intensified the personal, creative, and social
dilemmas described in their art. Taken together, the essays in this
collection reflect on current critical dialogues about literary
periodisation and contribute to our understanding of how these
contemporary debates stem from Romanticism's inception in the
Victorian age.
Beginning with a reassessment of contemporary romantic studies,
this book provides a modern critical comparison of Keats and
Shelley. The study offers detailed close readings of a variety of
literary genres (including the romance, lyric, elegy and literary
fragment) adopted by Keats and Shelley to explore their poetic
treatment of self and form. The poetic careers of Keats and Shelley
embrace a tragic affirmation of those darker elements latent in the
earlier writings to meditate on their own posthumous reception and
reputation. Fresh readings of Keats and Shelley show how they
conceive of the self as fictional and anticipate Nietzsche's modern
theories of subjectivity. Nietzsche's conception of the subject as
a site of conflicting fictions usefully measures this emergent
sense of poetic self and form in Keats and Shelley. This
Nietzschean perspective enriches our appreciation of the
considerable artistic achievement of these two significant
second-generation romantic poets.
This book provides innovative readings of literary works of British
Romanticism and its influence on twentieth- and
twenty-first-century American literary culture and thought. It
traverses the traditional critical boundaries of prose and poetry
in American and Romantic and post-Romantic writing. Analysing
significant works by nineteenth-century writers, including Ralph
Waldo Emerson, Henry David Thoreau and Emily Dickinson, as well as
the later writings of William Faulkner, F. Scott Fitzgerald, Saul
Bellow, Toni Morrison and Wallace Stevens, the book reasserts the
significance of second-generation Romantic writers for American
literary culture. Sandy reassesses our understanding of Romantic
inheritance and influence on post-Romantic aesthetics, subjectivity
and the natural world in the American imagination.
Beginning with a reassessment of contemporary romantic studies,
this book provides a modern critical comparison of Keats and
Shelley. The study offers detailed close readings of a variety of
literary genres (including the romance, lyric, elegy and literary
fragment) adopted by Keats and Shelley to explore their poetic
treatment of self and form. The poetic careers of Keats and Shelley
embrace a tragic affirmation of those darker elements latent in the
earlier writings to meditate on their own posthumous reception and
reputation. Fresh readings of Keats and Shelley show how they
conceive of the self as fictional and anticipate Nietzsche's modern
theories of subjectivity. Nietzsche's conception of the subject as
a site of conflicting fictions usefully measures this emergent
sense of poetic self and form in Keats and Shelley. This
Nietzschean perspective enriches our appreciation of the
considerable artistic achievement of these two significant
second-generation romantic poets.
A critical re-evaluation of the imaginative transformations of
Romanticism by major American writers This book provides innovative
readings of literary works of British Romanticism and its influence
on twentieth- and twenty-first-century American literary culture
and thought. It traverses the traditional critical boundaries of
prose and poetry in American and Romantic and post-Romantic
writing. Analysing significant works by nineteenth-century writers,
including Ralph Waldo Emerson, Henry David Thoreau and Emily
Dickinson, as well as the contemporary writings of William
Faulkner, F. Scott Fitzgerald, Saul Bellow, Toni Morrison and
Wallace Stevens, the book reasserts the significance of
second-generation Romantic writers for American literary culture.
Sandy reassesses our understanding of Romantic inheritance and
influence on post-Romantic aesthetics, subjectivity and the natural
world in the American imagination.
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