Though traditionally defined as a relatively brief time period - typically the half century of 1780-1830 - the "Romantic era" constitutes a crucial, indeed unique, transitional phase in what has come to be called "modernity," for it was during these fifty years that myriad disciplinary, aesthetic, economic, and political changes long in the making accelerated dramatically. Due in part to the increased velocity of change, though, most of modernity's essential master-tropes - such as secularization, instrumental reason, individual rights, economic self-interest, emancipation, system, institution, nation, empire, utopia, and "life" - were also subjected to incisive critical and methodological reflection and revaluation. The chapters in this collection argue that Romanticism's marked ambivalence and resistance to decisive conceptualization arises precisely from the fact that Romantic authors simultaneously extended the project of European modernity while offering Romantic concepts as means for a sustained critical reflection on that very process. Focusing especially on the topics of form (both literary and organic), secularization (and its political correlates, utopia and apocalypse), and the question of how one narrates the arrival of modernity, this collection collectively emphasizes the importance of understanding modernity through the lens of Romanticism, rather than simply understanding Romanticism as part of modernity. This book was previously published as a special issue of European Romantic Review.

This book explores Wordsworth's professionalization as a writer in relation to the cultural and economic ascendancy of the English middle class between 1740 and 1820. Its wide-ranging interpretations are coordinated by a single, albeit highly ramified, critical hypothesis: that Romanticism's aesthetic forms simultaneously afforded the middle classes an imaginary furlough from the impinging consciousness of their tenuous socio-economic status.
"Wordsworth's Profession" analyzes and correlates changing paradigms of authorship, poetic genre, and tone with the demographic and spiritual aspects of middle-class life during the late eighteenth and early nineteenth centuries. The first of three parts explores Wordsworth's early descriptive poetry ("An Evening Walk, Descriptive Sketches, " and "Tinturn Abbey") in relation to inherited and contiguous aesthetic forms and practices, such as the landscapes of Lorrain and Gainsborough, Kant's theory of aesthetic communities, and the institutions of domestic tourism and the Picturesque in late-eighteenth-century England.
The second part addresses the construction of a distinctly middle-class paradigm of reading in "Lyrical Ballads." It does so in relation to contemporary didactic fiction (Wollstonecraft), anti-didactic writing (Blake), speculative theories of education (Godwin, Coleridge, and Hegel), and the emergent so-called mutual tutor or "monitorial" systems of elementary schooling (Andrew Bell and Joseph Lancaster).
The book's final part, on "The Prelude," focuses on representations of middle-class moral and economic anxiety as mediated in the spirited debate about populousness and public morality. Seen in this context, Wordsworth's autobiography appears less a confession than an attempt to simulate poetic answers to questions lingering in the national unconscious, questions too vast and threatening to bear conscious asking.

Though traditionally defined as a relatively brief time period - typically the half century of 1780-1830 - the "Romantic era" constitutes a crucial, indeed unique, transitional phase in what has come to be called "modernity," for it was during these fifty years that myriad disciplinary, aesthetic, economic, and political changes long in the making accelerated dramatically. Due in part to the increased velocity of change, though, most of modernity's essential master-tropes - such as secularization, instrumental reason, individual rights, economic self-interest, emancipation, system, institution, nation, empire, utopia, and "life" - were also subjected to incisive critical and methodological reflection and revaluation. The chapters in this collection argue that Romanticism's marked ambivalence and resistance to decisive conceptualization arises precisely from the fact that Romantic authors simultaneously extended the project of European modernity while offering Romantic concepts as means for a sustained critical reflection on that very process. Focusing especially on the topics of form (both literary and organic), secularization (and its political correlates, utopia and apocalypse), and the question of how one narrates the arrival of modernity, this collection collectively emphasizes the importance of understanding modernity through the lens of Romanticism, rather than simply understanding Romanticism as part of modernity. This book was previously published as a special issue of European Romantic Review.

Thomas Pfau’s study of images and visual experience is a tour de force linking Platonic metaphysics to modern phenomenology and probing literary, philosophical, and theological accounts of visual experience from Plato to Rilke. Incomprehensible Certainty presents a sustained reflection on the nature of images and the phenomenology of visual experience. Taking the “image” (eikōn) as the essential medium of art and literature and as foundational for the intuitive ways in which we make contact with our “lifeworld,” Thomas Pfau draws in equal measure on Platonic metaphysics and modern phenomenology to advance a series of interlocking claims. First, Pfau shows that, beginning with Plato’s later dialogues, being and appearance came to be understood as ontologically distinct from (but no longer opposed to) one another. Second, in contrast to the idol that is typically gazed at and visually consumed as an object of desire, this study positions the image as a medium whose intrinsic abundance and excess reveal to us its metaphysical function—namely, as the visible analogue of an invisible, numinous reality. Finally, the interpretations unfolded in this book (from Plato, Plotinus, Pseudo-Dionysius, John Damascene via Bernard of Clairvaux, Bonaventure, Julian of Norwich, and Nicholas of Cusa to modern writers and artists such as Goethe, Ruskin, Turner, Hopkins, Cézanne, and Rilke) affirm the essential complementarity of image and word, visual intuition and hermeneutic practice, in theology, philosophy, and literature. Like Pfau’s previous book, Minding the Modern, Incomprehensible Certainty is a major work. With over fifty illustrations, the book will interest students and scholars of philosophy, theology, literature, and art history.

In this brilliant study, Thomas Pfau argues that the loss of foundational concepts in classical and medieval Aristotelian philosophy caused a fateful separation between reason and will in European thought. Pfau traces the evolution and eventual deterioration of key concepts of human agency—will, person, judgment, action—from antiquity through Scholasticism and on to eighteenth-century moral theory and its critical revision in the works of Samuel Taylor Coleridge. Featuring extended critical discussions of Aristotle, Gnosticism, Augustine, Aquinas, Ockham, Hobbes, Shaftesbury, Mandeville, Hutcheson, Hume, Adam Smith, and Coleridge, this study contends that the humanistic concepts these writers seek to elucidate acquire meaning and significance only inasmuch as we are prepared positively to engage (rather than historicize) their previous usages. Beginning with the rise of theological (and, eventually, secular) voluntarism, modern thought appears increasingly reluctant and, in time, unable to engage the deep history of its own underlying conceptions, thus leaving our understanding of the nature and function of humanistic inquiry increasingly frayed and incoherent. One consequence of this shift is to leave the moral self-expression of intellectual elites and ordinary citizens alike stunted, which in turn has fueled the widespread notion that moral and ethical concerns are but a special branch of inquiry largely determined by opinion rather than dialogical reasoning, judgment, and practice. A clear sign of this regression is the present crisis in the study of the humanities, whose role is overwhelmingly conceived (and negatively appraised) in terms of scientific theories, methods, and objectives. The ultimate casualty of this reductionism has been the very idea of personhood and the disappearance of an adequate ethical language. Minding the Modern is not merely a chapter in the history of ideas; it is a thorough phenomenological and metaphysical study of the roots of today's predicaments.

In this brilliant study, Thomas Pfau argues that the loss of foundational concepts in classical and medieval Aristotelian philosophy caused a fateful separation between reason and will in European thought. Pfau traces the evolution and eventual deterioration of key concepts of human agency-will, person, judgment, action-from antiquity through Scholasticism and on to eighteenth-century moral theory and its critical revision in the works of Samuel Taylor Coleridge. Featuring extended critical discussions of Aristotle, Gnosticism, Augustine, Aquinas, Ockham, Hobbes, Shaftesbury, Mandeville, Hutcheson, Hume, Adam Smith, and Coleridge, this study contends that the humanistic concepts these writers seek to elucidate acquire meaning and significance only inasmuch as we are prepared positively to engage (rather than historicize) their previous usages. Beginning with the rise of theological (and, eventually, secular) voluntarism, modern thought appears increasingly reluctant and, in time, unable to engage the deep history of its own underlying conceptions, thus leaving our understanding of the nature and function of humanistic inquiry increasingly frayed and incoherent. One consequence of this shift is to leave the moral self-expression of intellectual elites and ordinary citizens alike stunted, which in turn has fueled the widespread notion that moral and ethical concerns are but a special branch of inquiry largely determined by opinion rather than dialogical reasoning, judgment, and practice. A clear sign of this regression is the present crisis in the study of the humanities, whose role is overwhelmingly conceived (and negatively appraised) in terms of scientific theories, methods, and objectives. The ultimate casualty of this reductionism has been the very idea of personhood and the disappearance of an adequate ethical language. Minding the Modern is not merely a chapter in the history of ideas; it is a thorough phenomenological and metaphysical study of the roots of today's predicaments.

Thomas Pfau reinterprets the evolution of British and German Romanticism as a progress through three successive dominant moods, each manifested in the "voice" of an historical moment. Drawing on a multifaceted philosophical tradition ranging from Kant to Hegel to Heidegger -- incorporating as well the psychosocial analyses of Freud, Benjamin, and Adorno -- Pfau develops a new understanding of the Romantic writer's voice as the formal encryption of a complex cultural condition.

Pfau focuses on three specific paradigms of emotive experience: paranoia, trauma, and melancholy. Along the trajectory of Romantic thought paranoia characterizes the disintegration of traditional models of causation and representation during the French Revolution; trauma, the radical political, cultural, and economic restructuring of Central Europe in the Napoleonic era; and melancholy, the dominant post-traumatic condition of stalled, post-Napoleonic history both in England and on the continent.

Romantic Moods positions emotion as a "climate of history" to be interpretively recovered from the discursive and imaginative writing in which it is objectively embodied. Pfau's ambitious study traces the evolution of Romantic interiority by exploring the deep-seated reverberations of historical change as they become legible in new discursive and conceptual strategies and in the evolving formal-aesthetic construction and reception of Romantic literature. In establishing this relationship between mood and voice, Pfau moves away from the conventional understanding of emotion as something "owned" or exclusively attributable to the individual and toward a theory of mood as fundamentally intersubjective and deserving ofbroader consideration in the study of Romanticism.

Moving beyond views of European Romanticism as an essentially poetic development, "Lessons of Romanticism" strives to strengthen a critical awareness of the genres, historical institutions, and material practices that comprised the culture of the period. This anthology--in recasting Romanticism in its broader cultural context--ranges across literary studies, art history, musicology, and political science and combines a variety of critical approaches, including gender studies, Lacanian analysis, and postcolonial studies.
With over twenty essays on such diverse topics as the aesthetic and pedagogical purposes of art exhibits in London, the materiality of late Romantic salon culture, the extracanonical status of Jane Austen and Fanny Burney, and Romantic imagery in Beethoven's music and letters, "Lessons of Romanticism" reveals the practices that were at the heart of European Romantic life. Focusing on the six decades from 1780 to 1832, this collection is arranged thematically around gender and genre, literacy, marginalization, canonmaking, and nationalist ideology. As Americanists join with specialists in German culture, as Austen is explored beside Beethoven, and as discussions on newly recovered women's writings follow fresh discoveries in long-canonized texts, these interdisciplinary essays not only reflect the broad reach of contemporary scholarship but also point to the long-neglected intertextual and intercultural dynamics in the various and changing faces of Romanticism itself.

"Contributors." Steven Bruhm, Miranda J. Burgess, Joel Faflak, David S. Ferris, William Galperin, Regina Hewitt, Jill Heydt-Stevenson, H. J. Jackson, Theresa M. Kelley, Greg Kucich, C. S. Matheson, Adela Pinch, Marc Redfield, Nancy L. Rosenblum, Marlon B. Ross, Maynard Solomon, Richard G. Swartz, Nanora Sweet, Joseph Viscomi, Karen A. Weisman, Susan I. Wolfson

Moving beyond views of European Romanticism as an essentially poetic development, "Lessons of Romanticism" strives to strengthen a critical awareness of the genres, historical institutions, and material practices that comprised the culture of the period. This anthology--in recasting Romanticism in its broader cultural context--ranges across literary studies, art history, musicology, and political science and combines a variety of critical approaches, including gender studies, Lacanian analysis, and postcolonial studies.
With over twenty essays on such diverse topics as the aesthetic and pedagogical purposes of art exhibits in London, the materiality of late Romantic salon culture, the extracanonical status of Jane Austen and Fanny Burney, and Romantic imagery in Beethoven's music and letters, "Lessons of Romanticism" reveals the practices that were at the heart of European Romantic life. Focusing on the six decades from 1780 to 1832, this collection is arranged thematically around gender and genre, literacy, marginalization, canonmaking, and nationalist ideology. As Americanists join with specialists in German culture, as Austen is explored beside Beethoven, and as discussions on newly recovered women's writings follow fresh discoveries in long-canonized texts, these interdisciplinary essays not only reflect the broad reach of contemporary scholarship but also point to the long-neglected intertextual and intercultural dynamics in the various and changing faces of Romanticism itself.

"Contributors." Steven Bruhm, Miranda J. Burgess, Joel Faflak, David S. Ferris, William Galperin, Regina Hewitt, Jill Heydt-Stevenson, H. J. Jackson, Theresa M. Kelley, Greg Kucich, C. S. Matheson, Adela Pinch, Marc Redfield, Nancy L. Rosenblum, Marlon B. Ross, Maynard Solomon, Richard G. Swartz, Nanora Sweet, Joseph Viscomi, Karen A. Weisman, Susan I. Wolfson

Written by theologians, literary scholars, political theorists, classicists, and philosophers, the essays in Judgment and Action address the growing sense that certain key concepts in humanistic scholarship have become suspect, if not downright unintelligible, amid the current plethora of critical methods. These essays aim to reassert the normative force of judgment and action, two concepts at the very core of literary analysis, systematic theology, philosophy, ethics, aesthetics, and other disciplines. Interpretation is essential to every humanistic discipline, and every interpretation is an act of judgment. Yet the work of interpretation and judgment has been called into question by contemporary methods in the humanities, which incline either toward contextual determination of meaning or toward the suspension of judgment altogether. Action is closely related to judgment and interpretation and like them, it has been rendered questionable. An action is not simply the performance of a deed but requires the deed's intelligibility, which can be secured only through interpretation and judgment. Organized into four broad themes-interiority/contemplation, ethics, politics/community, and aesthetics/image-the aim of this broad-ranging and insightful collection is to illuminate the histories of judgment and action, identify critical sites from which rethinking them may begin, clarify how they came to be challenged, and relocate them within a broader intellectual-historical trajectory that renders them intelligible.