scholarly journals The revival of Dante's fortunes in Britain vis-à-vis mainstream ideology and aesthetics in the Romantic era: the case of the metamorphosis of Dante's Lucifer in the Milton, Cary, and Blake triad.

2020 ◽  
Vol 7 ◽  
pp. 59
Author(s):  
Edoardo Crisafulli
Keyword(s):  
Romantic Era

Margins and Modernity: A Geocritical Approach to Anna Seward's Llangollen Vale

Romanticism ◽  
2019 ◽  
Vol 25 (1) ◽  
pp. 69-80
Author(s):  
Ruth Knezevich
Keyword(s):  
Analytic Approach ◽  
Romantic Era ◽  
Insight Into

The genre of annotated verse represents an under-explored form of transporting romanticism. In annotated, locodescriptive poems like those in Anna Seward's Llangollen Vale, readers are invited to read not only the spatiality of the landscapes depicted in the verse but also the landscape of the page itself. Seward's poems, with their focus on understanding geographical, political, and historical spaces both real and imaginary, provide geocritical insight into poetic productions of the early Romantic era. Likewise, geocriticism offers a fresh and useful – even necessary – analytic approach to such poems. I adopt Anna Seward as a case study in annotated verse and argue that attending to the materiality and paratextuality of her work allows us to access the complexities of her poetry and prose as well as her position within the wider framework of transporting Romanticism.

Presence in Absence

2011 ◽  
Vol 56 (2) ◽  
pp. 79-100
Author(s):  
Rachel Esner
Keyword(s):  
19Th Century ◽  
Social Structures ◽  
Artistic Creativity ◽  
Oder Eine ◽  
Exhibition Space ◽  
Working Space ◽  
Romantic Era ◽  
Sozialer Raum ◽  
The 19Th Century ◽  
Artistic Self

Seit der Epoche der Romantik bringen viele der Diskurse, die künstlerische Kreativität betreffen, den Künstler und seinen Arbeitsraum zusammen: Die Werkstatt wird als ein Spiegel des Künstlers und seines Werks angesehen, als ein Heiligtum, ein sozialer Raum oder eine Ausstellungsfläche. Ein populärer bildlicher Topos der Zeit war die Darstellung des leeren Ateliers. Der vorliegende Beitrag versteht das Bild des leeren Ateliers im 19. Jahrhundert als ein Selbstporträt des Künstlers. Er untersucht, wie die Darstellung des Raums und seiner Objekte dem Gemälde die Präsenz des Künstlers einschreiben und sein bzw. ihr künstlerisches  Selbstverständnis innerhalb der sich verändernden künstlerischen und sozialen Strukturen der Epoche wiedergeben.<br><br>From the Romantic era onward, many of the discourses surrounding artistic creativity have merged the artist and his working space: the place of work is viewed as the mirror of the man and his oeuvre, a sanctuary, a social or an exhibition space. A popular topos in this context was the view of the empty studio. This paper explores the 19th-century empty studio image as a self-portrait of the artist. It examines how the depictions of the space and its objects work to inscribe the artist’s presence, and to express his or her  artistic self-conception and identity within the changing artistic-social structures of the period.

Coleridge and Contemplation

2017 ◽  
Keyword(s):  
Historical Background ◽  
New Developments ◽  
English Departments ◽  
Original Essays ◽  
Wide Range ◽  
Romantic Era ◽  
Renaissance Man ◽  
Dynamic Quality ◽  
Philosophical Writings

In his philosophical writings, Coleridge increasingly developed his thinking about imagination, a symbolizing precursor to contemplation, to a theory of contemplation itself, which for him occurs in its purest form as a manifestation of ‘Reason’. Coleridge is a particularly challenging figure because he was a thinker in process, and something of an omnimath, a Renaissance man of the Romantic era. The dynamic quality of his thinking, the ‘dark fluxion’ pursued but ultimately ‘unfixable by thought’, and his extensive range of interests make essential an approach that is philosophical yet also multi-disciplinary. This is the first collection of essays to be written mainly by philosophers and intellectual historians on a wide range of Coleridge’s philosophical writings. With a foreword by Baroness Mary Warnock, and original essays on Coleridge and Contemplation by prominent philosophers such as Sir Roger Scruton, David E. Cooper, Michael McGhee, and Andy Hamilton, this volume provides a stimulating collection of insights and explorations into what Britain’s foremost philosopher-poet had to say about the contemplation that he considered to be the highest of the human mental powers. The essays by philosophers are supported by new developments in philosophically minded criticism from Coleridge scholars in English departments, including Jim Mays, Kathleen Wheeler, and James Engell. They approach Coleridge as an energetic yet contemplative thinker concerned with the intuition of ideas and the processes of cultivation in self and society. Other essays, from intellectual historians and theologians, clarify the historical background, and ‘religious musings’, of Coleridge’s thought regarding contemplation.

scholarly journals Pathographies and Epiphanies: Communicating about Illness

2019 ◽  
Vol 49 (2) ◽  
pp. 278-294 ◽  
Author(s):  
Linda Nesby
Keyword(s):  
Emotional Distress ◽  
Medical Staff ◽  
Severe Illness ◽  
Knowing How ◽  
Religious Person ◽  
Romantic Era ◽  
Literary Device ◽  
Patient Stories

Abstract Epiphany is a literary device bringing forth an experience of sudden wisdom or insight and is particularly applied to literature from the romantic era. However, epiphanies are also present within contemporary autobiographical patient stories (pathographies) expressing something that is difficult and perhaps otherwise left unspoken. Kristian Gidlund’s pathography I kroppen min. Resan mot livets slut och alltings början (2013) deals with the author’s experience of having severe cancer. Gidlund was a non-religious person but at the end of his life, his blogposts included epiphanies or visionary moments regarding his afterlife. In this article the author shows how the use of epiphanies can be a subtle means of expressing thoughts and feelings when facing severe illness. Knowing how to identify and interpret epiphanies in pathographies can improve the abilities of relatives and medical staff to communicate with patients about existential matters and emotional distress. KAKA I would like to thank Rachael Reynolds and Paul Farmer for their most conscientious proofreading, and Dr. Christopher Oscarson for the accurate translation of the quotes from Kristian Gidlund’s book.

What the Climber Saw: Strauss's Alpensinfonie and the Romantic Tradition of Nature Representation

2021 ◽  
pp. 1-31
Author(s):  
David Larkin
Keyword(s):  
Nineteenth Century ◽  
Final Section ◽  
Emotional Reactions ◽  
Tone Poem ◽  
Peak Response ◽  
Landscape Features ◽  
Musical Compositions ◽  
The Sublime ◽  
Romantic Era ◽  
The Relationship

Initially criticized for its naïve representation of landscape features, Strauss's Alpensinfonie (1915) has in recent years been reinterpreted by scholars as a deliberate challenge to metaphysics, a late outgrowth of the composer's fascination with Nietzsche. As a consequence, the relationship between Strauss's tone poem and earlier artworks remains underexplored. Strauss in fact relied heavily on long-established tropes of representing mountain scenes, and when this work is situated against a backdrop of similarly themed Romantic paintings, literature, travelogues and musical compositions, many points of resemblance emerge. In this article, I focus on how human responses to mountains are portrayed within artworks. Romantic-era reactions were by no means univocal: mountains elicited overtly religious exhalations, atheistic refutations of all supernatural connections, pantheistic nature-worship, and also artworks which engaged with nature purely in an immanent fashion. Strauss uses a range of strategies to distinguish the climber from the changing scenery he traverses. The ascent in the first half of Eine Alpensinfonie focuses on a virtuoso rendition of landscape in sound, interleaved with suggestions as to the emotional reactions of the protagonist. This immanent perspective on nature would accord well with Strauss's declared atheism. In the climber's response to the sublime experience of the peak, however, I argue that there are marked similarities to the pantheistic divinization of nature such as was espoused by the likes of Goethe, whom Strauss admired enormously. And while Strauss's was an avowedly godless perspective, I will argue in the final section of the article that he casts the climber's post-peak response to the sublime encounter in a parareligious light that again has romantic precedents. There are intimations of romantic transcendence in the latter part of the work, even if these evaporate as the tone poem, and the entire nineteenth-century German instrumental tradition it concludes, fades away into silence.

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