A Handbook of Romanticism Studies
Julia M. Wright
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The Handbook to Romanticism Studies is an accessible and indispensible resource providing students and scholars with a rich array of historical and up-to-date critical and theoretical contexts for the study of Romanticism.
- Focuses on British Romanticism while also addressing continental and transatlantic Romanticism and earlier periods
- Utilizes keywords such as imagination, sublime, poetics, philosophy, race, historiography, and visual culture as points of access to the study of Romanticism and the theoretical concerns and the culture of the period
- Explores topics central to Romanticism studies and the critical trends of the last thirty years
be: “Had you seen us, Mr. Harley, when we were turned out of South-hill, I am sure you would have wept at the sight” (89). Next, Edwards’s grown son falls prey to a press-gang, legally authorized to seize young men to staff the ranks of the British army and navy. The father bribes the sergeant of the press-gang to let him go in his son’s place and ends up with British troops in India. This provides the setting for yet another tale within a tale centering on yet another stoical sufferer, an “old
its entirety. While many discussions of the sublime are closely tied to questions of aesthetics and psychology, the sublime as a category has also had a long history in the discourses of religion and the theoretical and practical discourses of cosmology. The German philosopher Immanuel Kant (1724–1804) argued in his Critique of Judgment (1790) that we experience the sublime when we try to conceptualize (his term is “totalize”), for example, the immensity of outer space. The difficulty we have
scientific theory. In spite of these differences, both the diorama and the phantasmagoria are excellent examples of popular visual media in which a preoccupation with seeing is simultaneously material and thematic; the act of seeing receives special emphasis by being itself represented, dramatized, and indeed problematized. One final point to be made about these displays relates to their names. The three I have discussed at length – the panorama, the diorama, and the phantasmagoria – all made use
http://www.erudit.org/revue/ ron/2007/v/n46/index.html. Hyde, R. Panoramania! The Art and Entertainment of the “All-Embracing” View. London: Trefoil Publications, 1988. in association with the Barbican Art, Gallery. Labbe, J. Romantic Visualities: Landscape, Gender, and Romanticism. Basingstoke: Macmillan, 1998. Matheson, C. S. “The Royal Academy and the Annual Exhibition of the Viewing Public.” In T. Pfau and R. Gleckner (Eds.). The Lessons of Romanticism: A Critical Companion (pp. 280–303).
modern society losing its sense of what is important, finding a new poetry based on understandings of the centrality of imaginative development and its elusiveness. In this narrative, the essence of Romantic poetry coincides with an essence of nationhood: Wordsworth as the heir of the national bard Shakespeare (it is no coincidence that touristic versions of both were established in the nineteenth century). Whether venerated, or dismissed as overpromoted, Wordsworth as the progenitor of