By Joel Faflak, Julia M. Wright
The instruction manual to Romanticism Studies is an available and indispensible source delivering scholars and students with a wealthy array of ancient and updated severe and theoretical contexts for the learn of Romanticism.
* specializes in British Romanticism whereas additionally addressing continental and transatlantic Romanticism and past periods
* makes use of key phrases reminiscent of mind's eye, chic, poetics, philosophy, race, historiography, and visible tradition as issues of entry to the research of Romanticism and the theoretical issues and the tradition of the period
* Explores themes critical to Romanticism reports and the serious tendencies of the final thirty years
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Extra info for A Handbook of Romanticism Studies (Critical Theory Handbooks)
The transition from looking into Maria’s eyes, where Yorick “saw” what she was “thinking” (Sterne 114), to wiping away the tears of memory (Maria’s) and the tears of sympathy (Yorick’s) is almost instantaneous. Maria’s “little goat” (114) is one of a large cast of animal characters in A Sentimental Journey (including an ass and a caged starling).
Romanticism and the Materiality of Nature. Toronto: University of Toronto Press, 2004. Pyle, F. The Ideology of Imagination. Stanford: Stanford University Press, 1995. Rees’s Cyclopedia: Or, A New Universal Dictionary of Arts and Sciences. London, 1819. Richardson, A. The Neural Sublime: Cognitive Theories and Romantic Texts. Baltimore: Johns Hopkins University Press, 2010. Rousseau, G. S. 2 (2007): 161–192. Rzepka, C. J. ” In E. ). Romantic Praxis, Special Edition on 35 Romantic Passions (April 1998).
I will then propose some future directions of study that attempt to return to what the Romantics wanted to do with the imagination, what they found wanting in it, and why. Romantic Histories of the Imagination Originally published in 1953, M. H. Abrams’s The Mirror and the Lamp is still read and cited today. Few critical books have an off-the-shelf life of almost sixty years. Abrams distinguished Romanticism from the Enlightenment because it offered a revolutionary expressive theory of art instead of a mimetic one: against Locke’s metaphor of the mind as a mirror, the Romantics conceptualized the mind in terms of a lamp that is “bathed in an emotional light he himself [sic] projected” (52).