{"title":"Christina Lupton Reading and the Making of Time in the Eighteenth Century","authors":"Katie Halsey","doi":"10.3366/rom.2021.0528","DOIUrl":"https://doi.org/10.3366/rom.2021.0528","url":null,"abstract":"","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44021377","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Through his ‘Confessions of an English Opium-Eater’, Thomas De Quincey effects a meticulously crafted entrance onto the literary scene: less a series of confidential notes than a stage-managed perf...
{"title":"On Not Being an Author: De Quincey's ‘Confessions’ and the Performance of Romantic Translatorship","authors":"Brecht Groote","doi":"10.3366/ROM.2021.0520","DOIUrl":"https://doi.org/10.3366/ROM.2021.0520","url":null,"abstract":"Through his ‘Confessions of an English Opium-Eater’, Thomas De Quincey effects a meticulously crafted entrance onto the literary scene: less a series of confidential notes than a stage-managed perf...","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":"27 1","pages":"262-271"},"PeriodicalIF":0.3,"publicationDate":"2021-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42537571","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Thomas De Quincey exploits his rivalry with Samuel Taylor Coleridge to structure many of the key features of his most famous work, ‘Confessions of an English Opium-Eater’ (1821). De Quincey's idolization of Coleridge began early and survived the anger and disappointment he felt after the collapse of their friendship and his discovery of Coleridge's intellectual duplicity. In ‘Confessions’, De Quincey's accounts of himself as a scholar of Greek literature, Ricardian economics, and Kantean philosophy are all galvanized by his knowledge that Coleridge too has worked in these areas. As opium addicts, De Quincey's experience of the drug overlaps with Coleridge's in a number of ways, while De Quincey differs from Coleridge – at least on the surface – in his claims about both the moral implications of drugged euphoria and the resolve needed to defeat addiction.
{"title":"‘Two faces, each of a confused countenance’: Coleridge, De Quincey, and Contests of Authority","authors":"R. Morrison","doi":"10.3366/rom.2021.0525","DOIUrl":"https://doi.org/10.3366/rom.2021.0525","url":null,"abstract":"Thomas De Quincey exploits his rivalry with Samuel Taylor Coleridge to structure many of the key features of his most famous work, ‘Confessions of an English Opium-Eater’ (1821). De Quincey's idolization of Coleridge began early and survived the anger and disappointment he felt after the collapse of their friendship and his discovery of Coleridge's intellectual duplicity. In ‘Confessions’, De Quincey's accounts of himself as a scholar of Greek literature, Ricardian economics, and Kantean philosophy are all galvanized by his knowledge that Coleridge too has worked in these areas. As opium addicts, De Quincey's experience of the drug overlaps with Coleridge's in a number of ways, while De Quincey differs from Coleridge – at least on the surface – in his claims about both the moral implications of drugged euphoria and the resolve needed to defeat addiction.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42110655","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The 1821 ‘Confessions’ is an oft-cited example of the Romantic association between creativity and drug use. However, upon closer inspection, De Quincey's memoir appears less concerned with questions of creativity than with questions of receptivity and interpretation. This sets him apart from otherwise similar authors of addiction with whom he is frequently conflated: from Coleridge, naturally, but also from Baudelaire, whose 1860 Les Paradis artificiels, ostensibly a translation of De Quincey's work, diverges considerably from its source material. Baudelaire, a poet, uses De Quincey as a starting point to investigate the effects of drug use on the poetic imagination. But De Quincey himself is less interested in the effects of opium on creativity than its effects on memory and the intellect. Differently from Les Paradis artificiels, his memoir is concerned from beginning to end with the capacity of the opium-eater to feel, to analyse, and to interpret – and not necessarily to create.
{"title":"Creativity and Receptivity in De Quincey's 1821 ‘Confessions’ and Baudelaire's 1860 Adaptation","authors":"Roxanne Covelo","doi":"10.3366/rom.2021.0523","DOIUrl":"https://doi.org/10.3366/rom.2021.0523","url":null,"abstract":"The 1821 ‘Confessions’ is an oft-cited example of the Romantic association between creativity and drug use. However, upon closer inspection, De Quincey's memoir appears less concerned with questions of creativity than with questions of receptivity and interpretation. This sets him apart from otherwise similar authors of addiction with whom he is frequently conflated: from Coleridge, naturally, but also from Baudelaire, whose 1860 Les Paradis artificiels, ostensibly a translation of De Quincey's work, diverges considerably from its source material. Baudelaire, a poet, uses De Quincey as a starting point to investigate the effects of drug use on the poetic imagination. But De Quincey himself is less interested in the effects of opium on creativity than its effects on memory and the intellect. Differently from Les Paradis artificiels, his memoir is concerned from beginning to end with the capacity of the opium-eater to feel, to analyse, and to interpret – and not necessarily to create.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48642682","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
One way of describing late Romanticism involves looking at how Romanticism ended. Here, I examine a cluster of epistemological breaks that occurred at the end of the 1830s, and which concerned computers, communism and climate change. As three things that have happened to us but not to the Romantics, these can be recognised as determinate indications of our defining post-Romanticism. I show how ideas, tropes and figures of atmospheric Romanticism were repurposed and transformed in each of these three cases to inspire radically different currents of thought. With Charles Babbage, atmosphere became a computational platform for moral theology; with Karl Marx, it became an epistemological material of social revolution; and with John Ruskin, it became a global infrastructure of scientific self-knowledge. In each case, the break paradoxically involved a formalisation of a Romantic principle: that a description of an atmosphere is also a self-description.
{"title":"Atmospheric Late Romanticism: Babbage, Marx, Ruskin","authors":"T. H. Ford","doi":"10.3366/ROM.2021.0508","DOIUrl":"https://doi.org/10.3366/ROM.2021.0508","url":null,"abstract":"One way of describing late Romanticism involves looking at how Romanticism ended. Here, I examine a cluster of epistemological breaks that occurred at the end of the 1830s, and which concerned computers, communism and climate change. As three things that have happened to us but not to the Romantics, these can be recognised as determinate indications of our defining post-Romanticism. I show how ideas, tropes and figures of atmospheric Romanticism were repurposed and transformed in each of these three cases to inspire radically different currents of thought. With Charles Babbage, atmosphere became a computational platform for moral theology; with Karl Marx, it became an epistemological material of social revolution; and with John Ruskin, it became a global infrastructure of scientific self-knowledge. In each case, the break paradoxically involved a formalisation of a Romantic principle: that a description of an atmosphere is also a self-description.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-06-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42808241","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Alan Rawes and Diego Saglia's Byron and Italy","authors":"M. Ward","doi":"10.3366/ROM.2021.0512","DOIUrl":"https://doi.org/10.3366/ROM.2021.0512","url":null,"abstract":"","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-06-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49451687","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
"In our own age of clickbait, every reader knows a thing or two about the magnetism of the human interest story and its formulaism" (15). Affirming the prominence of the human interest story in today's social media and press, Cheng's book retraces its earlier, complex manifestations and considers "the Romantic engagement with the problem of human interest through formal experiments in lyric and narrative" (2). Her definition of Romantic "human interest" is contextual, "more topos than concept" (5), as she writes in the introductory first chapter, which also "outlines the Romantic idea of human interest and its resonance in modern media culture" (2). Chapters two, three, and four treat the Wordsworths (and De Quincey), the Shelleys, and Byron respectively, while the final chapter, "Romantic Ends," considers the idea and role of "anecdote" through Matthew Arnold's essay "The Function of Criticism at the Present Time" (2).
{"title":"Mai-Lin Cheng's British Romanticism and the Literature of Human Interest","authors":"C. Jones","doi":"10.3366/ROM.2021.0511","DOIUrl":"https://doi.org/10.3366/ROM.2021.0511","url":null,"abstract":"\"In our own age of clickbait, every reader knows a thing or two about the magnetism of the human interest story and its formulaism\" (15). Affirming the prominence of the human interest story in today's social media and press, Cheng's book retraces its earlier, complex manifestations and considers \"the Romantic engagement with the problem of human interest through formal experiments in lyric and narrative\" (2). Her definition of Romantic \"human interest\" is contextual, \"more topos than concept\" (5), as she writes in the introductory first chapter, which also \"outlines the Romantic idea of human interest and its resonance in modern media culture\" (2). Chapters two, three, and four treat the Wordsworths (and De Quincey), the Shelleys, and Byron respectively, while the final chapter, \"Romantic Ends,\" considers the idea and role of \"anecdote\" through Matthew Arnold's essay \"The Function of Criticism at the Present Time\" (2).","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-06-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46880235","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1816 Joseph Blanco White visited the Trossachs, having travelled to Edinburgh as a member of the household of Lord and Lady Holland. Soon afterwards he wrote A Journey to the Trosacks in 1816, a short but fascinating account of his trip which has remained unpublished until now. Lucidly penned, this autograph text shows admiration for the Scottish wilderness and interest in technological feats such as the steamboat that he takes on the Firth of Forth, an absolute novelty at the time. Observations on Highlands customs and language, and literary allusions to Sterne, Scott, Johnson and Boswell add to the interest of this forgotten piece, as do remarks about John Murray the publisher and Dugald Stewart the philosopher. The aim of this article is to present for the first time this work as a document of literary and cultural importance, given the renewed interest of Romantic era scholarship in travel writing and in Blanco White, the most important Spanish cultural mediator in Britain during the first decades of the 19th century.
{"title":"A Forgotten ‘Romantic’ Excursion: Joseph Blanco White's A Journey to the Trosacks in 1816","authors":"Agustín Coletes-Blanco","doi":"10.3366/ROM.2021.0510","DOIUrl":"https://doi.org/10.3366/ROM.2021.0510","url":null,"abstract":"In 1816 Joseph Blanco White visited the Trossachs, having travelled to Edinburgh as a member of the household of Lord and Lady Holland. Soon afterwards he wrote A Journey to the Trosacks in 1816, a short but fascinating account of his trip which has remained unpublished until now. Lucidly penned, this autograph text shows admiration for the Scottish wilderness and interest in technological feats such as the steamboat that he takes on the Firth of Forth, an absolute novelty at the time. Observations on Highlands customs and language, and literary allusions to Sterne, Scott, Johnson and Boswell add to the interest of this forgotten piece, as do remarks about John Murray the publisher and Dugald Stewart the philosopher. The aim of this article is to present for the first time this work as a document of literary and cultural importance, given the renewed interest of Romantic era scholarship in travel writing and in Blanco White, the most important Spanish cultural mediator in Britain during the first decades of the 19th century.","PeriodicalId":42939,"journal":{"name":"Romanticism","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-06-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47079236","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：