Pub Date : 2023-07-04DOI: 10.1080/10509585.2023.2225814
S. Botz
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Pub Date : 2023-07-04DOI: 10.1080/10509585.2023.2225822
Stephanie O’Rourke
within antiquarianism and the related field of bibliography, and the idea of a public sphere as a jostling encounter between high and low was increasingly occluded” (226). Sarah Sophia Banks’s Grand Jubilee Pass Ticket and collection points to the function of “the ticket system” in structuring “the micro-politics of sociality,” marking access, inclusion, and exclusion (233). Russell brilliantly demonstrates “different interpretations of the condition of England in 1814” (237) by comparing Banks’s ephemera with the choices made by the tailor Francis Place, a member of the London Corresponding Society and a radical social reformer. Banks’s Soho Square and Place’s Charing Cross represent different worlds of “archival domiciliation of printed ephemera in Regency London” (234). While Banks collected “fashionable sociability and ephemeral print publicity” (237), Place collected evidence of “sceptical reporting... in cuttings from radical newspapers” (238) and of the Jubilee’s aftermath, including the catalogue of the “wood, fixtures, and fittings of the Temple of Concord and the Royal Booth” (237). While Banks had privileged access to the Royal Booth, Place documented its dismantling and sale in lots. A folded poster is repurposed as a book cover to collect handbills in a codex form whose materiality captures “the poster’s radical alterity to the book” (238). Collected, preserved, and defined within the horizon of the book in the age of print, in the digital age ephemera take on new configurations. Whether or not digital culture can recognize “the diversity of the paper spectrum” remains to be seen. The dream of an “impossibly unmediated,” ephemeral absolute (254) feels like a new incarnation of the rhetoric of Romanticism. Meanwhile, Piranesi Unbound and The Ephemeral Eighteenth Century rematerialize the codex as a material repository of practice.
在古物主义和相关的目录学领域中，将公共领域视为高低之间的碰撞的想法越来越受到阻碍”（226）。莎拉·索菲亚·班克斯（Sarah Sophia Banks）的《大禧通行证》（Grand Jubilee Pass Ticket and collection）指出了“通行证系统”在构建“社会微观政治”方面的作用，标志着准入、包容和排斥（233）。罗素通过将班克斯的星历与裁缝弗朗西斯·普莱斯（Francis Place）的选择进行比较，出色地展示了“对1814年英格兰状况的不同解释”（237），弗朗西斯·普莱斯是伦敦通讯社的成员，也是一位激进的社会改革者。Banks的Soho广场和Place的Charing Cross代表了“伦敦摄政时期印刷星历的档案住所”（234）的不同世界。班克斯收集了“时尚的社交能力和短暂的印刷宣传”（237），而Place收集了“激进报纸的剪报中的怀疑报道”（238）和银禧庆典的后果的证据，包括“康科德神庙和皇家展位的木材、固定装置和配件”目录（237）。虽然班克斯有权进入皇家展位，但Place记录了其拆除和批量出售的情况。一张折叠的海报被重新用作书籍封面，以codex的形式收集传单，其实质性捕捉到了“海报与书籍的根本变化”（238）。在印刷时代，在书的范围内收集、保存和定义，在数字时代，星历呈现出新的配置。数字文化能否认识到“纸谱的多样性”还有待观察。一个“不可能被调解”的、短暂的绝对主义者（254）的梦想感觉像是浪漫主义修辞的新化身。与此同时，《解放的皮拉内西》和《短暂的十八世纪》将法典重新物质化为实践的材料库。
{"title":"Fuseli and the Modern Woman: Fashion, Fantasy, Fetishism","authors":"Stephanie O’Rourke","doi":"10.1080/10509585.2023.2225822","DOIUrl":"https://doi.org/10.1080/10509585.2023.2225822","url":null,"abstract":"within antiquarianism and the related field of bibliography, and the idea of a public sphere as a jostling encounter between high and low was increasingly occluded” (226). Sarah Sophia Banks’s Grand Jubilee Pass Ticket and collection points to the function of “the ticket system” in structuring “the micro-politics of sociality,” marking access, inclusion, and exclusion (233). Russell brilliantly demonstrates “different interpretations of the condition of England in 1814” (237) by comparing Banks’s ephemera with the choices made by the tailor Francis Place, a member of the London Corresponding Society and a radical social reformer. Banks’s Soho Square and Place’s Charing Cross represent different worlds of “archival domiciliation of printed ephemera in Regency London” (234). While Banks collected “fashionable sociability and ephemeral print publicity” (237), Place collected evidence of “sceptical reporting... in cuttings from radical newspapers” (238) and of the Jubilee’s aftermath, including the catalogue of the “wood, fixtures, and fittings of the Temple of Concord and the Royal Booth” (237). While Banks had privileged access to the Royal Booth, Place documented its dismantling and sale in lots. A folded poster is repurposed as a book cover to collect handbills in a codex form whose materiality captures “the poster’s radical alterity to the book” (238). Collected, preserved, and defined within the horizon of the book in the age of print, in the digital age ephemera take on new configurations. Whether or not digital culture can recognize “the diversity of the paper spectrum” remains to be seen. The dream of an “impossibly unmediated,” ephemeral absolute (254) feels like a new incarnation of the rhetoric of Romanticism. Meanwhile, Piranesi Unbound and The Ephemeral Eighteenth Century rematerialize the codex as a material repository of practice.","PeriodicalId":43566,"journal":{"name":"European Romantic Review","volume":"34 1","pages":"475 - 478"},"PeriodicalIF":0.2,"publicationDate":"2023-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46105875","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1080/10509585.2023.2205131
Kir Kuiken
ABSTRACT This essay examines the conception of life Karoline von Günderrode develops in her Naturphilosophie. Focusing on “Idea of the Earth,” the essay argues that Günderrode develops a theory of the Earth that understands it as a synthesis of body and spirit akin to a Spinozistic monism. In contrast to Schelling and Hegel, who understood the Earth as the inert backdrop for the emergence of independent organisms, Günderrode’s conception of the Earth treats it as an unconditional form of activity irreducible to its status as an object. The Earth, for Günderrode, is made up of combinatory elements that coalesce and dissolve in a constant tension that emphasizes the impermanence of particular forms of organization. This conception ultimately suggests that the division between inorganic and organic beings is untenable and that the Earth itself is “alive” in ways irreducible to either. The essay goes on to briefly examine the unique political ecology that emerges as a result of Günderrode’s Naturphilosophie which, by undoing the division between the organic and the inorganic, likewise reinvents the relation between what is “natural” and what is “social.”
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Pub Date : 2023-05-04DOI: 10.1080/10509585.2023.2205082
Alastair Hunt, R. Broglio, Katey Castellano, M. Robles
ABSTRACT This panel opens up innovative ways of thinking about Romanticism and “the problem of sharing our earth with other creatures.” Over the last couple of decades, the crisis in human relations with animals has deteriorated to the point that it has become increasingly recognized as a constitutive part of the global environmental crisis. Like the climate crisis, the “animal crisis” originates with the emergence of the industrial form of capitalism in Britain around the turn of the nineteenth century. Appreciation of this historical constellation can and should become the basis of a renewed Romantic animal studies. However, reading Romanticism as a reflection of and on the historical origins of the contemporary crisis in human-animal relations in turn requires rethinking and openly debating topics, archive, and method. To indicate the initial results and style of our efforts, we have chosen not to summarize the papers presented, but rather to pose ten collectively formulated questions and to briefly answer as individuals a selection of three of those questions. Overall, we hope not just to make an argument for what we regard as a vital area of research in Romantic studies, but to encourage more research on the topic.
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Pub Date : 2023-05-04DOI: 10.1080/10509585.2023.2205079
A. B. Davis, M. Sangster
ABSTRACT This essay discusses ideas presented on the Romanticism and Metal Studies panels at NASSR/BARS 2022, surveying the transdisciplinary field of Metal Studies and exploring metal’s Romantic inheritances by reading the poetry of canonical Romantics—including John Keats, Percy Bysshe Shelley, and William Wordsworth—alongside and against metal music and culture. In the spirit of New Romanticisms, our argument contributes to James Rovira’s recent identification of rock and metal as modern Romanticisms, adding that Romanticism and heavy metal are both aesthetic categories that signify power. Romanticism and metal are anachronistic modes that share a proclivity for hybridizing form and genre and for mixing high and low styles. A pairing of Shelley’s elegy for Keats, Adonais, with Pantera’s elegiac ballad “Cemetery Gates” underscores the themes of communion, opposition, and power that drive this essay. While power is an obsession that unites metal and Romanticism, some of their models of communication and community resist straightforward alignment. Archetypal Romantic transmissions in the Wordsworthian vein are imagined to be powerful direct communications from an inspired author to a hushed reader. Metal’s models of transmission are often messier, more various, more communal, more directly oppositional, and considerably nosier.
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Pub Date : 2023-05-04DOI: 10.1080/10509585.2023.2205078
Indu Ohri, Lenora Hanson
ABSTRACT This essay is a co-written reflection by two educators on a plenary workshop we led together called “Remixing New Romanticisms: A Workshop on Anti-racist Teaching” during the 2022 NASSR/BARS Conference. We presented on the teaching resource we developed as inaugural fellows of the 2021–2022 Keats-Shelley Association of America/Romantic Circles Anti-Racist Pedagogy Colloquium. First, we explain how we adapted Nicole N. Aljoe, Elizabeth Maddock Dillon, Benjamin J. Doyle, and Elizabeth Hopwood's theory of “remixing” to design constellations that re-envision Romantic concepts such as Revolution and Rebellion, Nature and Ecology, and Imagination through the curation of innovative archival materials. We then discuss a specific example of remixing that we covered in depth, our Q and A session with workshop participants, and an anti-racist teaching resource they created. In addition, we explore other anti-racist pedagogies mentioned during the workshop, among them teaching with tension, valuing student knowledge, and critical fabulation. We frame these concerns within a broader consideration of the need to reconstruct the traditional forms of knowledge that shape our disciplines so that they are more inclusive and accessible for everyone, especially students.
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Pub Date : 2023-05-04DOI: 10.1080/10509585.2023.2205081
S. Baker, Alexander Dick, Eric Gidal, G. McKeever, S. Oliver
ABSTRACT This essay adapts presentations the authors shared at the Edge Hill NASSR/BARS conference in the Summer of 2022 into a collaboratively constructed discussion. It reflects on what a recent “coastal turn” in ecocriticism, critical geography, and related fields might contribute to Romantic studies, and considers how coastal geographies (real and imagined) have informed aesthetics, politics, and lived experience, especially in settler-colonial contexts. Ranging from seventeenth-century poetry to contemporary fiction, from British waterways to the Mississippi Basin, it strives to bring Romantic accounts of coastal life into conversation with current modes of ecological thought and new forms of theoretical interrogation.
摘要本文将作者在2022年夏季Edge Hill NASSR/BARS会议上分享的演讲改编为一个合作构建的讨论。它反思了生态批评、批判性地理学和相关领域最近的“沿海转向”可能对浪漫主义研究有何贡献，并考虑了沿海地理（真实和想象）如何影响美学、政治和生活体验，尤其是在定居者殖民地背景下。从17世纪的诗歌到当代小说，从英国水道到密西西比盆地，它努力将对沿海生活的浪漫主义描述与当前的生态思维模式和新的理论审问形式相结合。
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Pub Date : 2023-05-04DOI: 10.1080/10509585.2023.2205076
Dana Moss
ABSTRACT Lingering with waste might seem antithetical for an issue all about newness, but although waste demonstrates persistence, it also indicates change: a body wasting away, an environment becoming a wasteland, a person wasting opportunities or good will. In this essay I argue that the nineteenth-century lyric helps us to think about the accumulation of unusable products, dead ends, waste, as central to intimacy. Percy Shelley’s “The Sensitive-Plant” operates as my case study, a lyric fundamentally troubled by the disposability of the human in contrast to the garden’s continual disturbing survival, and a poem obsessed with the erotic potential of rot and decomposition.
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Pub Date : 2023-05-04DOI: 10.1080/10509585.2023.2205110
J. Mieszkowski
ABSTRACT Focusing on the work of Frank B. Wilderson III, this essay offers a new perspective on the central claims of Afropessimism by elucidating its implicit theory of language. Putting Wilderson’s “Raw Life and the Ruse of Empathy” into dialogue with the doctrine of linguistic positing elaborated by Paul de Man in his study of the Romantics, we see that Wilderson’s account of anti-Blackness identifies volatile signifying dynamics that many critical theorists have chosen to ignore. In his analyses of Black speech, Wilderson follows de Man in arguing that language is forever pushing—and frequently expanding—the limits of what can be said or done with words. This insight into the self-transgressive nature of linguistic formations proves crucial to the fight against racist logics of subjugation, which rely on a high level of discursive stability.
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