Pub Date : 2023-05-04DOI: 10.1080/10509585.2023.2205141
Leila Walker
ABSTRACT In the summer of 1826, melting snows revealed a man frozen nearly 200 years, reanimated by a passing doctor. Reports of Roger Dodsworth, formerly deceased, spread from the French papers to launch a flurry of essays in the English periodicals. While the summer of 1816 has been central to discussions of climate, global politics, and Romantic literature, the thaw of 1826 has been relatively neglected. In this paper, I examine how Shelley's treatment of nature in “Roger Dodsworth: The Reanimated Englishman” presents climate changes as plural and contingent, simultaneously disrupting historical narrative and entangling natural history with human embodiment. As scientists grapple with evolutionary records revealed by our own “great thaw,” “Roger Dodsworth” offers a philosophical model for grappling with changes that cannot be overcome through human intervention. At the conclusion to the essay, as Shelley speculates that Dodsworth may have died a second time, finding “his ancient clay could not thrive on the harvests of these latter days,” she suggests a fundamental incompatibility of past and present, even as she collapses the distinction between the two. A changed world, she suggests, cannot support the past as it was, but only as it has become.
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Pub Date : 2023-05-04DOI: 10.1080/10509585.2023.2205089
Erin Lafford, M. Ward
ABSTRACT Funny Feelings and the Natural World, a panel convened for the joint NASSR/BARS conference at Edge Hill in August 2022, offered new ways of reflecting on the relation between human emotions and the environment. In contrast to the more sublime aesthetic categories and solemn moods that continue to dominate approaches to Romanticism and environmental criticism more broadly, we considered various forms of funny business in Romantic feelings towards the non-human world. This article develops some of the concerns of that panel, by engaging with current ideas in Romantic emotions, affect, and environmental literature. Our readings of John Clare and William Wordsworth suggest that both poets relay experiences of the non-human as funny in various senses and are inspired by the idea that poetic form is itself affective and a model of ecological thinking or feeling. Our enquiry attends to the Romantic period as a time not only when a new appreciation of the environment was emerging, but also different understandings of, and attitudes towards, the ludicrous took hold. ‘Funny’ here operates as it was understood at the time: as a compound of amusement and bemusement, and as a means of considering what the laughable and nature might share.
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Pub Date : 2023-05-04DOI: 10.1080/10509585.2023.2205072
A. Mcinnes, T. Rajan, D. Collings
The joint NASSR/BARS conference, “New Romanticisms,” eventually held at Edge Hill University in August 2022, grew from a silly pun on the New Romantics, a 1980s musical subculture characterized by flamboyant fashion, into a serious consideration of new approaches to Romantic studies, asking how and why we study Romanticism today. Originally planned for August 2021 as a straightforwardly in-person affair, the “New Romanticisms” which took place a year later in a world transformed by the Covid-19 pandemic had to consider how scholars of Romanticism could gather together safely, opting for a hybrid mode combining in-person conviviality with inclusive online access. Inclusivity and conviviality were the watchwords of the conference, bringing Romanticists back together in multiple forms after painful separation. The essays gathered for this special issue reflect the ethos of the conference, combining diversity and collaboration to think about the multiplicity of Romanticisms available to scholars today. We begin by celebrating the winners of the joint NASSR/BARS Graduate Student Essay Prizes, Dana Moss and Diana Little. In “Waste in the Nineteenth-Century Lyric,” Dana Moss explores an erotics of waste whereby, in Shelley’s “The SensitivePlant,” plants thrive as they rot, so that things already used enter into a queer mode of survival, a nonhuman thriving. Diana Little’s “Wordsworth’s Webs: Spinning the Ecological Elegy” explores the relationship between Wordsworth’s elegiac practice and ecological interests in two poems which probe the natural world’s resistance to being co-opted by the pathetic fallacy. Little argues not only that ecological concerns inform Wordsworth’s poetic elegies but also that the elegy form as practiced by Wordsworth, alert to the disconnections between humans and our environment, has something to teach ecology. The next section of this special issue privileges the ethos of collaboration which informed “New Romanticisms” with a series of co-authored articles reflecting upon panels embodying the international spirit of the conference. Indu Ohri and Lenora Hanson’s “Reflections on Remixing Romanticism: A Plenary Workshop on Anti-Racist Teaching” argues for the importance of anti-racist teaching by setting out how to create an inclusive and activist classroom through making links between international experiences of injustice and revolution. The series of co-authored articles which follow Ohri and Hanson’s reflections remix Romanticism in their own idiosyncratic ways from the musical to the environmental. Amanda Blake Davis and Matthew Sangster’s “‘Load Every Rift’: Power, Opposition, and Community in Romantic Poetry and
NASSR/BARS的联合会议“新浪漫主义”最终于2022年8月在边山大学举行，会议从对新浪漫主义(20世纪80年代以华丽时尚为特征的音乐亚文化)的愚蠢双关，发展成为对浪漫主义研究新方法的认真考虑，询问我们今天如何以及为什么要研究浪漫主义。原本计划在2021年8月举行的“新浪漫主义”活动是一场直接面对面的活动，但在一年后发生的新冠肺炎大流行改变了世界，它不得不考虑浪漫主义学者如何安全地聚集在一起，选择了一种将面对面的欢乐与包容性的在线访问相结合的混合模式。这次会议的口号是包容和欢乐，让浪漫主义者在痛苦的分离后以多种形式重新走到一起。为本期特刊收集的文章反映了会议的精神，将多样性和合作结合起来，思考当今学者可以使用的浪漫主义的多样性。我们首先向NASSR/BARS研究生联合论文奖的获奖者Dana Moss和Diana Little表示祝贺。在《19世纪抒情诗中的浪费》(Waste In the 19 century Lyric)一书中，达纳·莫斯(Dana Moss)探讨了一种浪费的情色，在雪莱的《敏感植物》(the SensitivePlant)中，植物在腐烂中茁壮成长，因此，已经使用过的东西进入了一种奇怪的生存模式，一种非人类的繁荣。戴安娜·利特尔的《华兹华斯的网:编织生态挽歌》通过两首诗探讨了华兹华斯的挽歌实践与生态利益之间的关系，这两首诗探讨了自然世界对悲剧谬误的抵制。利特尔认为，华兹华斯的挽歌不仅体现了对生态的关注，而且华兹华斯所采用的哀歌形式，对人类与环境之间的脱节保持警惕，对生态学有一定的启示。本期特刊的下一部分将以一系列共同撰写的文章来反映体现会议国际精神的小组讨论，为“新浪漫主义”提供合作精神的特权。Indu Ohri和Lenora Hanson的“对混合浪漫主义的反思:反种族主义教学全体研讨会”提出了反种族主义教学的重要性，阐述了如何通过将不公正的国际经验与革命联系起来，创造一个包容和积极的课堂。Ohri和Hanson的一系列共同撰写的文章，从音乐到环境，以他们自己独特的方式重新融合了浪漫主义。阿曼达·布莱克·戴维斯和马修·桑斯特的《承载每一个裂痕》:浪漫主义诗歌中的权力、反对和社区》
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Pub Date : 2023-05-04DOI: 10.1080/10509585.2023.2205098
Christopher Bundock
ABSTRACT For contemporary Cree artist Kent Monkman, painting offers a means of rehistoricizing Indigenous life. However, rather than attempt to capture a putative authenticity, Monkman's work questions the relationship between visual representation and historical truth, deeply complicating his own task. This complication is managed in part through the careful deployment of self-reflection, such that the images of history he composes always advertise their unstable relationship to the past and the present, questioning theirs authority in the process of exposing how European artists attempted to establish their own. This exploration produces works that are highly citational, in which figures and elements from across European history and art history are juxtaposed and arranged into fantastic, anachronistic tableaus. But it is especially the works of Romantic painters that serve him as models for remodeling and settings for repopulation. Indeed, if Romantic painters such as George Catlin (1769–1872), Paul Kane (1810–71), and Albert Bierstadt (1830–1902) flatten Indigenous people or actually evacuate them from North American landscapes, Monkman does not simply reject their work but realizes in it a rich potential for dialogic revision. In Monkman's painting, Romanticism's own historical self-consciousness finds new expression.
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Pub Date : 2023-05-04DOI: 10.1080/10509585.2023.2205155
Noah Heringman
ABSTRACT This essay seeks to extend the definition of the term priority claim, arguing that some kinds of priority claims operate across literature and science and may be made on behalf of past actors as well as oneself. My examples are drawn primarily from eighteenth- and nineteenth-century accounts of the place of early or ancestral humans in deep time, particularly those of Thomas Carlyle, John Lubbock, and Johann Gottfried Herder. In making this argument, I attend specifically to the role of race and gender in these accounts and to the rhetorical and affective intensity accruing around the identities of those imagined to inhabit deep time. Deep time, as a contentious and vaguely defined sphere of discovery prior to the establishment of radiometric dating, provides a field especially adapted to priority claims in this extended sense.
{"title":"Romantic Priority Claims, or, Who Has Priority in Deep Time?","authors":"Noah Heringman","doi":"10.1080/10509585.2023.2205155","DOIUrl":"https://doi.org/10.1080/10509585.2023.2205155","url":null,"abstract":"ABSTRACT This essay seeks to extend the definition of the term priority claim, arguing that some kinds of priority claims operate across literature and science and may be made on behalf of past actors as well as oneself. My examples are drawn primarily from eighteenth- and nineteenth-century accounts of the place of early or ancestral humans in deep time, particularly those of Thomas Carlyle, John Lubbock, and Johann Gottfried Herder. In making this argument, I attend specifically to the role of race and gender in these accounts and to the rhetorical and affective intensity accruing around the identities of those imagined to inhabit deep time. Deep time, as a contentious and vaguely defined sphere of discovery prior to the establishment of radiometric dating, provides a field especially adapted to priority claims in this extended sense.","PeriodicalId":43566,"journal":{"name":"European Romantic Review","volume":"34 1","pages":"383 - 396"},"PeriodicalIF":0.2,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46226802","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: 10.1080/10509585.2023.2205077
Diana Little
ABSTRACT This article investigates two sites of Wordsworthian entanglement: the spider’s web across the abandoned well in “The Ruined Cottage” and the “web spun” in a neglected room in “The Brothers, A Pastoral Poem.” Both webs show Wordsworth’s attention to a theory of ecological entanglement that was emerging in the late 1790s, and more: Wordsworth’s experimental weaving of ecology and elegy. Wordsworth’s two surrogate elegists, the Pedlar and the Priest, use webs to track the subtle but active ways in which nature reacts to human grief and death. I show how both elegists develop distinct elegiac crafts to test different versions of the ecological elegy. Through their divergent poetics, they consider how elegy can incorporate ecological knowledge, how ecology reshapes past elegiac conventions, and how mourning itself becomes entangled in nature. Together their experiments allow Wordsworth to probe the close but precarious alliances between pathos, poetry, and ecology.
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Pub Date : 2023-05-04DOI: 10.1080/10509585.2023.2205121
Gabriel Trop
ABSTRACT In Friedrich Schelling’s philosophy of nature, the attempt to think the unconditioned absolute of nature performs unconditioning, thereby transforming the present into a field of experimentation. Schelling’s nature-philosophy produces a series of interventions into cultural fields of consistency, drawing on material operations to reconceptualize forms of collective organization. In Schelling’s First Outline, beings have a specific signature: to be is to resist. In the Deities of Samothrace, philosophy performs a “magic singing” that gathers initiates together by continually exorcising—and preserving—the unruly obstinacy of pre-socialized drives. This conception of philosophy coheres with a gesture from his earlier lectures on the philosophy of art in which music forms the basis of inorganic communities, implicitly cultivating collective forms called upon to navigate the dangers of overly cohesive (harmonic) and overly transgressive (rhythmic) forms of life, while directing an unconditioning power to the conditions of the present.
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Pub Date : 2023-03-04DOI: 10.1080/10509585.2023.2181487
Francesca Saggini
ABSTRACT This article maps Frances Burney’s life and works from the vantage point of material studies, considering the houses the author lived, sojourned, and worked in. The tension between the contending discourses of “public” house and “private” house—the house as a space for entertainment and a cultural hub used to promote visibility and augment cultural capital, as opposed to the “private” house as the locus of intimacy and family life—is exemplified by the juxtaposition between the houses Frances Burney lived in as her father’s daughter (in particular the famous house at 35 St. Martin’s Street, London) and the idyllic Surrey dwellings Burney moved into with her husband, Alexandre d’Arblay, after 1793. This article will consider the symbolic, often mythopoetic value associated with Burney’s houses as artificial, cultural mythoi and her poetics of indirect, oblique association to accrue cultural and social capital.
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Pub Date : 2023-03-04DOI: 10.1080/10509585.2023.2181489
J. Cowton
ABSTRACT Just over 200 years ago, while living at Dove Cottage in Grasmere from 1799 to 1808, William Wordsworth wrote ground-breaking poetry that he hoped, as he wrote in a letter to Richard Sharp on 29 April 1804, would “live and do good” (Collected Letters 1: 470). Wordsworth calls for us to reconnect with nature; he asks that we show empathy for others; he encourages us to nurture our creative imagination. Were his hopes fulfilled? Does his poetry “live and do good” today? This article examines the function of a literary house museum in fulfilling the wishes of its central figure, examining the role that new interpretation techniques can play in bringing the writer’s life and writing to new audiences. In particular, the article seeks to describe the developing role of Wordsworth Grasmere as a hub of poetry, people and place, with associated collections, that has its roots in European Romanticism c. 1800, but which aims to make the literature “live and do good” in the modern world. While the roots are in the past; the purpose of Dove Cottage and Museum today is very much more than simply preserving them.
{"title":"Poetry that “will live and do good”: Fulfilling Wordsworth’s Hopes for His Work Through Interpretation and Outreach at Dove Cottage in Wordsworth 250","authors":"J. Cowton","doi":"10.1080/10509585.2023.2181489","DOIUrl":"https://doi.org/10.1080/10509585.2023.2181489","url":null,"abstract":"ABSTRACT Just over 200 years ago, while living at Dove Cottage in Grasmere from 1799 to 1808, William Wordsworth wrote ground-breaking poetry that he hoped, as he wrote in a letter to Richard Sharp on 29 April 1804, would “live and do good” (Collected Letters 1: 470). Wordsworth calls for us to reconnect with nature; he asks that we show empathy for others; he encourages us to nurture our creative imagination. Were his hopes fulfilled? Does his poetry “live and do good” today? This article examines the function of a literary house museum in fulfilling the wishes of its central figure, examining the role that new interpretation techniques can play in bringing the writer’s life and writing to new audiences. In particular, the article seeks to describe the developing role of Wordsworth Grasmere as a hub of poetry, people and place, with associated collections, that has its roots in European Romanticism c. 1800, but which aims to make the literature “live and do good” in the modern world. While the roots are in the past; the purpose of Dove Cottage and Museum today is very much more than simply preserving them.","PeriodicalId":43566,"journal":{"name":"European Romantic Review","volume":"34 1","pages":"243 - 254"},"PeriodicalIF":0.2,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59870171","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 : 2023-03-04DOI: 10.1080/10509585.2023.2181484
Maximiliaan van Woudenberg
ABSTRACT This article explores the house during the Romantic period as a site of intercultural transfer of knowledge. Hosting decentralized networks, the house functioned as a significant conduit in disseminating knowledge or creating new productions. The first part of the paper examines the opening of mummies by Professor Blumenbach as an example of how private collections were curated in several houses of the Fellows of the Royal Society. The second part presents an analysis of the role of the professorial house in Göttingen in transferring knowledge of Edward Jenner’s smallpox vaccination in Germany. The final example takes a closer look at a confluence of Anglo-Franco-German literature converging on Villa Diodati in 1816, showing how the famous villa is not a site of solitary creation as illustrated in prints of Byron and Villa Diodati, but the site of communal reading inspiring creativity.
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