XIILiterature 1780–1830: The Romantic Period

2020 ◽  
Author(s):  
Bysshe Inigo Coffey ◽  
Colette Davies ◽  
Ruby Hawley-Sibbett ◽  
Michael Falk ◽  
Elias Greig ◽  
...  
Keyword(s):  
The Novel ◽  
Romantic Period

Abstract This chapter has four sections: 1. General and Prose; 2. The Novel; 3. Poetry; 4. Drama. Section 1 is by Bysshe Inigo Coffey; section 2 is by Colette Davies and Ruby Hawley-Sibbett; section 3 is by Michael Falk and Elias Greig; section 4 is by Miranda Kiek.

Dandy Socialism

Maska ◽  
2017 ◽  
Vol 32 (185) ◽  
pp. 134-140 ◽  
Author(s):  
Lev Kreft
Keyword(s):  
Nineteenth Century ◽  
Mass Culture ◽  
The Novel ◽  
Romantic Period ◽  
Daily Newspapers ◽  
Political Position ◽  
Class Society ◽  
Aesthetic Field ◽  
Young Hegelians ◽  
The Aesthetic

‘It was a dark and stormy night...’ with these words Edward Bulwer-Lytton began his 1830 novel Paul Clifford. ‘Le 13 décembre 1838, par une soirée pluvieuse et froid’ are the words with which Eugène Sue begins his novel The Mysteries of Paris, its narrative following a ‘conceptual’ introductory address to the reader. There are many more features connecting these two popular literary pieces of the Romantic period. In-between, a new genre emerged – the melodramatic social(ist) novel – together with new means of communication, i.e. the novel feuilleton that was printed in daily newspapers. This subtle form of censorship suggests that a genre believed to be melodramatically mediocre had an excessive aestheticopolitical attractiveness. Eugène Sue was a star writer of nineteenth century bestsellers novels–feuilletons during the period between the two revolutions of 1830 and 1848. Afterwards he practically fell into oblivion and was barely mentioned in the company of ‘serious’ writers like Balzac and Hugo or Dickens and Thackeray, all of whom, however, took his allegedly mediocre melodramatic and popular narratives as cases to be followed. His temporary fame was confirmed by the response of Bruno Bauer’s group of young Hegelians, who found in Sue’s literary attractiveness a philosophical solution for all the mysteries and conflicts of the period. Marx’s criticism of their philosophical and political position in The Sacred Family includes a lengthy and thorough criticism of their ‘philosophical’ readings of the novel, of the novel itself, and of their and Sue’s understanding of the new bourgeois reality. Among other points, Sue’s alleged socialism is described with the help of a comparison between the police and the moral police. Can we, along with a re-establishment of the context of The Mysteries of Paris, leave behind the critique of ideology and the literary critique of popular and mass culture in order to bring back into the aesthetic field this melodramatic narrative of class society and to re-establish the politics of its aesthetics?

scholarly journals Powieść historyczna pod czujnym okiem cenzora – analiza tekstów

Adeptus ◽  
2015 ◽  
pp. 11-25
Author(s):  
Thibault Deleixhe
Keyword(s):  
Historical Novel ◽  
Literary Work ◽  
Literary Form ◽  
The Novel ◽  
Spectral Character ◽  
Romantic Period ◽  
Definition Of ◽  
Main Protagonist

The historic novel under the vigilance of the censor – analysis of textsThis article focuses on the relation that Jacek Bochenski’s historical novel entitled The poet Naso published in 1969 presents towards the concept of censorship. In the article the author aims at proving that the understanding of censorship by Bochenski is similar to the observations of the Hungarian essayist Mikos Haraszti. Tracking the allegoric references scattered through the novel, the author of the article reconstructs Bochenski’s reflection about this internalized censorship and checks its convergence with Haraszti’s remarks. From this exercise emerges a definition of the role of the artist that seems to be inherited from the romantic period: an artist as a person that subordinates himself unconditionally to art, and not to the temporal power. The author of the article then interrogates the respect which Bochenski has been showing to his definition in his literary work. It appears that the writer has been prone to make bigger concessions in order to soften the reception of his book by the censors than he advises his writing colleagues. However, the literary strategies deployed by Bochenski operate on two levels: creating an overall ambiguity about the guilt of its main protagonist, they tend to soften its reception by the censorship; while at the same time, rendering this overall atmosphere of ambiguity, they give a literary form to the spectral character of the guilt of the artist, who – as in Ovidius’ case – is permanently accountable for what he has not yet done in the building of communism. Powieść historyczna pod czujnym okiem cenzora – analiza tekstówArtykuł poświęcony jest  powieści historycznej Jacka Bocheńskiego pt. Nazo poeta z roku 1969 i jego rozumieniu pojęcia cenzury uwewnętrznionej. Autor artkułu udowadnia, że ujęcie problemu cenzury przez Bocheńskiego jest zbliżone do konstatacji węgierskiego eseisty Miklósa Harasztiego. Tropiąc alegoryczne odniesienia do cenzury rozproszone w tej powieści, autor artykułu odtwarza refleksję Bocheńskiego i sprawdza jej zbieżność z uwagami Harasztiego. Z rekonstrukcji wyłania się, zapożyczona z okresu romantyzmu, definicja artysty jako osoby bezwarunkowo podporządkowanej sztuce, a nie władzy. Autor artykułu testuje czy Bocheński pozostaje wierny tej definicji we własnej twórczości i uwypukla skłonność pisarza do ustępstw mających na celu złagodzenie odbioru jego dzieła przez cenzurę. Są to ustępstwa większe od tych, które zdaje się zalecać swoim kolegom po fachu. Strategie literackie, które stosuje Bocheński, działają jednak na dwóch płaszczyznach. Tworząc niejednoznaczność winy głównego bohatera powieści, łagodzą jej odbiór przez cenzurę, a jednocześnie – kreując tę niejednoznaczność – pozwalają na literackie przedstawienie widmowego charakteru winy artysty, który jest zawsze odpowiedzialny – tak jak Owidiusz – za to, czego jeszcze nie zrobił. W tym wypadku czego nie zrobił dla budowy komunizmu.

The Novel

2021 ◽  
Author(s):  
Nicky Lloyd
Keyword(s):  
Print Culture ◽  
Popular Fiction ◽  
The Novel ◽  
Romantic Period ◽  
Integral Component ◽  
Romantic Era

This video essay offers an introduction to the Romantic-period novel. Beginning with the premise that, until recent decades, Romantic-era fiction suffered a critical neglect due to its association with the category of popular fiction, it seeks to emphasize the formal diversity and the cultural and political resonances of the novel in the period. Beginning with a discussion of the formal origins of the Romantic-period novel, it uncovers its key sub-genres and thematic concerns and its significance as an integral component of Romantic print culture.

Darsie Latimer’s “Little Solidity,” or the Case for Homosexuality in Scott’s Redgauntlet

2005 ◽  
Author(s):  
Rick Incorvati
Keyword(s):  
Nineteenth Century ◽  
Character Traits ◽  
Late Nineteenth Century ◽  
Emotional Attachment ◽  
The Novel ◽  
Reading Public ◽  
Romantic Period ◽  
Character Type ◽  
Late Nineteenth ◽  
Walter Scott

Abstract By the early 1820s Walter Scott had been sharply criticized for conjuring up conspicuously passive heroes for his tales, but that criticism did not prevent him from presenting his reading public with his most singularly submissive character, Darsie Latimer, in 1824’s Redgauntlet. In fact, Scott devotes considerable energy in the novel to the delineation of a particular breed of unmanliness, linking Darsie’s inertia with his unusually strong emotional attachment to a schoolmate, his peculiar fascination with strong men, and his marked awkwardness around eligible women his own age. I argue that the coalescing of such features in one character warrants consideration of Darsie as a type of homosexual—that is, a character marked not only by an orientation of desire toward one’s own sex but also by a litany of character traits (among them, in this case, self-doubt, self-consciousness, and irresolution) which were typically associated with this non-normative desire. After considering evidence from this novel as well as from diary entries that reveal Scott’s views on sodomy and on wayward passions, I re-examine the Foucaultian contention that the homosexual was a late-nineteenth-century invention which transformed the sodomite into a species. Scott’s Redgauntlet gives us reason to believe that the conception of such a species was in place by the late Romantic period and that it was possible to consider this character type as distinct from the sodomite insofar as the former designated a disposition rather than the implication of sexual indulgence.

scholarly journals Powieść historyczna pod czujnym okiem cenzora - analiza tekstów

Adeptus ◽  
2015 ◽  
pp. 11-25
Author(s):  
Thibault Deleixhe
Keyword(s):  
Historical Novel ◽  
Literary Work ◽  
Literary Form ◽  
The Novel ◽  
Spectral Character ◽  
Romantic Period ◽  
Definition Of ◽  
Main Protagonist

<div><p class="Corps"><strong>The historic novel under the vigilance of the censor – analysis of texts</strong></p><p class="Corps">This article focuses on the relation that Jacek Bochenski’s historical novel entitled <em>The poet Naso</em> published in 1969 presents towards the concept of censorship. In the article the author aims at proving that the understanding of censorship by Bochenski is similar to the observations of the Hungarian essayist Mikos Haraszti. Tracking the allegoric references scattered through the novel, the author of the article reconstructs Bochenski’s reflection about this internalized censorship and checks its convergence with Haraszti’s remarks. From this exercise emerges a definition of the role of the artist that seems to be inherited from the romantic period: an artist as a person that subordinates himself unconditionally to art, and not to the temporal power. The author of the article then interrogates the respect which Bochenski has been showing to his definition in his literary work. It appears that the writer has been prone to make bigger concessions in order to soften the reception of his book by the censors than he advises his writing colleagues. However, the literary strategies deployed by Bochenski operate on two levels: creating an overall ambiguity about the guilt of its main protagonist, they tend to soften its reception by the censorship; while at the same time, rendering this overall atmosphere of ambiguity, they give a literary form to the spectral character of the guilt of the artist, who – as in Ovidius’ case – is permanently accountable for what he has not yet done in the building of communism.   </p><p class="Corps"> </p><p class="Corps"><strong>Powieść historyczna pod czujnym okiem cenzora - analiza tekstów</strong></p><p class="Corps">Artykuł poświęcony jest  powieści historycznej Jacka Bocheńskiego pt. <em>Nazo poeta</em> z roku 1969 i jego rozumieniu pojęcia cenzury uwewnętrznionej. Autor artkułu udowadnia, że ujęcie  problemu cenzury przez Bocheńskiego jest zbliżone do konstatacji węgierskiego eseisty Miklósa Harasztiego.  Tropiąc alegoryczne odniesienia do cenzury rozproszone w tej powieści, autor artykułu odtwarza refleksję Bocheńskiego i sprawdza jej zbieżność z uwagami Harasztiego. Z rekonstrukcji wyłania się, zapożyczona z okresu romantyzmu, definicja artysty jako osoby bezwarunkowo podporządkowanej sztuce, a nie władzy. Autor artykułu testuje czy Bocheński pozostaje wierny tej definicji we własnej twórczości i uwypukla skłonność pisarza do ustępstw mających na celu złagodzenie odbioru jego dzieła przez cenzurę. Są to ustępstwa większe od tych, które zdaje się zalecać swoim kolegom po fachu. Strategie literackie, które stosuje Bocheński, działają jednak na dwóch płaszczyznach. Tworząc niejednoznaczność winy głównego bohatera powieści, łagodzą jej odbiór przez cenzurę, a jednocześnie – kreując tę niejednoznaczność – pozwalają na literackie przedstawienie widmowego charakteru winy artysty, który jest zawsze odpowiedzialny – tak jak Owidiusz – za to, czego jeszcze nie zrobił. W tym wypadku czego nie zrobił dla budowy komunizmu.</p></div>

Romantic Love and the Denial of Difference

2016 ◽  
Author(s):  
Katja Garloff
Keyword(s):  
Social Interaction ◽  
German Literature ◽  
Romantic Love ◽  
The Political ◽  
German Romanticism ◽  
The Novel ◽  
Friedrich Schlegel ◽  
Romantic Period ◽  
Religious Difference ◽  
Moses Mendelssohn

This chapter moves into the early Romantic period, when the increased social interaction between Jews and Christians in the Romantic salons led to much-discussed interfaith love affairs that found their way into literature. When in 1799 Friedrich Schlegel, the leading theoretician of German Romanticism, published Lucinde, the clearest example of the Romantic love ideal in German literature, it was widely assumed that the novel was based on the author's relationship with Dorothea Veit, the oldest daughter of Moses Mendelssohn. It is argued that Schlegel's transformation of love into a model for society hinges upon the elision of religious difference in favor of sexual opposition, an elision that explains the striking absence of references to Jews and Judaism in the novel. The second part of the chapter reads Veit's own novel Florentin (1801), in which love conspicuously fails to secure the hero the sense of home and identity he desires, as a critical response to Lucinde and a subversion of the Romantic love ideal. In resisting the homogenizing force of romantic love, Veit continues the political project of Mendelssohn, who sought to harness the powers of love for Jewish emancipation while guarding against forced assimilation.

XII Literature 1780–1830: The Romantic Period

2019 ◽  
Vol 98 (1) ◽  
pp. 620-701
Author(s):  
Maxine Branagh-Miscampbell ◽  
Barbara Leonardi ◽  
Elias Greig ◽  
Michael Falk ◽  
Miranda Kiek
Keyword(s):  
The Novel ◽  
Romantic Period

Abstract This chapter has four sections: 1. General and Prose; 2. The Novel; 3. Poetry; 4. Drama. Section 1 is by Maxine Branagh-Miscampbell; section 2 is by Barbara Leonardi; section 3 is by Michael Falk and Elias Greig; section 4 is by Miranda Kiek.

scholarly journals The Metamorphosis of the Myth of Alchemy: Mary Shelley’s Frankenstein

2017 ◽  
Vol 15 (1) ◽  
pp. 108-127
Author(s):  
Asunción López-Varela Azcárate ◽  
Estefanía Saavedra
Keyword(s):  
Natural Science ◽  
Mary Shelley ◽  
Science And Technology ◽  
Empirical Science ◽  
William Godwin ◽  
The Novel ◽  
Romantic Period ◽  
Contemporary Science ◽  
Starting Point

This article takes as starting point the myth of alchemy in Mary Shelley´s Frankenstein or the Modern Prometheus, often interpreted as a warning of the risks and dangers of science and technology demonized in the form of the creature. Set in the Romantic period, the paper argues that the novel stages an ambiguous relationship between the advances in natural science and the philosophical and spiritual concerns that Mary Shelley inherited from her father, the philosopher William Godwin, which she discussed with her husband, the poet Percy B. Shelley. In the context of contemporary interdisciplinary discourses that contemplate ‘consilience’ between the humanities and the sciences, this paper offers a reading of Frankenstein and of Percy B. Shelley’s essay “A Defence of Poetry” as critical of empirical science in their ambiguous positioning with regards to alchemy and contemporary science. Furthermore, the research seeks to establish links with eco-cybernetic theories which bring to the fore a renewed interest on humanistic aspects.

Literature 1780–1830: The Romantic Period

2021 ◽  
Author(s):  
Bysshe Inigo Coffey ◽  
Colette Davies ◽  
Ruby Hawley-Sibbett ◽  
Michael Falk ◽  
Shane Greentree ◽  
...  
Keyword(s):  
The Novel ◽  
Romantic Period

Abstract This chapter has four sections: 1. General and Prose; 2. The Novel; 3. Poetry; 4. Drama. Section 1 is by Bysshe Inigo Coffey; section 2 is by Colette Davies and Ruby Hawley-Sibbett; section 3 is by Michael Falk and Shane Greentree; section 4 is by Miranda Kiek.

scholarly journals »Ein Roman ist ein romantisches Buch«

2007 ◽  
Vol 35 (103) ◽  
pp. 188-207
Author(s):  
Mads Nygaard Folkmann
Keyword(s):  
Literary Form ◽  
German Romanticism ◽  
The Novel ◽  
Main Character ◽  
European Perspective ◽  
Friedrich Schlegel ◽  
World Views ◽  
Romantic Period ◽  
Utopian Vision ◽  
Characteristic Features

Umulige fiktioner i den romantiske roman »Ein Roman ist ein romantisches Buch«. Impossible Fictions in the Romantic NovelIn the Romantic period, the novel is regarded as a literary form that, by poetological necessity, makes experiments by means of literary representation possible. Seen in an European perspective this is almost solely a matter of early German Romanticism, Frühromantik, where Friedrich Schlegel and Novalis by formulating the novel as a specific, modern genre, try to state a new, revolutionary aesthetics. The article thus points at three characteristic features of the novel’s poetics within this context: 1) the novel contains a double poetics of formal heterogeneity and spiritual homogeneity; 2) the novel gets its value through its inherent epistemology of world views; 3) the novel of early German Romanticism understands itself in a productive split of an utopian vision that never can be fulfilled and an auto-reflexivity exactly because of the knowledge of permanent unfulfillment. Further,the article argues, an aesthetics of impossible fictions evolves as the potential and heritage of this kind of poetics. In the last part of the article, a novel of the Swedish (post-)Romantic author Carl Jonas Love Almqvist (1793-1866), Drottningens juvelsmycke (The Queen’s Tiara, 1834), is read as way of representing, through the constitution of the main character, Tintomara, a principle of the absolute that displays the borders of novelistic representation.

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