Nonfictional Romantic Prose: Expanding bordersSteven P. Sondrup, Virgil Nemoianu John Benjamins Publishing, 31 mars 2004 - 477 pages Nonfictional Romantic Prose: Expanding Borders surveys a broad range of expository, polemical, and analytical literary forms that came into prominence during the last two decades of the eighteenth century and the first half of the nineteenth. They stand in contrast to better-known romantic fiction in that they endeavor to address the world of daily, empirical experience rather than that of more explicitly self-referential, fanciful creation. Among them are genres that have since the nineteenth century come to characterize many aspects of modern life like the periodical or the psychological case study; others flourished and enjoyed wide-spread popularity during the nineteenth century but are much less well-known today like the almanac and the diary. Travel narratives, pamphlets, religious and theological texts, familiar essays, autobiographies, literary-critical and philosophical studies, and discussions of the visual arts and music all had deep historical roots when appropriated by romantic writers but prospered in their hands and assumed distinctive contours indicative of the breadth of romantic thought. SPECIAL OFFER: 30% discount for a complete set order (5 vols.).The Romanticism series in the Comparative History of Literatures in European Languages is the result of a remarkable international collaboration. The editorial team coordinated the efforts of over 100 experts from more than two dozen countries to produce five independently conceived, yet interrelated volumes that show not only how Romanticism developed and spread in its principal European homelands and throughout the New World, but also the ways in which the affected literatures in reaction to Romanticism have redefined themselves on into Modernism. A glance at the index of each volume quickly reveals the extraordinary richness of the series total contents. Romantic Irony sets the broader experimental parameters of comparison by concentrating on the myriad expressions of irony as one of the major impulses in the Romantic philosophical and artistic revolution, and by combining cross-cultural and interdisciplinary studies with special attention also to literatures in less widely diffused language streams. Romantic Drama traces creative innovations that deeply altered the understanding of genre at large, fed popular imagination through vehicles like the opera, and laid the foundations for a modernist theater of the absurd. Romantic Poetry demonstrates deep patterns and a sharing of crucial themes of the revolutionary age which underlie the lyrical expression that flourished in so many languages and environments. Nonfictional Romantic Prose assists us in coping with the vast array of writings from the personal and intimate sphere to modes of public discourse, including Romanticism s own self-commentary in theoretical statements on the arts, society, life, the sciences, and more. Nor are the discursive dimensions of imaginative literature neglected in the closing volume, Romantic Prose Fiction, where the basic Romantic themes and story types (the romance, novel, novella, short story, and other narrative forms) are considered throughout Europe and the New World. This enormous realm is seen not just in terms of Romantic theorizing, but in the light of the impact of Romantic ideas and narration on later generations. As an aid to readers, the introduction to Romantic Prose Fiction explains the relationships among the volumes in the series and carries a listing of their tables of contents in an appendix. No other series exists comparable to these volumes which treat the entirety of Romanticism as a cultural happening across the whole breadth of the Old and New Worlds and thus render a complex picture of European spiritual strivings in the late eighteenth and the nineteenth centuries, a heritage still very close to our age. |
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Page 4
... Wordsworth's Prelude; the fragments of the Athenaeum were justifications of the mode of writing chosen by the Schlegel brothers themselves and by their friends or allies. Victor Hugo's preface to Cromwell was at least as important as ...
... Wordsworth's Prelude; the fragments of the Athenaeum were justifications of the mode of writing chosen by the Schlegel brothers themselves and by their friends or allies. Victor Hugo's preface to Cromwell was at least as important as ...
Page 18
... Wordsworth's preface to Lyrical Ballads (1798) written for the 1800 edition and expanded in 1802 is often regarded as the beginning of English romanticism. Here once again poetry became the central focus, just as it had been in the case ...
... Wordsworth's preface to Lyrical Ballads (1798) written for the 1800 edition and expanded in 1802 is often regarded as the beginning of English romanticism. Here once again poetry became the central focus, just as it had been in the case ...
Page 37
... Wordsworth and Byron, Goethe and Chateaubriand, were all part of a general European literary movement” (5). One, common solution to this dilemma is empirical: if it quacks like a romantic, then call the thing romantic. Eichner notes ...
... Wordsworth and Byron, Goethe and Chateaubriand, were all part of a general European literary movement” (5). One, common solution to this dilemma is empirical: if it quacks like a romantic, then call the thing romantic. Eichner notes ...
Page 38
... Wordsworth, Keats, Shelley, and Byron (110). If none of these romantics use the term, then who did? McGann in particular has argued that we are here the unwitting prisoners of forgotten late nineteenth-century critics. Writing of ...
... Wordsworth, Keats, Shelley, and Byron (110). If none of these romantics use the term, then who did? McGann in particular has argued that we are here the unwitting prisoners of forgotten late nineteenth-century critics. Writing of ...
Page 43
... Wordsworth uses the word romantic ten times in poetry (Whalley, “England” 164, 178); Coleridge, five (178); Keats, four times in all his writings, once after the word werry, and even Byron just fifteen times in his verse (194—5) ...
... Wordsworth uses the word romantic ten times in poetry (Whalley, “England” 164, 178); Coleridge, five (178); Keats, four times in all his writings, once after the word werry, and even Byron just fifteen times in his verse (194—5) ...
Table des matières
1 | |
11 | |
III Expansions in Time | 115 |
IV Expansions in Space | 163 |
V Expansions of the Self | 195 |
VI Generic Expansions | 265 |
Scientific and Artistic Discourses in the Romantic Age | 347 |
VIII Intimations of Transcendence | 421 |
IX Conclusion | 459 |
Index | 467 |
Autres éditions - Tout afficher
Expressions et termes fréquents
aesthetic almanacs argued artists August Wilhelm Schlegel autobiography beautiful Burke Burke’s Chateaubriand classical Coleridge Coleridge’s concept contemporary conversation costumbrismo critical culture defined definition Delacroix diary discourse E. T. A. Hoffmann early eighteenth century emerged English Europe European example Faeroese fallen angel familiar essay fiction field figures find Finnish first France French Revolution Friedrich Schlegel genre German German romanticism Goethe Goethe’s Hegel Heine Herder Hugo human ideas identified imagination important individual infinite influence influential intellectual journal Kalevala Kant Kant’s Lamennais language letters literary literature London mind mode modern moral narrative nature nineteenth century nonfictional Novalis novel pamphlet Paris period philosophy poem poet poetic poetry political prose published Quincey reading Reflections revolutionary role romantic romanticism romantisch Rousseau Schelling Schiller scientific sense significant social Spanish specific spirit Stendhal theory tradition unconscious Vandera vols Werke Wilhelm women Wordsworth writing