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 41
... genre are again profoundly ambivalent about their romantic dawn. Wellek claims that Wilhelm Schlegel's “scales are heavily weighted in favor of the Romantic” (History 60) — true only if romantic means the dead past, medieval, and ...
... genre are again profoundly ambivalent about their romantic dawn. Wellek claims that Wilhelm Schlegel's “scales are heavily weighted in favor of the Romantic” (History 60) — true only if romantic means the dead past, medieval, and ...
Page 47
... genre” (Nodier, Bertram 70),31 and adding: “the romantic genre is a false invention” (in Moreau 166—7).32 (Nodier's 1822 preface to Trilby calls the romantique “un fort mauvais genre” [Contes 97].) Saintine remarks that in 1820 the ...
... genre” (Nodier, Bertram 70),31 and adding: “the romantic genre is a false invention” (in Moreau 166—7).32 (Nodier's 1822 preface to Trilby calls the romantique “un fort mauvais genre” [Contes 97].) Saintine remarks that in 1820 the ...
Page 52
... genre classique et le genre romantique” (Hugo, Conservateur 25.III.1820). 27. “se rangeajt en 1824 en dehors des deux 'camps' parmi les 'conciliateurs' et répudiait 'tous ces termes de convention que les deux partis se rejettent ...
... genre classique et le genre romantique” (Hugo, Conservateur 25.III.1820). 27. “se rangeajt en 1824 en dehors des deux 'camps' parmi les 'conciliateurs' et répudiait 'tous ces termes de convention que les deux partis se rejettent ...
Page 81
... genre is the very incarnation of art, because the essence and function of art — the articulation of the absolute — are its central and decisive features. By drawing genre theory into his philosophy of identity and focusing on the ...
... genre is the very incarnation of art, because the essence and function of art — the articulation of the absolute — are its central and decisive features. By drawing genre theory into his philosophy of identity and focusing on the ...
Page 83
... genres is related to a form of thought that is typical in Hegel: the tripartite dialectical advance. Epic, lyric ... genre is marked by a “reality closed off to itself and removed from the subject” portraying it (3:322).22 The object ...
... genres is related to a form of thought that is typical in Hegel: the tripartite dialectical advance. Epic, lyric ... genre is marked by a “reality closed off to itself and removed from the subject” portraying it (3:322).22 The object ...
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 |
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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