Romantic Mood Research Articles

The image of the hero of Ukrainian fairy tales in the context of differentiation and transformation of the hierarchy of socio-cultural practices

Background. The Modern era, with its paradoxes of innovation and repetition, shaped the "discovery of the people" and rekindled interest in folktales. Enlightenment models of fairy tales emphasized the ethical dimension, while the romantic moods of the 19th century stirred European communities' interest in gathering national and regional versions of folktales and converting them into literary fairy tales. The perspective of contemporary humanities proves to be quite productive to enhance the understanding of the cultural potential of Ukrainian fairy tales in bridging diverse traditions and generating images. Methods. The methodological basis for the study is a content analysis of a collection of fairy tales. A categorization is based on the titles of folktales and the classifications of J. Campbell's transformations of the hero. The interpretation of the data is made in optics of the differentiation of a segmentary society and the specifics of its transformations of representation practices, first of all the image and the image of a hero. The aim of the article is to define fundamental characteristics of the image of a hero in Ukrainian fairy tales as a way of representation in logics of the differentiation of a segmentary community. Results. The differentiation of practices begins with the complexification of a segmentary society, where storytelling practices were detached from the original ritual syncretism in the logic of ethnic diversity production and strata hierarchy. Each stratum nurtured its storytelling genre and thematic uniqueness. With its functioning in the magical and practical unity of the peasant stratum, the folktale preserved the most archaic narrative structure, with corresponding images of the main characters and logic of image construction. The image of the folktale hero became the leading practice in representing communities. Conclusions. A content analysis of a collection of Galician folktales reveals the replication of the classic triad of popular culture "Heroes, Villains and Fools" (P. Burke), marked by a dominant quantitative representation of the fool's image. A fairy tale hero is a dormant hero, leaving the impression that everybody can find their place. The hero's heroic powers are exposed gradually, and the hero possesses definite traits and personifies moral integrity. These qualities allow the overcoming of obstacles and passing of tests. Usually, the hero of a Ukrainian fairy tale is a trickster who can maneuver through society. The ethical pathos of a fairy tale consists of a victorious war between evil and justice/resumption. The predominantly happy ending of Ukrainian fairy tales suggests these functions provide a therapeutic effect in difficult historical circumstances.

Romantic Painters on Art

Philipp Otto Runge and Caspar David Friedrich, well known Romantic painters, were not only notable masters of the brush but also theorticians of art. The present essay is devoted to an analysis of their theories. Its novelty consists in the fact that it analyzes for the first time the theoretical views that are expressed in the texts of both artists. Runge’s charactertistic feature is a pantheistic experience of God. According to him, it must be expressed in art. He proposes his own dialectic of being, which essentially consists of development, struggle, and mutual annihilation of opposite elements at the moment of achieving perfection. It is precisely this dialectic that, according to him, forms the foundation of art, where he sees an opposition between feeling and reason. Runge pays special attention to the notion of the “spirit of art,” which appears on the basis of the feeling of mutual connection between the human being and the universe, as well as of the artist’s foresentiment of God. In its foundation, art is symbolic and therefore close to religion. The spirit of art manifests itself in what one can call the music, poetry, or symbolism of a work of art. In art, Friedrich sees the spiritual foundation of the world. He distinguishes between skill and “spirituality” in it. According to him, one can master the skill, but one inherits spirituality from birth, and few artists possess it. As a Romantic landscape artist, he opposed illusionism in painting. He considered the creative element in art, which is born in the artist’s inner world, as pivotal. Feeling plays the principal role in art. For this reason Friedrich foregrounds the uncon-scious, although he is convinced that reason and skill must actively participate in the creative process as well. Friedrich preferred winter, foggy, and crepuscular landscapes, which expressed Romantic moods well.

Исповедь белого дрозда. Эстетические взгляды Альфреда де Мюссе и его поэтика

The article reconstructs the aesthetics of Alfred de Musset, a thinker and artist of late romanticism, who revised the aesthetic views of the early romanticists, as well as their modern successors, and thus made a significant contribution to the self-reflection of French romanticism. He saw the prospects for the evolution of romanticism in the development not of the medieval, but of the national French classicist tradition with its clarity of style, purity of language, enriched with the sensitivity and melancholy inherent in the romantic mood. Unlike his romantic predecessors, Musset preferred tragedy over drama, reflected on the rules for constructing classical and modern tragedies, advocated the revival of the principles of the Aristotelian Poetics and the reformation of the French theatre on this basis. In the centre of his aesthetic interests were the problems of the beautiful, the sublime, the tragic, the comic, artistic creativity, inspiration, taste, and the relationship between art and life. The article traces the evolution of Musset’s poetics in his drama, prose, and poetry. It is concluded that the ironic distancing from the heritage of both the initiators of romanticism and its current state contrasts paradoxically with the literary work of Musset, imbued with many of the moods that he criticized as a theorist, rejecting some of the conventions of the romantic school and making a significant contribution to the renewal of the aesthetics and poetics of romanticism. In his work, he stood apart, went his own way, often against the current, trying to give the verbal expression of romantic moods purity, transparency, rigor and structure of classical French literature. Musset’s best poetry cycles are distinguished by refined symbolism and deep metaphysical reflections that give the poet’s innermost experiences a generalized philosophical meaning.

Duality of East and West: Interdependence and Complementarity in the Mirror of Literature

Literature as the art of the word reflects the surrounding world in all manifestations associated with the historical, social, and general cultural context that affects the psychology of both the author and the characters of his works. The era of colonial conquests, the growing interest of the West in the East gave rise to a special type of art associated with the concept of Orientalism, which served as a kind of “ornamentalism” for the romantic moods of the authors and their intention to present their East to the West. Along the way, Oriental studies as a science of the East related to real phenomena in the diversity of Eastern cultures and traditions of the world order in the East. France and the countries of the western tip of North Africa that it has captured allow us to adjust the concepts of Orientalism and Occidentalism. The literature, formed in the era of colonialism in the Maghreb, became not only a product of national history, but also a nationally colored response to French literary Orientalism in an “occidental” form, facilitated by francophones, which also exists in the field of modern French culture. Occidentalized emigrants and immigrants settled in the West — ethnic Maghrebians, influencing the world order of France (demography, economy, politics, culture), retain their own identity, manifested both in the assessment of the surrounding reality and in the desire to preserve originality in the context of globalization. The noted phenomena of the evolution of modern cultures and literatures of the East and West make it possible to differentiate such concepts as Orientalism, Africanism, and Occidentalism in goal-setting manifestations in correlation with national traditions and innovations, which makes it possible to objectively study both the East and the West in a variety of mutual influences, interaction, mutual repulsion, and complementarity.

The Analysis of Modern Dress Models with the Involving of Retro Styles

In the modern era, retro-style fashion is a special line that combines elements of the past and the present. It is a very delicate style; it includes the brightness of the paint, intricate silhouette and romantic mood. Modern stylists and designers are inspired by the past and come up with many ideas for themselves. Fashion still doesn’t stop, and many trends that previously lost their relevance are once again hot and captivating women’s hearts. Fashion enthusiasts of all ages will appreciate not only the retro style but also the shine and fame. This article discusses the types of retro clothing and how to create modern clothes based on retro style. Among young girls, the most popular retro style dress was one with a beautiful skirt embellished or wrapped around the top.

СТАНОВЛЕНИЕ РЕЛИГИОЗНОГО СОЗНАНИЯ Н. А. НЕКРАСОВА

The problem of N. A. Nekrasov's religiosity, especially its biographical aspect, has not been studied well. As for the sources of information about the dogma of Orthodoxy, in his poetic texts Nekrasov shows considerable awareness of spiritual issues, as they are addressed by the church and the Holy Fathers of the Church. The poet is interested in Orthodox hagiography. His source of information could be, first of all, the so-called popular Orthodoxy. The question remains open about the formation of Nekrasov's religiosity at an early age, about the nature of his spiritual disposition. This article attempts, on the one hand, to present a complete picture of the religious life of the Nekrasov family, which is currently available to us from isolated fragments, and, on the other, to understand the role of his mother, Elena Alexandrovna, as well as the accompanying factors that influenced the primary organization of his religious aspirations. The author suggests that the religious and general romantic mood of the poet’s worldview, inherited from his mother are inseparable. There is no doubt that the high civic pathos of Nekrasov's poetry, developed under the influence of the poet's revolutionary democratic environment, was formed on the childhood basis of a «holy», romantic religious outlook and the perception of life as care for the weak and disadvantaged – in which the main role was played by Nekrasov's mother. The protest pathos of Nekrasov's poetry acquires an unconventional meaning because subjectively, in the poet's own mind, it grows directly out of the ideals of the Gospel.

The Artistic Profile of Aleksander Zarzycki: A Forgotten Composer of the Romantic Era

The second half of the nineteenth century is a neglected period in the history of Polish music, in the aspects of both research and performance. Works by many composers from this period have unfortunately been forgotten. One such composer is undoubtedly Aleksander Zarzycki (1834–1895), also a teacher and piano virtuoso, the author of more than 40 opuses, including many solo songs with piano accompaniment, which have frequently been compared to the songs of Stanisław Moniuszko. Similarly as Poland’s most famous song composer, Zarzycki created two songbooks that belong to the trend of egalitarian songs. He was also renowned for his short piano pieces, written in the salon style with virtuoso elements. One of his most famous works is the Mazurka in G major, popularised by the Spanish virtuoso violinist Pablo Sarasate. Also of note is his Piano Concerto in A-flat major Op. 17, drawing on Fryderyk Chopin’s Piano Concerto in A minor and Józef Wieniawski’s Concerto in G minor. Zarzycki’s works are characteristic of his era, and contain elements of folklore, national style, virtuosity, and the so-called ‘Romantic mood’.

Sylwetka twórcza Aleksandra Zarzyckiego – zapomnianego kompozytora doby romantyzmu

The Artistic Profile of Aleksander Zarzycki: A Forgotten Composer of the Romantic Era The second half of the 19th century in the history of Polish music is a neglected period, both in the aspect of performance and the aspect of research on this music. Unfortunately, works of many composers from this period have been forgotten. One of such composers is undoubtedly Aleksander Zarzycki (1834–1895), a composer, teacher, virtuoso pianist; the author of over 40 opuses and the composer of many solo songs with piano accompaniment, which were often compared to the songs of Stanisław Moniuszko. Similarly to the most famous Polish composer of songs, Zarzycki created two songbooks that are part of the trend of egalitarian songs. He was also renowned for his short piano pieces, written in a salon style with virtuoso elements. One of his most famous works was the Mazurka in G major, which was popularised by the Spanish virtuoso violinist Pablo Sarasate. Also noteworthy is his Piano Concerto in A flat major Op. 17, referring to the Piano Concerto in A minor by Fryderyk Chopin and the Concerto in G minor by Józef Wieniawski. Zarzycki’s works are characteristic of his era, including references to folklore, national style, virtuosity and the socalled "Romantic mood".

Speculations on Eudora Welty's Reading of Seven Gothic Tales and Out of Africa by Isak Dinesen

Speculations on Eudora Welty's Reading of Seven Gothic Tales and Out of Africa by Isak Dinesen Pearl Amelia McHaney Eudora Welty reviewed Isak Dinesen's 1957 Last Tales and two scholarly studies of the Danish writer's oeuvre for the New York Times Book Review. She read, and passed on to William Maxwell, Dinesen's essay "On Mottoes of My Life," and she also contributed to a memorial tribute for Dinesen (the pen name of Karen Blixen) in 1965. These commentaries are part of Welty's oeuvre and have been reprinted and made available to readers and scholars. Until 2019, the first known book review that Welty had published was of Marguerite Steedman's But You'll Be Back for the Saturday Review of Literature in 1942. Recently, however, I learned that in 1938 Welty had reviewed Dinesen's memoir Out of Africa in her hometown paper, the Jackson Clarion Ledger.1 In her review, Welty also acknowledges having read Seven Gothic Tales, Dinesen's first book. By 1938, when she first reviewed Dinesen's work, Welty had traveled throughout Mississippi for her five months as a junior publicity agent for the Works Progress Administration and had had one photography exhibit in the Jackson Municipal Art Gallery and two photography exhibits in New York City. She had published eleven short stories in truly "little" magazines and had written and burned the first version of "Petrified Man." Edward O'Brien had reprinted "Lily Daw and the Three Ladies" in his edition of The Best Short Stories of 1938. Welty was eighteen months away from receiving Diarmuid Russell's invitation to be her primary reader and agent. She was years away from writing a novel, and nearly a half-century would pass before she would write her own memoir. To write a book review is to read closely and then to think, almost from afar, of which details and which impressions to gather and share. To review Out of Africa, the second book by Dinesen, Welty begins by commenting that "'Seven Gothic Tales' appeared several years ago under the name Isak Dinesen. It was a widely read book of ornate, metaphysical stories designed carefully and with a sharp obviously feminine humor, to delight and tantalize the reader who likes curious and unreal things" (1). This brief summary of Dinesen's first book illustrates, most importantly, that Welty had read Seven Gothic Tales prior to writing her Out of Africa review, and, in addressing the "reader who likes curious and unreal things," she begins [End Page 125] the habit of reviewing from a reader's perspective—a point of view she maintains in nearly all of her book reviews. The library of books in Welty's home includes the 1934 Random House Modern Library edition of Seven Gothic Tales that reprints the Smith and Haas publication with Dorothy Canfield's introduction. This first collection of Dinesen's tales was an April Book-of-the-Month Club selection and was on the New York Times Best Seller list for April, May, June, and July of 1934. The book is a complex exploration of the Gothic: sudden dark, stormy, windy weather causing drastic consequences; ancient worlds bearing down on the present through elaborate allusions; corporeal ghosts and shadowy people; unexpected, fantastic events; death; strange visages and bodies; and riddles posed to the characters and readers. Dinesen asks, "'What is it,' she said very slowly, in the manner of a sibylla, 'which is bought dearly, offered for nothing, and then most often refused?'" (Seven 115).2 Peter Monro Jack reviewed Seven Gothic Tales in the New York Times Book Review under the headline "A Strange Book for Our Time." Jack found the tales "curious" with an "almost Proustian sensibility that illuminates, by refining, the romantic mood." Citing that Dinesen's "pattern is as flexible as Scheherazade's," Jack asserts that Dinesen's "inventiveness is apparently inexhaustible," and he concludes, "This is a work of the imagination, very subtle and graceful; a rare and curious book, it will be white magic to many and mere mummery to others … though both are in the book, there is more magic than mummery" (6). This evaluation, I believe, would...

"Jak gdyby to była prawda…" Podejrzany realizm i podejrzany modernizm Tadeusza Rittnera

“As If It Were True…”: Tadeusz Rittner’s Dubious Realism and Dubious Modernism This paper is an attempt at redefining selected plays written by Tadeusz Rittner in the modernist and symbolist convention. In the 1950s, they were evaluated by Zbigniew Raszewski as among the playwright’s lesser achievements. I have analysed three texts: the one-act plays Sąsiadka (“The Neighbour”) and Odwiedziny o zmroku (“A Visit at Dusk”) as well as the play Don Juan. There is no doubt that the author did not avoid stylistic exaggeration in his modernist works, but one can also find some distance from the conventions of the Young Poland period as well as the use of the grotesque, theatrical sham, and the poetics of intimate drama in these plays. Rittner’s Viennese character is an alibi for his aesthetic choices and the manner of staging emotions. The evaluation of these plays, which were written in the symbolist and modernist convention, was affected by the theatrical reception, the artists’ superficial reading of the instructions included in the stage directions, and the pigeonholing of the works as realism with a hint of Romantic mood.

Current Trends in Tamil Cinema and its Impact

The “CINEMA” is a mesmerizing word for the Tamil Audience and it is ruling the hearts and houses for more than 100 years. The larger than life images have played a major role in the socio, political and cultural lives of the people of Tamil Nadu. The images have participated in all emotion of the audience, when the nation was fighting for freedom, the images have spelled “Vanthe Matharam”, during the festival the images have sung “Unnaikandu Naan Aada… Ullasam Pongum inba Deepavali”, during the world war the images have narrated “Andhanal”. When television was entered, the cinema has embarrassed and made television as supplement screen. When people had communal riot, the cinema presented “BOMBAY”, at the time of water scarcity the screen offered “Thanneer Thanner”, when we were at romantic mood it screened “16 Vayathinile”, to empower the women and to criticize the male domination it showed “Pudhumai Pen”, it punished the pannyar in Uthiri Pookkal, exposed the life of the innocent tribals in “Mullum Malarum” it brought the historical characters to proximity like “Veera Pandiya Kattabomman”, “Raja Raja Cholan”, It was created docu-fiction on the lives of ethnic groups as “Devar Magan”, “Madhurai Veeran”, “Chinna Gowndar” and “Kala”. Above all the cinema has provided five Chief Ministers to Tamil Nadu assembly. After the implementation of New Economic policy the cinema has faced many obstacles. The satellite television has offered more than 100 channels, the conventional cinema has changed from celluloid to digital, sports become as the core entertainment for the young ones, family audiences have moved away from theatre, ticket prices went up, Mobile brought the digital content to the palm of young audience in spite of all these challenges, the cinema multiplexes have increased, the film productions also have increased in numbers, new film makers are coming in and the Tamil film business have widened its wings to the international spear. The Tamil films are continued to be in the goodwill of Tamil People with the changing screen formats provided by the AMAZON PRIME and the NETFLIKS.

ANALYSIS OF FEELING IN JOHN KEATS’ AND KATE CHOPIN’S LITERARY WORKS

Some of the best literary works around the world are very good to learn, such as a poem “Ode on a Grecian Urn” by John Keats which is phenomenal by the quote “Beauty is truth, truth beauty”, and in prose, the work from Kate Chopin entitled The Awakening which is also phenomenal by the way the story ends. By using the theory of comparative literature, this study aims to describe the intense feeling of two different kinds of literary work by depicting their similarities and differences. The analysis shows that those works provide the description of different feeling delivered by each author. Keats presents the poetry in romantic mood, full of cheers and energy, although it serves momento mori. While Chopin presents the prose in elegiac or tragic mood. Those feeling are depicted throughout the way both authors represent the values of their works. Three values which are depicted in its similarities and differences are; 1) the meaning of death, 2) nature attribute, and 3) revealing truth. The feelings shown in the both literary works are basically about the reality of life. The beauty, the truth, the life, and the death are enclosed into the social life experienced by the people in the world.
 Keywords: comparative literature, feeling, , values of literary works

The Birth and decline of the movie-genre: Sequel by Louis Feuillade into world and Ukrainian contexte

The article deals with the social artistic features that were most characteristic of French criminal seuquel (par examples in «Les Vampires» by Louis Feuillade) at beginning of the twentieth century. Such several aspects of this problems are uncovered: languages games, romantic mood of modern reality, value of movie for artistic movements of Modernism

Under History's Changing Climate: Anarchism's Romantic Moods

AbstractIs anarchism itself a form of what Jerome J. McGann called “romantic ideology,” privileging passion over reason, the affective over the cognitive? An answer is more difficult to give than might be readily apparent. On the one hand, anarchists have defined their political identity against romanticism as the literature of “tender, delicate, distinguished souls, aspiring to heaven, and living on earth as if in spite of themselves (Bakunin).” However, the anarchist tradition does betray a certain romantic genealogy, and anarchists such as Louise Michel, Gustav Landauer, and Rudolf Rocker have often evinced fascination with what Proudhon lambasted as a “literature of decadence.” Ultimately, rather than rendering a definitive political judgment on romanticism, anarchists come to enlist elements of its poetry and philosophy to organize affects in response to changing historical conditions.

Development of EEG based Emotion Recognition System using Song Induced Activity

In this study we build a mood recognition system using EEG signal of Song Induced activity. In this we have analyzed alpha EEG powers related to left hemisphere, right hemisphere regions of brains. This has given the significance of different brain region related to emotions. This study successfully achieves the goal to design a system which offers offline mood recognition system. In this study we show that it is possible to recognize the different moods of person using EEG signal. We observe the different brain locations as Left Hemisphere and Right Hemisphere to recognize the significance according to different moods. The alpha powers are more alert during National, Happy, Romantic mood as compared to Sad mood. So it is possible to distinguish these different moods using alpha power values. The distance matrices also shows that it is possible to differentiate the emotions of persons using alpha power values.

Determinants of contraceptive choice among Japanese women: ten years after the pill approval

The Japanese government approved the use of oral contraception (OC) in 1999, but OC users remain a small minority in Japan. Using the results of an online survey conducted in 2010, I examine the factors determining Japanese women’s choice of contraceptive method by estimating multinomial choice models. The estimation results indicate that OC use is positively associated with age, willingness to pay for contraceptive effectiveness, frequency of intercourse and experience with abortion or emergency contraception. These findings suggest that OC use increases as women learn from experience and that the low and declining frequency of intercourse in Japan offers one explanation for the slow diffusion of OC. Additionally, the findings indicate that OC use is more prevalent among women with a higher risk of unintended pregnancies. Subjective probabilities regarding each contraceptive method’s contraceptive effectiveness, disruption of romantic moods, partner disapproval, side benefits and minor, non-life-threatening side effects are important determinants of contraceptive choice. The perceived risk levels of OC side effects are significantly higher than the population-based probabilities, implying that increased medical knowledge might increase OC use.

“Blank Splendour”: Keats, Romantic Visuality, and Wonder

SEAN DEMPSEY “Blank Splendour”: Keats, Romantic Visuality, and Wonder . . . Then felt I like some watcher of the skies When a new planet swims into his ken; Or like stout Cortez when with wond’ring eyes He stared at the Pacific . . .' I N HIS 1823 ESSAY “ON LONDONERS AND COUNTRY PEOPLE,” WILLIAM Hazlitt resists “Mr. Blackwood’s” definition of “Cockney” as “a person who has happened at any time to live in London, and who is not a Tory.”2 Instead, Hazlitt pictures the Cockney as “a person who has never lived out ofLondon, and who has got all his ideas from it” (155). For Hazlitt the ba­ sis for being Cockney is not political but ethical, ifwe understand ethics to be not simply a set of doctrines but also as incorporating those everyday habits and practices that establish a “complex set of relays between moral contents, aesthetic-affective styles, and public moods.”3 According to Haz­ litt, the landscape of the Cockney’s affect is mapped onto the landmarks of daily London life, and “the true Cockney has never travelled beyond the purlieus of the Metropolis, either in the body or the spirit. Primrose-hill is the Ultima Thule of his most romantic desires; Greenwich Park stands him in stead of the Vales of Arcady” (155). Hazlitt portrays the Cockney as being “confined to one spot, and to 1. These lines are taken from the first draft of “On First Looking into Chapman’s Homer,” the holograph version of which appears in facsimile in Walter Jackson Bate, John Keats (Cambridge, MA: Harvard University Press, 1963), 87. 2. William Hazlitt, The Plain Speaker: Opinions on Books, Men, and Things (London: Henry Colburn, 1826), 1:155, hereafter cited parenthetically in the text. A useful discussion of Hazlitt’s essay can be found in Thomas Pfau’s Romantic Moods: Paranoia, Trauma, and Melan­ choly, 1790-1840 (Baltimore: Johns Hopkins University Press, 2005), 354—56. 3. Jane Bennett, Vibrant Matter: A Political Ecology of Things (Durham: Duke University Press, 2010), xii. SiR, 52 (Spring 2013) 85 86 SEAN DEMPSEY the present moment” (155). For him, everything is near and seen in “hasty succession.” The world turns round, and his head with it, like a roundabout at a fair, till he becomes stunned and giddy with the motion. Figures glide by, as in a camera obscura. There is a glare, a perpetual hubbub, a noise, a crowd about him; he sees and hears a vast number of things, and knows nothing. He is pert, raw, ignorant, conceited, ridiculous, shallow, contemptible. His senses keep him alive; and he knows, in­ quires, and cares for nothing farther. (155—56) The Cockney feasts upon the ocular delights offered up by the “perpetual hubbub” of a vital cosmopolitan city. Even a shopman may be “nailed all day behind the counter: but he sees hundreds and thousands of gay, welldressed people pass—an endless phantasmagoria—and enjoys their liberty and gaudy fluttering pride” (160). Another may be a mere “footman—but he rides behind beauty, through a crowd of carriages, and visits a thousand shops” (160). For Hazlitt, these vivid glimpses of the always turning social world are valuable because they facilitate man’s recognition of himself as a “public creature” (177). This is important, because in addition to defining “Cock­ ney” another aspect of Hazlitt’s effort in “On Londoners and Country People” is to rebut Wordsworth’s portrait in the preface to “The Excur­ sion” of “men in cities as so many wild beasts or evil spirits, shut up in cells of ignorance, without natural affections, and barricaded down in sensuality and selfishness” (177). Hazlitt argues that this would be true if city dwellers were really disconnected from one another but such is not actually the case. The Londoner may know fewer details about other people’s private lives, but in London “he has better opportunities of observing its larger masses and varied movements,” because the city’s streets are a “stream of human life,” and “the public amusements and places ofresort are a centre and sup­ port for social feeling” (178). For the Londoner, “a playhouse alone is a school of humanity, where all eyes are fixed...

A Study on the Romantic Mood in the Motifs and Forms of Abu Shadi’s Poetry

A Study on the Romantic Mood in the Motifs and Forms of Abu Shadi’s Poetry

Transport: Mobility, Anxiety, and the Romantic Poetics of Feeling

Transport: Mobility, Anxiety, and the Romantic Poetics of Feeling Miranda Burgess (bio) Miranda Burgess University of British Columbia, Canada Miranda Burgess Miranda Burgess is Associate Professor of English at the Unviersity of British Columbia and the author of British Fiction and the Production of Social Order, 1740–1830. She is finishing Romantic Transport, 1790–1830, a book that examines the technologies and anxieties of mobility at the turn of the nineteenth century in relation to the history of feeling, the poetics of the figure, and experiments in narrative form. Her next project is a history of the idea that art moves those who encounter it. Footnotes I would like to thank the Social Sciences and Humanities Research Council of Canada for financial support of the project to which this essay belongs. 1. Adela Pinch, Strange Fits of Passion: Epistemologies of Emotion, Hume to Austen (Stanford: Stanford UP, 1996) 3, 10. 2. Thomas Pfau, Romantic Moods: Paranoia, Trauma, and Melancholy, 1790–1840 (Baltimore: Johns Hopkins UP, 2005) 4. Subsequently cited in the text. 3. Julie Ellison, Cato’s Tears and the Making of Anglo-American Emotion (Chicago: U of Chicago P, 1999) 10, 193; Martha Nussbaum, Upheavals of Thought: The Intelligence of Emotions (Oxford: Oxford UP, 2001) 31–32, 658. 4. Anthony Ashley Cooper, Third Earl of Shaftesbury, A Letter Concerning Enthusiasm, in Characteristics of Men, Manners, Opinions, Times, ed. Lawrence E. Klein (Cambridge: Cambridge UP, 1999) 10. Subsequently cited in the text. 5. David Hume, Treatise of Human Nature, ed. L. A. Selby-Bigge, 2nd ed. (Oxford: Oxford UP, 1978) 316. Subsequently cited in the text. 6. Adam Smith, The Theory of Moral Sentiments, ed. Knud Haakonssen (Cambridge: Cambridge UP, 2002) 13. Subsequently cited in the text. 7. For Hume 576, sympathetic feeling proceeds from visible signs to a deduction of causes to “such a lively idea of the passion as is presently converted into the passion itself.” 8. Gillian Russell and Clara Tuite, eds., Romantic Sociability: Social Networks and Literary Culture in Britain, 1770–1840 (Cambridge: Cambridge UP, 2003). 9. Paul de Man, “The Rhetoric of Temporality,” in Blindness and Insight: Essays in the Rhetoric of Contemporary Criticism, 2nd ed. (Minneapolis: U of Minnesota P, 1983) 191, 197, 207. Subsequently cited in the text. 10. De Man, “Metaphor (Second Discourse),” in Allegories of Reading: Figural Language in Rousseau, Nietzsche, Rilke, and Proust (New Haven: Yale UP, 1979) 151. Subsequently cited in the text. 11. See Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation (Durham, NC: Duke UP, 2002) 29–30. 12. Among the many rich and promising existing schemas for distinguishing between feelings and affects, this essay follows Brian Massumi’s development, in Parables 23–45, of a Spinozist model in which affects, as “intensities” existing as rich fields of potential, become feelings when they enter the related spheres of volition, cognition, experience, and language, which is also to say subjectivity. 13. “Transport” experienced a brief vogue in the late 1980s, perhaps in consequence of the psychologist Victor Nell’s Lost in a Book: The Psychology of Reading for Pleasure (New Haven: Yale UP, 1988), in which the term is repeatedly invoked to name the imaginative participation in scenes Nell theorizes as critical to readerly enjoyment. Karen Swann’s “Public Transport: Adventuring on Wordsworth’s Salisbury Plain,” in ELH 55.4 (1988): 811, argues for the “creaks and jolts, shrills and iron clangs, [and]… insults… to one’s amour propre” that result from the experience of sympathy, or “transubjectivity,” Wordsworth depicts between Sailor and Female Vagrant, but these reminders of a material substrate for vagrant affect serve chiefly as a metonym for publicity (as in a public conveyance such as the stagecoach). David Marshall, in The Surprising Effects of Sympathy: Marivaux, Diderot, Rousseau, and Mary Shelley (Chicago: U of Chicago P, 1988) 5, ascribes to several writers of the long eighteenth century, including Mary Shelley, “an investment in the concept of sympathy as a transport that would transcend the distance and difference between people, allowing an exchange between parts, characters, and persons,” but does not elaborate on the material conditions of such an exchange. More recently, “The Transport of the Novel,” the title of Deidre Lynch...

Melancholy, Trauma, and National Character: Mme de Staël’s Considérations sur les principaux événements de la Revolution française

Melancholy, Trauma, and National Character: Mme de Staël’s Considérations sur les principaux événements de la Revolution française Eric Gidal (bio) Eric Gidal University of Iowa Eric Gidal eric Gidal is Associate Professor of English at the University of Iowa. He is the author of Poetic Exhibitions: Romantic Aesthetics and the Pleasures of the British Museum (2001) and related articles on eighteenth- century and romantic period poetry, aesthetics, and visual culture. His current scholarship explores melancholy and social theory in the literature and philosophy of the European Enlightenment. Footnotes 1. The Poems of William Cowper, vol. 2., ed. John D. Baird and Charles Ryskamp (Oxford: Clarendon, 1995) 5.460–64, 473. All subsequent quotations from this work are given parenthetically in the text by book and line numbers. 2. See Eric Gidal, “Civic Melancholy: English Gloom and French Enlightenment,” Eighteenth-Century Studies 37.1 (2003): 23–45. 3. The Letters and Prose Writings of William Cowper, ed. James King and Charles Ryskamp (Oxford: Clarendon, 1981) 2: 215. W. B. Hutchings offers a more comprehensive and detailed consideration of Cowper’s politics and poetry during this period in “William Cowper and 1789,” The Yearbook of English Studies 19 (1989): 71–93. See also Tim Fulford, “Wordsworth, Cowper, and the Language of Eighteenth-Century Politics” in Thomas Woodman, ed., Early Romantics: Perspectives in British Poetry from Pope to Wordsworth (New York: Palgrave Macmillan, 1998) 117–33. 4. The Speeches of the Right Honourable Charles James Fox in the House of Commons (London, 1815) 4: 427. 5. The Origin and Progress of Kings; a Poem; by the celebrated Mr. Cowper. And The Progress of a Divine (London, 1798?). 6. Vincent Newey, in his subtle and far-reaching reading of The Task, spends only a page and a half on these “promulgatory” lines (Cowper’s Poetry: A Critical Study and Reassessment [Totowa, NJ: Barnes & Noble, 1982] 141–42), and Richard Feingold characterizes this “digression” as an intrusion which “adds little to the conclusions implicit in the mythical narrative” that “points only to the realm of grace, in which natural and political evils are transcended rather than resolved” (Nature and Society: Later Eighteenth-Century Uses of the Pastoral and Georgic [New Brunswick: Rutgers UP, 1978] 181–83). 7. Mme de Staël, Considérations sur la Révolution française, ed. Jacques Godechot (Pans: Tallandier, 1983) 542. All quotations and citations from Staël’s work in the main body of the text refer to this edition. All translations of the Considérations are taken from the newly revised edition of the 1818 English translation, Considerations on the Principal Events of the french Revolution, ed. Aurelian Craiutu (Indianapolis: Liberty Fund, 2009) cited by page number, in this instance, 673. 8. For the relation between the idealized vision of English culture presented in the Considérations and Staël’s actual knowledge and encounters from her visit in 1813–14, see Beatrice W. Jasinski, “Madame de Staël, l’Angleterre de 1813–1814 et les ‘Considérations sur la Révolution Française,’” Revue d’Histoire littérairc de la France 66.1 (1966): 12–24. For a thorough documentation of her Anglophilia throughout her career, see Robert Escarpit, L’Angleterre dans l’œuvre de Madame de Staël (Paris: Marcel Didier, 1954). 9. Blackwood’s Edinburgh Magazine 3.17 (Sept. 1818): 633. For the authorship of this and other related articles in Blackwood’s, my source has been Alan Lang Strout, A Bibliography of Articles in Blackwood’s Magazine 1817–1825 (Texas Technological College, Lubbock Library Bulletin 5 [1959]). 10. Roberto Romani provides an extensive analysis of these shifting ideological motivations, as well as a detailed chapter on Mme de Staël, in National Character and Public Spirit in Britain and France, 1750–1914 (Cambridge: Cambridge UP, 2002). 11. Ian Duncan, “Blackwood’s and Romantic Nationalism” in David Finkelstein, ed., Print Culture and the Blackwood Tradition 1805–1930 (Toronto: U of Toronto P, 2006) 83. 12. Thomas Pfau, Romantic Moods: Paranoia, Trauma, and Melancholy, 1790–1840 (Baltimore: Johns Hopkins UP, 2005) 23. In erudite readings of Keats’s early Poems of 1817 and Heine’s Buch der Lieder of 1827...