Romantic Reception Research Articles

Проблематика романтической рецепции философии Аристотеля как философии «интеллектуальной»

The article deals with the problems of the romantic reception of the ancient philosophical classics, specifically Aristotle’s teachings about the mind as the most important ability of the soul in the context of his entire metaphysics. The updated methodological principle of cognition of the “absolute” and self-knowledge of the romantic “I” was defined by F. Schelling as a “philosophical construction”. It is proved that the Aristotelian dialectical model of the interaction of the human mind with the “infinite force” is an analogy of such a procedure. It is stated that the Aristotelian attribution of every “conceivable” as possessing the nature of the “the All” is similar to the romantic formula of the relationship of the “self-determining” individual with the transcendental universe. It is concluded that the transformation of Aristotle’s philosophical “realism” into an “intellectual” philosophical system is one of the results of the romantic revolution in the field of philosophy.

Le Médiévisme érudit en France: de la Révolution au Second Empire. Édité par Fanny Maillet et Alain Corbellari

Literary and artistic manifestations of the Romantic ‘goût du Moyen Âge’ (p. 1) are well-known features of the cultural landscape of early nineteenth-century France. Similarly, nineteenth-century academic medievalism is a familiar presence in studies of the construction of national identity during the Troisième République. The history of the transformation of the earlier, Romantic medievalism of figures like Victor Hugo or Eugène Viollet-Le-Duc, into the later, scholarly medievalism of romance philologists such as Gaston Paris and Joseph Bédier, however, remains a ‘nébuleuse encore relativement mal cartographiée’ (p. 10). Of course, the gradual institutionalization of medievalism in nineteenth-century France has long been acknowledged in general terms as a prolonged response to the upheavals of the revolutionary period. However, little attention has been paid to date to pioneering activity in French medieval studies which preceded the formation of the École nationale des chartes (est. 1821, reformed in 1846) and the academic institutionalization of history as a social science in the École pratique des hautes études (est. 1868). Nor has sufficient work been done to bridge the divide between the antiquarian erudition of the Ancien Régime (epitomized in the works of figures such as Jean-Baptiste de La Curne de Sainte-Palaye) and the medievalisms of the nineteenth century. It is in the work of little-known figures such as the Breton historian and anthologist Louise de Kéralio (1758–1822, studied in a contribution to this volume by Bernard Ribémont), for example, that scholarship connects the medievalism of Enlightenment érudits with the world of nineteenth-century literary history. Other chapters bring to light marginalized figures whose work was essential to the flowering of medieval studies: the pioneering scholar of medieval Latin, Édélestand Du Méril (1801–1870; presented by Jean-Yves Tilliette), who saw in medieval French poetry an expression of the Romantic Volksgeist; Théodore Hersart de La Villemarqué (1815–1895; in a chapter by Hélène Bouget), one of the founders of modern Celtic literary studies; or Étienne-Jean Delécluze (1781–1863; see the contribution by Alain Corbellari), the polymath scholar, painter, translator, and historian of chivalry. Further chapters provide more thematic contributions. Patricia Victorin, for example, studies the Romantic reception of Jean Froissart and the influence of his Chroniques on nineteenth-century historians and historical-novelists. Jonathan Hofer, meanwhile, tracing the editorial fate of Old French fabliaux in the first decades of the century, shows how this corpus of jocular récits gave a foundation to the myth of a ‘Moyen Âge populaire’, crude yet vibrant. The construction of a medieval imagination among the reading public is further explored by Guillaume Cousin, who focuses on the role played by literary journals under the July Monarchy. Far from constituting an exhaustive treatment of the subject, as the editors are the first to confess (p. 13), this volume is nevertheless a groundbreaking collection. Indeed, very little else by way of recent scholarship is available to students and scholars of nineteenth-century literature who may be eager, when faced with instances of medievalism, to locate them in a wider intellectual context.

Romanticism, Medicine, and the Natural Supernatural: Transcendent Vision and Bodily Spectres, 1789–1852 by Gavin Budge

BOOK REVIEWS 575 Thoroughly informed and conceptually sophisticated, Literary Advertising and the Shaping ofBritish Romanticism has unusual clarity, economy, and lev­ ity. As does Lee Erickson in his more abstract account of the economics of literature, The Economy of Literary Form, Mason enjoins us to take less for granted in our reading of periodical literature. Of course the suspicion Mason counsels cannot be easily contained. Like the “universal acid” ofold science fiction, it eats through whatever it touches. Reviews emerge within a system in which critics carry out a dual role, as cultural arbiter and commercial middleman. Ifperiodical criticism is bound up with advertising and “advertising logic,” it cannot rise above the charge of being a testimo­ nial. One might well expect Mason’s account to end in either the disgust of Adorno at yet another betrayal among the intelligentsia or the uncritical celebration of neo-liberal economists at yet another triumph of the invisi­ ble hand. But the scrutiny he recommends has positive value as well. Ma­ son regards Romantic era reviews as “some of the best and most woefully neglected writing of the age” (142). Reviews, like the magazines in which they appear, deserve the same critical rigor that we apply to poems and novels. In sorting out the complex strands of the “common genealogy” of literature and advertising, Mason wisely reminds us that we must know more about this strange relation before we say what it might mean. Mark Parker James Madison University Gavin Budge. Romanticism, Medicine, and the Natural Supernatural: Transcend­ ent Vision and Bodily Spectres, i~Sg-i8s2. London: Palgrave, 2013. Pp. viii+295. $110. The body has been making inroads into Romantic studies for over a dec­ ade now, with scholars from perspectives as varied as affect theory, the his­ tory ofmedicine, and cognitive literary studies exploring the complexity of Romantic writers’ concern with their own embodiment. While Gavin Budge’s Romanticism, Medicine and the Natural Supernatural shares this con­ cern, it is more interested in the relationship between embodiment and idealism, a perspective registered by the title’s double reference to the “Natural Supernaturalism” of Carlyle’s Sartor Resartus and M. H. Abrams’s magisterial 1971 study ofthe same name. Budge’s book examines the “Ro­ mantic invocation ofa dual epistemological perspective, in which visionary intuitions are not reducible to the body but neither can the embodied character of perception be ignored” (8). He argues that Romantic and post-Romantic writers seeking such visions drew not on German Idealism, SiR, 54 (Winter 2015) 576 BOOK REVIEWS a key element in Abrams’s study, but on the Scottish Common Sense school of Thomas Reid and Dugald Stewart. Their epistemology of a “transcendent language of perceptual signs” (7) offered writers a middle way between empiricism and idealism, in which embodied perception could, ifrightly understood, provide access to a transcendent real. Unfortu­ nately, as Budge argues, the dominant theories ofnineteenth-century med­ icine made authenticating such access difficult. Seemingly genuine mo­ ments of perceptual transcendence might instead be the fraudulent “bodily spectres” ofirritated nerves or an upset stomach. As a result, health—which Budge interprets as a body regulated so as not to mistake hallucinations for authentic visions—became a concern for any artist with an idealist bent. His book tracks this concern through the work of six such artists, begin­ ning in the eighteenth century with Ann Radcliffe and concluding in the mid-nineteenth with Ruskin and the Pre-Raphaelites. Budge has recently edited a collection on the Common Sense tradition’s Romantic reception (Romantic Empiricism: Poetics and the Philosophy of Com­ mon Sense, 1780—1830 [Bucknell, 2007]), and his continued investment in recognizing this lineage shows in the current study. Indeed the book seems less concerned with revising our understanding of Romanticism’s relation­ ship to medicine than it does with reframing certain medically-inflected readings—such as the influence of Erasmus Darwin’s treatise Zoonomia on Wordsworth in Lyrical Ballads—within the philosophical context of the Common Sense school. (Walter Jackson Bate’s absence from this study— his 1946 From Classic to Romantic: Premises of Taste in Eighteenth-Century England, not even listed in the bibliography—is puzzling, given that his landmark work...

Unwanted parenthood: Romanticism and Kant

Over the Romantic reception of Kant, the author attempts to show a relationship between the Romanticism and the Enlightenment. First part of the paper reconstructs the social conditions that created the strange path of transformation of parts of Kant?s teachings in the romantic motifs. The second part follows the theoretical precomposition of Kant?s thought in Fichte and expressly deviation from it in Novalis and Schlegel. Third section presents the key moments of the Romantic critique of the Enlightenment mind, and fourth its ambiguous pracital-political effects. In conclusion, it is suggested that Romanticism tested and testified the transcending of limits of the very freedom for which Kant believed that man becomes worthy of only if it is used in a lawful and purposeful manner.

Poética de la subjetividad y filosofía del absoluto. Sobre la recepción del pensamiento de Fichte en el primer romanticismo

The article tries to critically face the reductionist interpretation according to which Romanticism has been a mere political reaction in times of Restoration. It is discussed the so-called revolutionary period of Friedrich Schlegel, in relation to both 19th century politics as further development of the French Revolution, and aesthetics. It is also explored a new concept of subjectivity derived mainly from the romantic reception of Fichte’s philosophy.

Necromanticism: Traveling to Meet the Dead, 1750-1860. Paul Westover.

Previous articleNext article No AccessNecromanticism: Traveling to Meet the Dead, 1750-1860. Paul Westover.Samantha MatthewsSamantha Matthews Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by The Wordsworth Circle Volume 43, Number 4Autumn 2012 Article DOIhttps://doi.org/10.1086/TWC24065361 Views: 2Total views on this site © 2012 by The University of Chicago. All rights reserved.PDF download Crossref reports no articles citing this article.

Dante's 'Commedia': Theology as Poetry ed. by Vittorio Montemaggi and Matthew Treherne (review)

Reviewed by: Dante's 'Commedia': Theology as Poetry ed. by Vittorio Montemaggi and Matthew Treherne Julie Robarts Montemaggi, Vittorio and Matthew Treherne, eds, Dante's 'Commedia': Theology as Poetry (The William and Katherine Devers Series in Dante Studies), Notre Dame, IN, University of Notre Dame Press, 2010; paperback; pp. 400; R.R.P. US$40.00; ISBN 9780268035198. Dante's 'Commedia': Theology as Poetry, edited by Vittorio Montemaggi and Matthew Traherne, contains eleven essays, an Introduction, and two Afterwords. It is the result of a 2003 conference held in Cambridge at which theologians and Dante scholars discussed 'the theological implications of Dante's poetic narrative' (p. 1) and the ways in which theological considerations could illuminate the Commedia as a literary text. It is a collection for a specialist audience, which would include scholars and graduate students of Dante, medieval literature, and theology. Robin Kirkpatrick's conversational opening essay 'Polemics of Praise: Theology as Text, Narrative and Rhetoric in Dante's Commedia', which frames the collection, seems to suggest that literary critics who find a place for first-order discourse in their engagement with texts (and the audience they write for) need not do so at the cost of critical or historical rigor, and that love must be the ethical basis of any critical tradition which has a claim on the future, as a response to the problem of what is the tenable posture of those of us who live off words. My short review of the essays places them in four thematic groups: Images, language, philosophy, and liturgy. Peter Hawkings sees the image of the smile as an important contribution made by the Commedia to subsequent religious iconography, while Paula Nasti considers Dante's intertwining of strands of medieval ecclesiology centred on caritas, and the bride of the Song of Songs as he creates his image of the true church in Paradise. Christian Moevs explores the recurring image of 'il punto che me vinse', the point of creation, and dilation or expansion of self-knowledge and knowledge of God. In addition to the focus on language in Kirkpatrick's essay, Vittorio Montemaggi explores Dante's conception of language as our means of both engaging in and expressing what is knowable and unknowable about God, while Theresa Federici presents Dante's self-fashioning as a scribe of God in the image of King David. Oliver Davies presents a reading of the Commedia from the perspective of systematic theology. Douglas Hedley explores Dante's neo-Platonism, and includes a reassessment of Romantic reception of the Commedia, while Piero Boitani considers Dante's notion of creation, of people and the world, and the ways in which the poetics of the Commedia encompass and surpass the work's classical philosophical and scriptural sources. [End Page 331] Matthew Treherne argues that Dante's innovation in the configuration of Purgatory and Heaven can be understood through the liturgical performance of the characters in those realms, respectively penitence and praise. Denys Turner proposes to read the poetry of the Commedia, in dialogue with the theological methods of Thomas Aquinas and Meister Eckhart, as sacrament, seeking to 'effect what it signifies', especially in its apophatic mode. Dante scholarship for the non-dantista is often awe-inspiring in the way its critical discourses wrestle with the depth, breadth, and complexity of the Commedia. This collection is no exception. Julie Robarts Italian Studies, School of Languages and Linguistics The University of Melbourne Copyright © 2012 by the Author

“With no great quantity of paintings”: Pushkin’s Polemic with Raphael in “Madona”

One of only three sonnets Pushkin wrote in his lifetime, (1830) is a monument to union of a poet's life and work. (1) Due in large part to circumstances of Pushkin's death, reception of sonnet has focused less on poem itself and more on his wife's famous epithet. Although Pushkin's marriage is important from a creative standpoint, extent to which Natal'ia Goncharova's presence has saturated interpretations of his poems to her should be reexamined. The stoic quality attributed to Goncharova most notably in (1830) became fertile ground for scholars and writers interested in Pushkin's mythologizing of his wife. (2) This concentration on Goncharova--thought to be core of sonnet--appears to have stifled greater interest in poem beyond Pushkin's ekphrasis of painting that inspired comparison. A deeper investigation into rarity of sonnet form in Pushkin's oeuvre, as well as rhetorical stance imbedded in his tone and word choice, shows a more complex side to Madona. Whatever details of their married life, association Pushkin drew between image and his bride-to-be does not exhaust or exclude other interpretations of sonnet. Just by taking poem's title as our point of departure, it seems emphasis should first be placed not on Pushkin's wife, but on culturally-loaded associations word had in Romantic period. The purveyor of Romantic fascination with Raphael's Madonnas was Vasily Zhukovsky, whose essay Rafaeleva Madonna (Raphael's Madonna) had itself arisen after a close reading of Wilhelm Heinrich Wackenroder's Herzensergiessungen eines kunstliebenden Klosterbruders (Outpourings of an Art-loving Friar), written in 1797. (3) Before Pushkin wrote in 1830, he had already made poetic reference to Madonnas by Raphael with an eye to Zhukovsky's presentation of artist in his essay. In poems Kto znaet krai, gde nebo bleshchet ... (Who knows land, where sky shines ...) and Ee glaza (Her Eyes), both from 1828, one finds a foregrounding of Raphaers Madonnas and conventional praise for rare talent of their creator in vein of Zhukovsky, albeit with some irony. Compared to poet's rejection of the paintings of old masters (kartiny starinnykh masterov) in two years later, two poems from 1828 betray traditional Romantic reception of Raphael, although Kto znaet krai ... initiates a playful critique of painter's dedication to image. The penultimate line of sonnet, however, is an emphatic claim not only over Goncharova, but over image itself: tebia, moia Madona (literally you, my lady; my emphasis)--an image connected to earlier poems, but also to certain literary and cultural trends of nineteenth century. Apart from a cursory reference in Polkovodets (1835), a poem that shares reverent tone of in its opening lines, Pushkin did not refer to image again. Pushkin may have written about other incarnations of Mary, (4) but term Madonna, prior to sonnet, frequently corresponded to a painting by Raphael. The image ceased to be just a painting once it had been associated with his wife--what had once been a ubiquitous symbol of culture and Raphael's entrenched position in Romantic view of artist was transfigured by Pushkin's pen into a human being. Like his brief experimentation with sonnet, Pushkin retired image once he had taken it to limits of creative expression. Perhaps this general tendency towards constant experimentation and innovation is source of Pushkin's suggestion in Kto znaet krai ... that Raphael choose other subjects to endow with his genius. A poet with Pushkin's range provides an interesting contrast to an artist known for painting same woman over and over again. The language and tone of further reinforces change in Pushkin's attitude toward image. …

Makbet Giuseppe Verdiego wobec romantycznej recepcji

Romantic approach to William Shakespeare’s dramatic works, as well as the notions and questions so vital for the consciousness of the epoch concerning the capacity and function of destiny, unrecognizability of existence, interference of supernatural powers in the world that can be grasped with human mind and common sense, are all intriguingly transparent in Giuseppe Verdi’s Macbeth . The Italian composer, who knew the Romantic reception of Shakespeare’s dramatic plays well (e.g. the Italian translations of the lectures given by August W. Schlegel), embarked upon the issue of the ambiguity of the scene with the witches that appear to Macbeth, posed a question on the cognitive value in the dreamy apparition (in the brilliantly constructed Lady Macbeth’s sleepwalking scene), and, finally, emphasized the aspect of hybridity of the world that inseparably combines the grandeur and the grotesque (the point highlighted in Victor Hugo’s considerations on Shakespeare). The two versions of the operatic Macbeth — the one produced in Florence in 1847, the other, 1865 revised version produced for Paris — relate well with the long sequence of changeable conventions in the nineteenth century theatre, taking into consideration its requirements (the need for a spectacular character of staging, the introduction of multiple A ke a Romantic implant in the operetta world of farcical braggadocio dominant on the Parisian stage at the time of the Second Empire, testifies to the enormous influence of the Romantic reception of Shakespeare exerted at the time and defining for a considerable period of time the concept of adaptation of the works of the Stradford master to meet the needs of the operatic stage.

LUISA CALE. Fuseli's Milton Gallery: 'Turning Readers into Spectators'.

‘[R]eal lovers of art must feel great pleasure in visiting the Milton Gallery’, announced the Morning Chronicle in June 1799, warmly congratulating its creator, celebrated Swiss artist Henry Fuseli, for ‘an effort of genius almost equal to the Poet himself’: the ‘exhibition we consider as a national honour, and we are happy to find that all ranks of people have sufficient taste to admire, and liberality to encourage it’. Fuseli was infused by a sense that grand British literature could be a resource for a ‘grand style’ of British art (which was still overshadowed by the Continent); during the 1790s, he rendered 40 magnificent pictures out of Milton's epic. In the wake of Richard Altick's The Shows of London (1978), several studies have been turning our attention from solitary, inward, ideal, visionary Romanticism, to social and historical Romanticism and the bustling, popular, sociable, and visual cultures of the age. Among the most notable reconsiderations are William Galperin's iconically titled The Return of the Visible in British Romanticism (1993), Gillen D’Arcy Wood's The Shock of the Real: Romanticism and Visual Culture, 1760-1860 (2001), and Christopher Rovee's Imagining the Gallery: The Social Body of British Romanticism (2006), in addition to compatibly theoretical work on intersections of literary and visual culture, including the cinematic undertexts of modernist literature in Garrett Stewart's Between Film and Screen (1999). To this we can now add Luisa Calè's capacious, adventurous study (graced with an insert of 23 black-and-white plates), about Fuseli's Milton Gallery and the wealth of contexts that informed it: aesthetics, psychology, optics, gallery culture, the gendering of spectatorship, theories of the gaze and the proto-cinematic procedures of the gallery array, and the Romantic reception of Milton. If Calè's advertisement, ‘I will seek to restore visual dimensions to Romantic reading practices by way of the intersections of literature and art in … a culture of exhibitions’ (p. 5), feels belated considering the precedent studies, you’ll want to stay with her, because her work on what produced Fuseli's gallery, and what it in turn produced, is fresh, resourceful and informative.

What Wilhelm Meister Did Next

'Wilhelm Meisters Lehrjahre' was hugely influential in the development of the novel among Romantic authors. This Romantic reception bears closer examination. Friedrich Schlegel's 'Über Goethes "Meister"' emphasizes the mode of representation in 'Wilhelm Meister'. The paper seeks to identify those aspects of the novel that appealed to Schlegel as having a canonical authority for its successors. A form of aesthetic organization can be identified that operates in a different dimension from the analytical form of the plot, or the moral structure of 'Bildung'. The belief that parallel events and emblems can reveal some higher meaning needs to be overcome in the autonomous construction of a meaningful life.

The Irony of the Romantic Reception of Weimar Classicism in Spain

The Irony of the Romantic Reception of Weimar Classicism in Spain

‘EICHENDORFFS REVIER’: AN IDEOLOGICALLY UNTAINTED ASPECT OF ROMANTIC RECEPTION IN THE 1930s?

German Life and LettersVolume 42, Issue 3 p. 219-241 ‘EICHENDORFFS REVIER’: AN IDEOLOGICALLY UNTAINTED ASPECT OF ROMANTIC RECEPTION IN THE 1930s? Axel Goodbody, Axel GoodbodySearch for more papers by this author Axel Goodbody, Axel GoodbodySearch for more papers by this author First published: April 1989 https://doi.org/10.1111/j.1468-0483.1989.tb00937.xCitations: 1Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Citing Literature Volume42, Issue3April 1989Pages 219-241 RelatedInformation