Search results

Abstract only
A spirited exchange 1760-1960
Editor: Avril Horner

The essays in this book demonstrate the importance of translation and European writing in the development of the Gothic novel. Cross-cultural exchanges occurred with the translation of novels by English writers into French. The book first situates works by British writers and American writers within a European context and legacy. Next, it offers readings of less-known works by Gothic authors. The book introduces the reader to a range of neglected, albeit influential, European Gothic texts which originated in Russian, Spanish, French and German. It argues that the level of ideological manipulation, which occurred as texts were translated, mistranslated, appropriated, misappropriated, altered and adapted from one language to another, was so considerable and so systematic that generic mutations were occasioned. The book suggests that Matthew Lewis's The Monk offers a few models of femininity, all deriving from and intended to disrupt, previous literary representations. It focuses on the automatic and the systematic in Charles Maturin's work in relation to Denis Diderot's contemporary philosophical conceptualizations of consciousness and identity. Gothic treacheries are dealt with through Samuel Coleridge's analysis of misappropriation of Friedrich Schiller's Die Rauber. The book also discusses the representations of ritual violence, as sanctioned by the Catholic Church, in English and Spanish pictorial and literary texts between 1796 and 1834. It talks about the Arabesque narrative technique of embedding tales within tales to create a maze in which even the storyteller becomes lost, reflecting the Eastern notion that the created is more important than the creator.

The Lost Ones
Daniela Caselli

different formally these 2 MSS [ Le dépeupleur and Bing ] belong together. Bing may be regarded as the result or miniaturization of Le dépeupleur abandoned because of its intractable complexities.’ 6 For a discussion of Beckett and English Romanticism see Elizabeth Barry, ‘“Take into the air my quiet breath”: Samuel Beckett and English Romanticism’, Journal of Beckett Studies , 10:1–2 (Fall 2000/Spring 2001), 207–221. 7 Ruby Cohn, Back to Beckett (Princeton: Princeton University Press, 1973), p. 257. Neumeister

in Beckett’s Dantes
Alexander Spencer

writing during this revolutionary time was littered with romantic images, much of the romantic writing was full of revolutionary elements. In particular English romanticism was greatly influenced by many of the political ideals central to the beginning of the French Revolution such as equality, democracy and opposition to absolutism, as these were incorporated into the literature of numerous writers in Britain and thereby into domestic political debate and politics. At the time, romanticism was considered a political language (Klancher 1989: 491) and still is. As

in Romantic narratives in international politics
Abstract only
Romanticism, the sublime and poetic ignorance
Andrew Bennett

-philosophical turn in English Romanticism’, Milnes argues, was ‘itself sustained by a deep epistemological anxiety’ – the anxiety that the condition of scepticism is in fact irredeemable, irresolvable (p. 7). Only with Romanticism, Milnes claims, ‘does one find the idea that aesthetic creativeness might be paradigmatic for human knowledge’ in the sense that, as Richard Rorty puts it, ‘truth is made rather than found’ (p. 8: quoting Rorty, Contingency, Irony, Solidarity (Cambridge: Cambridge University Press, 1989), p. 7). According to Milnes, English Romanticism ‘comes to define

in Ignorance
Helena Chance

Library of Congress, Washington DC, a number of which are cited in this book, are testimony to their professional approach. Their knowledge of plants, including those that were pollutant-resistant, also gave landscape architects a particular expertise in those best suited to industrial conditions. Their business was to unify the oppositions of industry and the landscape, the machine and the garden. In English Romanticism, for example in the writings of Wordsworth, Carlyle and Ruskin, the machine and nature had been in opposition since the first large factories began to

in The factory in a garden
Abstract only
William Sheils

, 540. 45 For further reaction, much of it unfavourable, see David M. Craig, ‘Subservient talents? Robert Southey as a public moralist’, in Lynda Pratt (ed.), Robert Southey and the Contexts of English Romanticism (Aldershot: Ashgate, 2006), pp. 112–14. 46 William Cobbett, A History of the Protestant Reformation in England and Ireland (1824–27; Dublin: James Duffy, 1867), letter 3, paragraph 84. 47 O’Day, ‘John Lingard’, p. 103. 48 For a similar juxtaposition, see the Selwyn Divinity School in Cambridge (1879), which has statues of Cranmer and Fisher on either

in Making and remaking saints in nineteenth-century Britain
Scotland’s screen destiny
Mark Thornton Burnett

a second-hand, ‘always-already symbolized’ construction of Scottishness that is hardly ‘authentic’. In fact, what Freeston purveys is a historically imperial, and highly Romanticized, view of Scotland. As Jeffrey Richards states: Scotland was invented by English Romanticism and ‘characterized by wild landscape, music and song, and by the supernatural’. ‘Romanticism’, he goes on, ‘had certain basic

in Shakespeare and Scotland
Open Access (free)
Nicola McDonald

insights.8 Thomas Percy, antiquarian and arriviste, and his spectacularly successful Reliques of Ancient English Poetry, published first in 1765, signals the start of modern abuses of romance. The ‘seminal, epoch-making’ work of English Romanticism, Percy’s Reliques – along with his infamous Folio manuscript and the attention they both excited – has made an indelible mark on the way popular romance continues to be read.9 Four years after the publication of the Reliques, a three-volume work comprising mainly Middle English ballads and a set of four critical essays

in Pulp fictions of medieval England
The body of the hero in the early nineteenth century
Julia Banister

Commencement of the French Revolution to the Present Time, 3 vols (London: T. Kinnersley, 1816), vol. III, p. 239; Edward Baines, History of the Wars of the French Revolution, 2 vols (London: Longman, Hurst, Rees, Orme and Brown, 1818), vol. II, p. 468; John Parker, A Concise Account of the Glorious Battle of Waterloo and Surrender of Paris (Berwick: W. Lochhead, 1822), p. 114. 23 The Battle of Waterloo, 7th ed. (London: John Booth; T. Egerton; 1815), p. 123. 24 On Southey’s Christian patriotism see Simon Bainbridge, Napoleon and English Romanticism (Cambridge: Cambridge

in Martial masculinities
Sight and Sound in the 1950s
John Gibbs

’s Culture and Society, to indicate the relationships between the debate in Cahiers du Cinéma and the theoretical underpinning of English Romanticism. An Original may be said to be of a vegetable nature; it rises spontaneously from the vital root of genius; it grows, it is not made; imitations are often a sort of manufacture, wrought up by those mechanics, art and labour, out of pre-­existent materials not their own.48 There are equally clear parallels with Richardson’s categories. Firstly in terms of the association of organic unity with the artist: the ‘“creator” proper

in The life of mise-en-scène