This is the first study to fully trace the influence of Sensibility on British Romanticism. Sensibility continually found new forms of expression in the late Eighteenth and early Nineteenth century. Nagle explores how it coexisted and intermingled with Romanticism and revises the traditional narratives of literary periodization of this era.
This is the first study to fully trace the influence of Sensibility on British Romanticism. Sensibility continually found new forms of expression in the late Eighteenth and early Nineteenth century. Nagle explores how it coexisted and intermingled with Romanticism and revises the traditional narratives of literary periodization of this era.
Combining queer theory with theories of affect, psychoanalysis, and Foucauldian genealogy, Romanticism, Gender, and Violence: Blake to George Sodini theorizes performative melancholia, a condition where, regardless of sexual orientation, overinvestment in gender norms causes subjects who are unable to embody those norms to experience socially expected (‘normal’) gender as something unattainable or lost. This perceived loss causes an ambivalence within the subject that can lead to self-inflicted violence (masochism, suicide) or violence toward others (sadism, murder). Reading a range of Romantic poetry and novels between 1790-1820, but ultimately moving beyond the period to show its contemporary cultural relevance through readings of Eliot’s The Mill on the Floss, Virginia Woolf’s Mrs. Dalloway, Andrew Holleran’s Dancer from the Dance, and George Sodini’s 2009 murder-suicide case, this study argues that we need to move beyond focusing on bullying, teens, and LGBT students and look at our cultural investment in gender normativity itself. Doing so allows us to recognize that the relationship between non-normative gender performance and violence is not simply a gay problem; it is a human problem that can affect people of any sex, sexuality, age, race, or ethnicity and one that we can trace back to the Romantic period. Bringing late 18th-century novels into conversation with both canonical and lesser-known Romantic poetry, allows us to see that, as people whose performance of gender occasionally exceeds the normal, we too often internalize these norms and punish ourselves or others for our inability to adhere to them. Contrasting paired chapters by male and female authors and including sections on failed romantic coupling, melancholic femininities, melancholic masculinities, failed gender performance and madness, and ending with a section titled After Romanticism, this study works on multiple levels to complicate previous understandings of gender and violence in Romanticism while also offering a model for contemporary issues relating to gender and violence among people who ‘fail’ to perform gender according to social norms.
Reflections on Sentiment not only addresses current scholarly interest in feeling and affect but also provides an occasion to celebrate the career of George Starr, who, in more than fifty years of incisive scholarship and committed teaching, haselucidated the work of Daniel Defoe and the role of sentimentalism in what was once reductively termed an age of reason and realism. Due to the critique Starr spearheaded, scholars today can approach with greater assurance the complex interplay of reason and emotion, thought and sensibility, science and feeling, rationality and enthusiasm, judgment and wit, as well as forethought and instinct, as these shaped the scientific, religious, political, social, literary, and cultural revolutions of the Enlightenment. Indeed, contributors to this anthology take inspiration from Starr’s work to shed new light on Enlightenment thought and sociocultural formations generally, offering fresh interpretations of a period in which Reflection and Sentiment circulated, mutually influenced each other, and contended equally for cultural attention. In nine separate essays they explore: the ways sentiment and sentimentalism inflect the moral and ideological ambit of Enlightenment discourses; the sociopolitics of religious debate; the issues promoted by women writers, by gender and family relations; the artistic and rhetorical uses of lived language; the impacts of cultural developments on novelistic form; and the wide shifts in the literary marketplace. Deploying tools advanced by new work in animal studies, gender criticism, media analysis, genre studies, the new formalism, and ethical inquiry, and enabled by the power of digitization and new databases, the authors of this volume explain how and to what ends denizens of the Enlightenment were touched and moved.
At the nexus of Kantian aesthetics, literary analysis, and the history of medicine, Perverse Romanticism makes an important contribution to the study of sexuality in the long eighteenth century.
Sade’s Sensibilities tells a new story of one of the most enduring and controversial figures in European literature. Blending ideas about subjectivity, identity and natural philosophy with politics and pornography, D.A.F. de Sade has fascinated writers and readers for two hundred years, and his materialist account of the human condition has been widely influential in post-structuralism, nihilism, and feminism. This new collection of essays considers Sade’s Enlightenment legacy, both within and beyond the narratives of radicalism and aberration that have historically marked the study of his oeuvre. From different points of view, these essays argue that Sade engaged with and influenced traditional Enlightenment paradigms—particularly those related to sensibility, subjectivity, and philosophy—as much as he resisted them. They thus recover a Sade more relevant, even foundational to our twenty-first century understanding of modernity, selfhood, and community. In Sade’s Sensibilities Sade is no longer a solitary, peripheral radical, but an Enlightenment philosopher in his own right.
After his death in 1768, the famous novelist Laurence Sterne did not rest undisturbed in his grave. While rumours of the theft and dissection of Sternes corpse circulated in the anatomy schools, numerous writers took possession of his literary body of work. New forms of Sternean entertainment were produced by literary mimics who impersonated the author through the medium of print, impersonations which included startling and unique interpretations of Sternes character and fiction. Warren Oakley introduces two new critical concepts to eighteenth-century literary study, bodysnatching and mimicry, to understand these texts that have been neglected and overlooked in Sterne studies. This lucid account reveals the personal stories of such literary mimics, the creative techniques they employed and the consequences of their actions upon the posthumous perception of Sterne, the man and his cadaverous goods.
Amorous Aesthetics traces the development of intellectual love from its first major expression in Baruch Spinoza's Ethics, through its adoption and adaptation in eighteenth-century moral and natural philosophy, to its emergence as a Romantic tradition in the work of six major poets.
How did the buying and collecting of books figure in the lives and works of the Romantics, those supposed apostles of spiritualized poetic genius? Why was book collecting controversial during the Romantic period, and what role has book collecting played in the history of homophobia? The Queer Bookishness of Romanticism: Ornamental Community addresses these and more questions about the suppressed bookish dimension of Romanticism, as well as Romanticism’s historical forebears and Victorian inheritors. The analysis ranges widely, addressing the bookish proclivities of the "romantic friends" the Ladies of Llangollen, the camp works about book collecting produced by a subculture calling themselves “ornamental gentlemen,” narratives of prototypically punk collecting and flâneuring by the essayist and collector Charles Lamb, and rare-book forgeries by Thomas J. Wise and Harry Forman, queer bibliographer-scholars responsible for canonizing some of the Romantic poets during the Victorian period. In the process, this book uncovers surprising connections between conceptions of literature and sexuality; literary materiality and queerness; and forgery, sexuality, and authorship.
