The Romanticism Series: Romantic Poetry (comparative History Of Literatures In European Languages)

Romantic Poetry encompasses twenty-seven new essays by prominent scholars on the influences and interrelations among Romantic movements throughout Europe and the Americas. It provides an expansive overview of eighteenth- and nineteenth-century poetry in the European languages. The essays take account of interrelated currents in American, Argentinian, Brazilian, Bulgarian, Canadian, Caribbean, Chilean, Colombian, Croatian, Czech, Danish, English, Estonian, Finnish, French, German, Greek, Hungarian, Irish, Italian, Mexican, Norwegian, Peruvian, Polish, Romanian, Russian, Serbian, Slovak, Spanish, Swedish, and Uruguayan literature. Contributors adopt different models for comparative study: tracing a theme or motif through several literatures; developing innovative models of transnational influence; studying the role of Romantic poetry in socio-political developments; or focusing on an issue that appears most prominently in one national literature yet is illuminated by the international context. This collaborative volume provides an invaluable resource for students of comparative literature and Romanticism. 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. Annotation. Romantic Poetry encompasses twenty-seven new essays by prominent scholars on the influences and interrelations among Romantic movements throughout Europe and the Americas. It provides an expansive overview of eighteenth- and nineteenth-century poetry in the European languages. The essays take account of interrelated currents in American, Argentinian, Brazilian, Bulgarian, Canadian, Caribbean, Chilean, Colombian, Croatian, Czech, Danish, English, Estonian, Finnish, French, German, Greek, Hungarian, Irish, Italian, Mexican, Norwegian, Peruvian, Polish, Romanian, Russian, Serbian, Slovak, Spanish, Swedish, and Uruguayan literature. Contributors adopt different models for comparative study: tracing a theme or motif through several literatures; developing innovative models of transnational influence; studying the role of Romantic poetry in socio-political developments; or focusing on an issue that appears most prominently in one national literature yet is illuminated by the international context. This collaborative volume provides an invaluable resource for students of comparative literature and Romanticism. 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 Content: 1. Introduction (by Esterhammer, Angela), pvii-xi 2. 1. The Evolution of Sensibility and Representation 3. 1.1 Autumn in the Romantic Lyric: An Exemplary Case of Paradigm Shift (by Furst, Lilian R.), p3-22 4. 1.2 Reflection as Mimetic Trope (by Burwick, Frederick), p23-38 5. 1.3 On Romantic Cognition (by Ciesla-Korytowska, Maria), p39-53 6. 1.4 Vorosmarty and the Poetic Fragment in Hungarian Romanticism (by Szegedy-Maszak, Mihaly), p55-61 7. 1.5 Loss and Expectation: Temporal Entwinement as Theme and Figure in Novalis, Wordsworth, Nerval, and Leopardi (by Baker, Jr., John M.), p63-89 8. 1.6 Poetry as Self-Consumption: Women Writers and Their Audiences in British and German Romanticism (by Lokke, Kari), p91-111 9. 2. The Evolution of Genre 10. 2.1 Lyric Poetry in the Early Romantic Theory of the Schlegel Brothers (by Behler, Ernst), p115-141 11. 2.2 The Romantic Ode: History, Language, Performance (by Esterhammer, Angela), p143-162 12. 2.3 The European Romantic Epic and the History of a Genre (by Nikolova, Irena), p163-180 13. 2.4 The Sublime Sonnet in European Romanticism (by Balfour, Ian), p181-195 14. 2.5 Elegiac Muses: Romantic Women Poets and the Elegy (by Vincent, Patrick), p197-221 15. 3. Romantic Poetry and National Projects 16. 3.1 Awakening Peripheries: The Romantic Redefinition of Myth and Folklore (by Bisztray, George), p225-248 17. 3.2 "National Poets" in the Romantic Age: Emergence and Importance (by Nemoianu, Virgil), p249-255 18. 3.3 Romanian Poetry and the Great Romantic Narrative about the Mission of the Poet (by Spiridon, Monica), p257-267 19. 3.4 Greek Romanticism: A Cosmopolitan Discourse (by Jusdanis, Gregory), p269-286 20. 3.5 Time and History in Spanish Romantic Poetry (by Shaw, Donald L.), p287-303 21. 3.6 The Experience of the City in British Romantic Poetry (by Gassenmeier, Michael), p305-331 22. 3.7 "Sons of Song": Irish Literature in the Age of Nationalism (by Wright, Julia M.), p333-353 23. 3.8 Near the Rapids: Thomas Moore in Canada (by Bentley, D.M.R.), p355-371 24. 3.9 Address and Its Dialectics in American Romantic Poetry (by Garber, Frederick), p373-399 25. 3.10 Romantic Poetry in Latin America (by Kirkpatrick, Gwen), p401-416 26. 4. Interpretations, Re-creations, and Performances of Romantic Poetry 27. 4.1 Baudelaire's Re-reading of Romanticism: Theorizing Commodities / The Commodification of Theory (by Friedman, Geraldine), p419-441 28. 4.2 Nachtigallenwahnsinn and Rabbinismus: Heine's Literary Provocation to German-Jewish Cultural Identity (by Pfau, Thomas), p443-460 29. 4.3 Reception as Performance: The Case of Shelley in Germany (by Schmid, Susanne), p461-472 30. 4.4 Implications of an Influence: On Holderlin's Reception of Rousseau (by Corngold, Stanley), p473-489 31. 4.5 Organicist Poetics as Romantic Heritage? (by Neubauer, John), p491-507 32. 4.6 The Uses of Romantic Poetry: Feminine Subjects in Modern Spanish Culture (by Kirkpatrick, Susan), p509-524 33. Index of Names, p525-530 34. Index of Titles, p531-537