For several decades, interest in the British Romantics’ theorizations and representations of the world beyond their national borders has been guided by postcolonial and, more recently, transatlantic paradigms. GlobalRomanticism: Origins, Orientations, andEngagements, 1760–1820 charts a new intellectual course by exploring the literature and culture of the Romantic era through the lens of long-durational globalization. In a series of wide-ranging but complementary chapters, this provocative collection of essays by established scholars makes the case that many British Romantics were committed to conceptualizing their world as an increasingly interconnected whole. In doing so, moreover, they were both responding to and shaping early modern versions of the transnational economic, political, sociocultural, and ecological forces known today as globalization.

Brown Romantics: Poetry and Nationalism in the Global Nineteenth Century proceeds from the conviction that it is high time for the academy in general and scholars of European Romanticism to acknowledge the extensive international impact of Romantic poetry. Chander demonstrates the importance of Romantic notions of authorship to such poets as Henry Derozio (India), Egbert Martin (Guyana), and Henry Lawson (Australia), using the work of these poets, each prominent in the national cultural of his own country, to explain the crucial role that the Romantic myth of the poet qua legislator plays in the development of nationalist movements across the globe. The first study of its kind, Brown Romantics examines how each of these authors develop poetic means of negotiating such key issues as colonialism, immigration, race, and ethnicity.

The Romantic period coincided with revolutionary transformations of traditional political and human rights discourses, as well as witnessing rapid advances in technology and a primitivist return to nature. As a broad global movement, Romanticism strongly impacted on the literature and arts of the late eighteenth and early nineteenth centuries in ways that are still being debated and negotiated today. Examining the poetry, fiction, non-fiction, drama, and the arts of the period, this book considers: Important propositions and landmark ideas in the Romantic period; Key debates and critical approaches to Romantic studies; New and revisionary approaches to Romantic literature and art; The ways in which Romantic writing interacts with broader trends in history, politics, and aesthetics; European and Global Romanticism; The legacies of Romanticism in the twentieth and twenty-first centuries. Containing useful, reader-friendly features such as explanatory case studies, chapter summaries, and suggestions for further reading, this clear and engaging book is an invaluable resource for anyone who intends to study and research the complexity and diversity of the Romantic period, as well as the historical conditions which produced it.

Already in the century before photography's emergence as a mass medium, a diverse popular visual culture had risen to challenge the British literary establishment. The bourgeois fashion for new visual media - from prints and illustrated books to theatrical spectacles and panoramas - rejected high. Romantic concepts of original genius and the sublime in favor of mass-produced images and the thrill of realistic effects. In response, the literary elite declared the new visual media an offense to Romantic idealism. 'Simulations of nature,' Coleridge declared, are 'loathsome' and 'disgusting.' The Shock of the Real offers a tour of Romantic visual culture, from the West End stage to the tourist-filled Scottish Highlands, from the panoramas of Leicester Square to the photography studios of Second Empire Paris. But in presenting the relation between word and image in the late Georgian age as a form of culture war, the author also proposes an alternative account of Romantic aesthetic ideology - as a reaction not against the rationalism of the Enlightenment but against the visual media age being born.

How did the idea of the imagination impact Romantic literature and science? 2018 Winner, Jean-Pierre Barricelli Book Prize, The International Conference on Romanticism Richard C. Sha argues that scientific understandings of the imagination indelibly shaped literary Romanticism. Challenging the idea that the imagination found a home only on the side of the literary, as a mental vehicle for transcending the worldly materials of the sciences, Sha shows how imagination helped to operationalize both scientific and literary discovery. Essentially, the imagination forced writers to consider the difference between what was possible and impossible while thinking about how that difference could be known. Sha examines how the imagination functioned within physics and chemistry in Percy Bysshe Shelley's Prometheus Unbound, neurology in Blake's Vala, or The Four Zoas, physiology in Coleridge's Biographia Literaria, and obstetrics and embryology in Mary Shelley's Frankenstein. He also demonstrates how the imagination was called upon to do aesthetic and scientific work using primary examples taken from the work of scientists and philosophers Davy, Dalton, Faraday, Priestley, Kant, Mary Somerville, Oersted, Marcet, Smellie, Swedenborg, Blumenbach, Buffon, Erasmus Darwin, and Von Baer, among others. Sha concludes that both fields benefited from thinking about how imagination could cooperate with reason—but that this partnership was impossible unless imagination's penchant for fantasy could be contained.

Infectious Liberty traces the origins of our contemporary concerns about public health, world population, climate change, global trade, and government regulation to a series of Romantic-era debates and their literary consequences. Through a series of careful readings, Robert Mitchell shows how a range of elements of modern literature, from character-systems to free indirect discourse, are closely intertwined with Romantic-era liberalism and biopolitics. Eighteenth- and early-nineteenth century theorists of liberalism such as Adam Smith and Thomas Malthus drew upon the new sciences of population to develop a liberal biopolitics that aimed to coordinate differences among individuals by means of the culling powers of the market. Infectious Liberty focuses on such authors as Mary Shelley and William Wordsworth, who drew upon the sciences of population to develop a biopolitics beyond liberalism. These authors attempted what Roberto Esposito describes as an “affirmative” biopolitics, which rejects the principle of establishing security by distinguishing between valued and unvalued lives, seeks to support even the most abject members of a population, and proposes new ways of living in common. Infectious Liberty expands our understandings of liberalism and biopolitics—and the relationship between them—while also helping us to understand better the ways creative literature facilitates the project of reimagining what the politics of life might consist of. Infectious Liberty is available from the publisher on an open-access basis.

The only short introduction to Romanticism that incorporates not only the English but the Continental movements, and not only literature but music, art, religion, and philosophy.-publisher description.

For review see: J.W. Schulte Nordholt, in Tijdschrift voor geschiedenis, jrg. 107, nr. 4 (1994); p. 591-592.

Romanticism was always culturally diverse. Though English-language anthologies have previously tended to see Romanticism as predominantly British, the term itself actually originated in Germany, where it became the banner of a Europe-wide movement involving the profound intellectual and aesthetic changes which we now associate with modernity. This anthology is the first to place British Romanticism within a comprehensive and multi-lingual European context, showing how ideas and writers interconnected across national and linguistic boundaries. By reprinting everything in the original languages, together with an English translation of all non-English material in parallel on the opposite page, it offers a new intellectual map of Romanticism. Material is thematically arranged as follows: - Art & Aesthetics - The Self - History - Language - Hermeneutics & Theology - Nature - The Exotic - Science While focusing on European texts, the inclusion of essays on their North American and Japanese reception means that Romanticism can be seen as a global phenomenon, influencing a surprising number of the ways in which the modern world sees itself.

This book considers indigenous-language translations of Romantic texts in the British colonies. It argues that these translations uncover a latent discourse around colonisation in the original English texts. Focusing on poems by William Wordsworth, John Keats, Felicia Hemans, and Robert Burns, and on Walter Scott’s Ivanhoe, it provides the first scholarly insight into the reception of major Romantic authors in indigenous languages, and makes a major contribution to the study of global Romanticism and its colonial heritage. The book demonstrates the ways in which colonial controversies around prayer, song, hospitality, naming, mapping, architecture, and medicine are drawn out by translators to make connections between Romantic literature, its preoccupations, and debates in the nineteenth- and early twentieth-century colonial worlds.