Anne Grant and the Professionalization of Privacy. Women Poets and Anonymity in the Romantic Era. Walter Scott: Anonymity and the Unmasking of Harlequin.
Eliza Haywood and the Discourse of Taste. Popular Romanticism? Publishing, Readership and the Making of Literary History. Back Matter Pages About this book Introduction These essays explore the remarkable expansion of publishing from to which reflected the growth of literacy, and the diversification of the reading public.
Ralph Dumain: "The Autodidact Project": Books Wanted
Experimentation with new genres, methods of advertising, marketing and dissemination, forms of critical reception and modes of access to writing are also examined in detail. This collection represents a new wave of critical writing extending cultural materialism beyond its accustomed concern with historicizing the words on the page into the economics of literature, and the investigation of neglected areas of print culture.
A list of entries arranged in terms of subject. There are entries on architecture, art, historiography, literature, music, philosophy, political and social thought, religion and theology, and scholarship. Science entries are on the whole restricted to those individuals and subjects directly influenced by developments in culture and thought the close link between German idealism and science is a prime example. The aspects of economic, political, and social history included are those that that were closely related to cultural life national and revolutionary aspirations, frequently expressed in artistic forms, made the links between culture and politics particularly close during this era.
Historical surveys provide the background to cultural developments, and there are entries on a range of key historical subjects. These are listed under General Surveys and Themes. A thematic list based on national developments. Here, countries are listed alphabetically; entries appear under the relevant nation, and are then subcategorized under the seven categories listed above.
Acknowledgments A work of this size has depended on the generous advice, support, and hard work of many people. First and foremost, I need to thank the advisers and contributors. I would also like to thank Daniel Kirkpatrick for commissioning the project, Bridget Tiley for the picture research, and above all the Fitzroy Dearborn project editor, Anne-Lucie Norton, for her efficiency, patience, and unfailing good humor in bringing the project to life.
Hector St. Thomas F. Joselyn M. Almeida, Department of English, Boston College. John M. Anderson, Department of English, Boston College. Lucy Bending, University of Reading. Helena Buescu, University of Lisbon. Ken A. James A. Kathleen L.
Butler, University of California, Berkeley. Keith E. Heide Crawford, Dept. Ceri D. Massimiliano Demata, St. Cross College, Oxford University. Robert J. Michael J. Margaret M. Sveinn Yngvi Egilsson, University of Iceland.
Friedrich Daniel Ernst Schleiermacher
Theodore L. Maxime Goergen, Institut de literature francaise moderne, Universite de Neuchatel. Daniel Greineder, Oxford University. David Haycock, Oxford University. Gwendelin Guentner, University of Iowa. Regina L. Bonnie J. Gunzenhauser, English Department, Millikin University. Li Sui Gwee, Dept. Nicholas Halmi, Department. Albert W. Halsall, Department of French, Carleton University. Gregory W.
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Encyclopedia of romanticism : culture in Britain, 1780s-1830s
Yet he was fascinated also by the aesthetics of Sturm und Drang, which attracted much attention from artists in s Rome. His principal work from this period is a remarkable depiction of Philoctetes —75; Statens Museum for Kunst, Copenhagen. At this point, the presentation of ideal, heroic subjects is replaced by the description of individual frames of mind.
However, the first scene from Hamlet Nicolai Abraham Abildgaard occupies a prominent place in the history of Danish art at the time of transition from the neoclassicist era to the Romantic era. A competent linguist, well-read and acquainted with the doctrine of neoclassicism, Abildgaard intended to establish a Danish equivalent to the grand style in history painting, as advocated in England by his contemporary James Barry. Furthermore, Abildgaard was an exponent of the aesthetics of the sublime, inspired by and thoroughly familiar with the works of Edmund Burke, Johann Gottfried Herder, and Gotthold Ephraim Lessing.
Abildgaard expressed his talents in all areas of art, working as a painter, an architect, and a designer of interiors, furniture, and monumental sculpture. While occupying the positions of official court painter, and professor and director of the Royal Danish Academy of Fine Arts in Copenhagen, Abildgaard expressed himself as a pre-Romantic revolutionary artist.
In , ten years after the establishment of the Danish Academy, Abildgaard was admitted as a student. For some time, subjects from Greek and Roman antiquity were thus replaced with Nordic characters, with the artist aiming to evoke a grim and brutal past through his use of imaginative modification of clothing, props, and highly emotional figures.