Essays in Romanticism
Essays in Romanticism, a peer-reviewed journal edited by Alan Vardy, is the official journal of the International Conference on Romanticism, succeeding Prism(s): Essays in Romanticism. For more information on EiR, including submissions and subscription details, and an archive of past essays, please visit the Liverpool University Press Essays in Romaniticism Journal page.
Romanticism and the Object (Palgrave Macmillan, 2009)
Why are material objects so prominent in European Romantic literature, both as symbol and organizing device? This collection of essays shows that Romantic culture and its aesthetic artifacts were fundamentally shaped by “object aesthetics,” and artistic idiom of acknowledging, through a profound and often disruptive use of objects, Romantic self-projection, imagination, cognitive dissonance, and cultural anxiety. Contributors include Marilyn Gaull, Jocelyn M. Almeida, Lisbeth Chapin, Mark K. Fulk, Rodney Farnsworth, Diane Long Hoeveler, Machael Gamer, Magdalena M. Ostas, Chene Heady, William S. Davis, and Charles J. Rzepka.
Romanticism: Comparative Discourses
Romanticism: Comparative Discourses reflects how the interplay between discourses of Romanticism and discourses about Romanticism works, and suggests a critical formulation seeking not to construct a theory of Romanticism itself but to find a Begriff that accounts for the intersecting fault lines of the movement. Among the most interesting contributions are Richard A. Nanian’s “Pursuing the Plerotic Sublime,” suggesting how language is at its most powerful when it fails at order, one of the great discoveries about Romantic narrative strategy; and Sonja Klocke’s “The Romantic Artist on the Couch,” noting that prior explanations for the Romantic trope fo the “overly sensitive artist” are at least misguided, if not entirely incorrect. Taken together, the essays in this collection show how our contemporary understanding of the movement is inevitably pluralist and substantially ideological, now defined more than ever by the marginal.