The publication of Timothy Michael’s British Romanticism and the Critique of Political Reason represents a landmark in the study of British Romantic literature. In 1953, M. H. Abrams published his...

This article offers broad lessons for ways to rethink the tangled relation among religion, modernity, and the secular. After characterizing what I mean by theories of secularization and how these theories have dominated our accounts of British romanticism, I consider two poems – one by Coleridge, the other by Wordsworth – that disrupt the view that British Romanticism replaces God with nature and discipline with unencumbered freedom. I conclude by suggesting that when we disclose the language (...) and ways of religion and practice in British Romanticism, we make more apparent its political and environmental dimensions. (shrink)

The European Legacy, Volume 17, Issue 3, Page 383-391, June 2012.

The European Legacy, Volume 17, Issue 3, Page 401-402, June 2012.

In the eighteenth century 'virtue' was a word to conjure with. It called to mind heroic predecessors from the Roman Republic such as Cato and Brutus and invoked qualities of personal integrity, selflessness and a concern for the common good, which, though urgently needed, seemed desperately lacking, both in the ruthless party struggles of the age of Anne and subsequently in the all-pervading political corruption of the Walpole administration. When the longed-for political saviour failed to materialize it was increasingly felt (...) that if virtue existed at all then it would have to be sought for among the lower orders of society or else in provincial areas, where simpler and nobler values might still prevail. But with the coming of the French Revolution and Romanticism virtue began to lose its powerful resonances - it now seemed naive and simplistic, all too ready to deny both the complexities of human nature and the possibility of determination by external cultural forces. (shrink)

The British Aesthetic Tradition: From Shaftesbury to Wittgenstein is the first single volume to offer readers a comprehensive and systematic history of aesthetics in Britain from its inception in the early eighteenth century to major developments in Britain and beyond in the late twentieth century. The book consists of an introduction and eight chapters, and is divided into three parts. The first part, The Age of Taste, covers the eighteenth-century approaches of internal sense theorists, imagination theorists and associationists. The (...) second, The Age of Romanticism, takes readers from debates over the picturesque through British Romanticism to late Victorian criticism. The third, The Age of Analysis, covers early twentieth-century theories of Formalism and Expressionism to conclude with Wittgenstein and a number of views inspired by his thought. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 443-455 [Access article in PDF] Romanticism's Gray Matter Nancy Easterlin British Romanticism and the Science of Mind, by Alan Richardson; xx & 243 pp. Cambridge: Cambridge University Press, 2001, $55.00. THE ANTAGONISM BETWEEN science and the humanities is an old story, one whose basic themes were inspired by a new understanding of the utility of science that emerged from the Enlightenment. (...) If faith in the efficacy of human reason to renew human society was no longer quite so robust after Robespierre's Reign of Terror, science itself did not suffer but instead assumed the central place in intellectual inquiry. Half a century later, the opposition between humanistic inquiry and science not only carried over into the conception of literary studies in its embryonic phase as an academic discipline; the rise of science provided, ironically, a primary impetus for the institutionalization of English studies, since the study of language and literature was envisioned as an arena of spiritual values and social polish. But according to Gerald Graff, the picture is even more complicated than this: the oppositions between literature and science are largely matched by those within English/literary studies from the very beginning. If English was envisioned as a repository of value and cultivation on the one hand, it was driven, under the influence of science, to professionalize and develop a research industry on the other—which itself fostered a divide between criticism and academic research, areas that have only recently come together. 1 [End Page 443]Since conflicted attitudes toward science were thus at the heart of literary studies from the very beginning, it is hardly surprising that debates about the relevance of science to literary theory and criticism are vital today. These debates are the healthy result of the twentieth century's attempts to apply scientific research and models to literature, for early efforts at scientific criticism help locate both the potential benefits and possible drawbacks of interdisciplinary approaches. Yet some humanistic research paradigms have remained largely immune to the influence of science, maintaining the two-cultures tradition by virtue of the body of knowledge they adopt—and therefore by what they implicitly exclude—to frame our understanding of written works. Chief among these are literary history and the history of ideas, which have drawn principally on the fellow humanities of philosophy and history, and only superficially or sporadically on the history and philosophy of science. (Interestingly, despite differences in theory, method, and values, recent projects like the new historicism are in this respect generally continuous with traditional literary historical practice.) In British Romanticism and the Science of Mind, Alan Richardson expands the parameters of the history-of-ideas approach within literary criticism, rendering it more fully congenial to developments within scientific thought. With great diplomacy, Richardson points to the limited conception of context that has informed historical accounts of British literary romanticism, and proceeds to demonstrate what a knowledge of romantic-era brain science can bring to our understanding of the ideas and works of a selection of romantic-era writers. The result is a book that, in providing a detailed account of the major theories of brain-mind and in constructing the plausible grounds of influence on several major literary figures, largely succeeds in the difficult task of appealing to an interdisciplinary audience.As Richardson notes in his preface and first chapter, the overlap between literary and scientific representations of mind has been generally neglected in romantic scholarship. Work on the romantic mind has, for the most part, drawn selectively on Hartleyan associationism, psychoanalysis, and the German idealist tradition within epistemology, even though the historical period of British literary romanticism (roughly 1789-1832) corresponds with an unprecedented development of theories of the brain and nervous system, many of which were vigorously discussed—in no small part for their ideologically inflammatory implications—in the major literary periodicals of the day. To [End Page 444] remedy the neglect of contemporaneous science, Richardson supplies a discussion of the major brain scientists in his first chapter, following this with four chapters on major figures and works of literary romanticism (Coleridge... (shrink)

Introduction: the age of reflexion Part I. Romanticism: 1. Romanticism and the sciences David Knight 2. Schelling and the origins of his Naturphilosophie S. R. Morgan 3. Romantic philosophy and the organization of the disciplines: the founding of the Humboldt University of Berlin Elinor S. Shaffer 4. Historical consciousness in the German Romantic Naturforschung Dietrich Von Engelhardt 5. Theology and the sciences in the German Romantic period Frederick Gregory 6. Genius in Romantic natural philosophy Simon Shaffer Part II. (...) Sciences of the Organic: 7. Doctors contra clysters and feudalism: the consequences of a Romantic revolution Nelly Tsouyopoulos 8. Morphotypes and the historical-genetic method in Romantic biology Timothy Lenoir 9. ’Metaphorical mystifications’: the Romantic gestation of nature in British biology Evelleen Richards 10. Transcendental anatomy Philip F. Rehbock 11. Romantic thought and the origins of cell theory L. S. Jacyna 12. Alexander von Humbolt and the geography of vegetation Malcolm Nicholson Part III. Sciences of the Inorganic: 13. Goethe, colour, and the science of seeing Dennis L. Sepper 14. Johann Wilhelm Ritter: Romantic physics in Germany Walter D. Wetzels 15. The power and the glory: Humphrey Davy and Romanticism Christopher Lawrence 16. Oersted’s discovery of electromagnetism H. A. M. Snelders 17. Caves, fossils and the history of the earth Nicholas A. Rupke Part IV. Literature and the Sciences: 18. Goethe’s use of chemical theory in his Elective Affinities Jeremy Adler 19. Kleist’s bedlam: abnormal psychology and psychiatry in the works of Heinrich von Kleist Nigel Reeves 20. Coleridge and the sciences Trevor H. Levere 21. Nature’s book: the language of science in the American Renaissance David van Leer 22. The shattered whole: Georg Buchner and Naturphilosophie John Reddick. (shrink)

This book investigates intersections between the philosophy of nature and Hellenism in British and German Romanticism, focusing primarily on five central literary/philosophical figures: Friedrich Schelling, Friedrich Hölderlin, Johann Wolfgang von Goethe, Percy Shelley, and Lord Byron. Near the end of the eighteenth century, poets and thinkers reinvented Greece as a site of aesthetic and ontological wholeness, a move that corresponded with a refiguring of nature as a dynamically interconnected web in which each part is linked to the living (...) whole. This vision of a vibrant materiality that allows us to become “one with all that lives,” along with a Romantic version of Hellenism that wished to reassemble the broken fragments of an imaginary Greece as both site and symbol of this all-unity, functioned as a two-pronged response to subjective anxiety that arose in the wake of Kant and Fichte. The result is a form of resistance to an idealism that appeared to leave little room for a world of beauty, love, and nature beyond the self. (shrink)

ABSTRACTThis article discusses the turn to polytheism in postmodern theory. In postmodernism, there is a strong interest in polytheism as an alternative to the much-criticized dominance of onto-theology in the philosophical tradition. The article argues that the new polytheism cannot be unequivocally understood as an alternative for an onto-theological way of thinking, or as a ‘liberation’ from monotheism. Already in Romanticism, the engagement with polytheism and paganism was ambiguous. There was the familiar superiority of Christian monotheism over polytheism. But (...) there was also an appropriation of polytheism that served a new self-perception of the West. This article focuses on this second line of interpretation and argues that postmodern theory inherits the theo-political concerns central to eighteenth- and nineteenth- century Romanticism. The article sets out to sketch the role of polytheism in a post-secular paradigm. Subsequently, it sketches the engagement with polytheism in British and German Romanticism. It will be argued that in Romanticism, polytheism was always embedded in more substantial cultural and political narratives. The remainder of the article will scrutinize the function of polytheism in the writings of Richard Rorty and John Milbank and how their respective forms of polytheism give way to different political theologies. (shrink)

British Journal for the History of Philosophy, Volume 20, Issue 1, Page 181-190, January 2012.

Aremarkable revival of interest in Romanticism has taken place among some philosophers in recent years. Why should this be so? Romanticism has had a bad reputation among literary critics of a variety of persuasions throughout most of the twentieth century, when it was not even a topic for analytical philosophy in the English-speaking world. The philosophical movement most associated with Romanticism—German idealism—had been shunned by the curricula of a majority of the most prestigious British and American (...) universities by the mid-twentieth century. Literary modernism and then various strains of postmodernism had a self-image of having overcome Romantic illusions. (Of course, Romanticism and Romantic philosophy... (shrink)

Much of what Stanley Cavell wrote following the publication of The Claim of Reason, was preoccupied with making sense of the sudden “outbreaks” of “moments and lines of romanticism” in the final pa...

In lieu of an abstract, here is a brief excerpt of the content:Echoes of Romanticism and Expatriate Englishness in Charlotte Brontë's The ProfessorDavid SiglerCharlotte Brontë's many debts to Romanticism, and especially Lord Byron, are a well-known feature of her fiction. Yet only recently has this become an important part of the discussion surrounding The Professor, her first-written and last-published novel. The novel, written between 1844 and 1846 and published posthumously in 1857, is increasingly seen to be in dialogue (...) with William Wordsworth and Walter Scott, in addition to Byron. Anna Barton, seeing Brontë as "the pupil of Wordsworthian Romanticism" and "a daughter of Romanticism," shows how The Professor develops "intertextual exchanges that perform the failure of the Romantic lyric within the Victorian novel."1 Tanya Llewellyn has argued that the protagonist William Crimsworth, seemingly influenced by Byron's Turkish tales, Orientalizes the women in his life as a way to manage sexual threats.2 Mandy Swann, meanwhile, sees in Brontë's early work an ambivalent response to the Romantic figure of the poet-prophet, as part of the author's general struggle, early in her career, to theorize female creativity.3Yet in other recent accounts, William Crimsworth seems to be as un-Byronic and un-Wordsworthian as possible. Crimsworth has been said to be a "particularly off-putting" narrator, "defensive and humourless," whose "dubious masculinity," passionlessness, and, in one reading, stiflingly repressed homosexuality render him a comically overliteral thinker.4 I will suggest that this incapacity in him for meaningful human engagement is what leads him to fixate on British Romantic poetry as a solution, however backhanded, to his erotic and professional difficulties. [End Page 30] Yet as the echoes of Romanticism that haunt his erotic and professional relations quickly take on lives of their own, they enable the story, and its ethical vision, to exceed William's control. Once the novel directs its protagonist's obsessive personality in the direction of Romantic poetry, it can become an intriguing meditation on ethics, expatriate Englishness, and time.William Crimsworth is a hardworking Englishman living and working in Brussels. The city, which William finds too "cosmopolitan," becomes the site of his zealous self-exploration as he mingles, ever defensively, with the locals.5 Approaching the city like "a morning traveller," as he puts it, William must analyze his foreignness if he is to survive his own residual and aspirational Englishness.6 The phrase "morning traveller" is drawn from Robert Southey's 1798 poem "The Traveller's Return," which describes love as an echo-effect. It is a very auditory poem: Southey's "morning traveller" spends the day listening to unfamiliar sounds, until, in the evening, he hears a "distant sheep-bell," which teaches him that "sweetest is the voice of Love / That welcomes his return."7 A sheep bell is, of course, a tracking mechanism, facilitating the free movement and eventual return of sheep to a shepherd. Southey's speaker learns to grasp the hidden similarity between love and the sheep bell. Just as the sound of the bell goes away and comes back, signifying the wandering and return of livestock, the human "morning traveller" must begin to identify with it. He himself, hearing the sound, gets interpellated by it, once it becomes his objective correlative. Brontë's The Professor, in matters of love, uses Romantic poetry, including Southey's, as a similar tracking device for William. The echo it produces constantly and ambivalently connects the protagonist to England and secures his place within the ideological apparatuses of the state.Judith Butler has observed that "my own foreignness to myself is, paradoxically, the source of my ethical connection with others."8 She explains that because there are aspects of oneself that remain forever baffling and inexplicable, we should suppose that other people—who can also seem foreign and inexplicable—contain similar aporias. If their accounts of themselves are difficult for us to understand, we should recognize, through our inability to sympathize, that we too are surely baffling and that they, like us, are likely also baffling to themselves. Thus, [End Page 31] through the sheer dubiousness of understanding other people, we can achieve a kind of negative shared humanity. We all probably confront an inassimilable kernel... (shrink)

Laurence Lockridge argues that a focus on the ethical dimension of literature is the single most powerful strategy for structuring a writer's work as a whole, and that it can even prove congenial. He gives original, interrelated readings of eight major British Romantic writers.

This thesis is an examination of the philosophy of John Stuart Mill and its relation to the romantic movement. The Introduction outlines reasons to believe that such an inquiry is sensible: Mill’s readings of the British and German romantics are outlined. I proceed to offer an argument for the application of an historical term such as ‘romanticism’ in philosophy and suggest that the space opened up by the revisionist view of romanticism as an extension, rather than a (...) denial, of the Enlightenment project creates room to take seriously Mill’s relation to the romantic movement. Chapters 1-4 are concerned with Mill’s metanormative theory. For Mill, the norms of acting and believing are founded on the assent given to our primitive dispositions under critical scrutiny. I investigate this foundation in the context of Mill’s denial of normative validity to intuitions. The relation of Mill’s metanormative theory to romanticism is taken up during the process of interpretation. The movement shows broad endorsement of what I term ‘romantic-cognitivism’ – the post-Kantian view that we can arrive at truth through the process of ‘creative-discovery’. I hold that Mill’s metanormative theory is not so far away from romantic-cognitivism in orientation as might be thought. I turn to Mill’s macro-epistemology and conception of mind in Chapter 5. Mill’s view of how we come to know, I suggest, moves towards a Coleridgean position – Mill sees the mind as active, and holds that we come to possess a deeper state of knowledge by engaging with propositions actively. In Chapter 6, I consider Mill’s philosophy of history. Many have noted that Mill endorses a directional theory of historical progress. I argue that he also adopts ‘hermeneutical historicism’ in his discussions of history. In Chapter 7, I consider Mill’s theory of human nature. Mill believes that human nature is malleable: it is subject to change and emendation. (shrink)

Fish, S. Georgics of the mind: Bacon's philosophy and the experience of his Essays.--Brett, R. L. Thomas Hobbes.--Watt, I. Realism and the novel.--Tuveson, E. Locke and Sterne.--Kampf, L. Gibbon and Hume.--Frye, N. Blake's case against Locke.--Abrams, M. H. Mechanical and organic psychologies of literary invention.--Ryle, G. Jane Austen and the moralists.--Schneewind, J. B. Moral problems and moral philosophy in the Victorian period.--Donagan, A. Victorian philosophical prose: J. S. Mill and F. H. Bradley.--Pitcher, G. Wittgenstein, nonsense, and Lewis Carroll.--Bolgan, A. C. (...) The philosophy of F. H. Bradley and the mind and art of T. S. Eliot: an introduction.--Davie, D. Yeats, Berkeley, and Romanticism.--Ross, M. L. The mythology of friendship: D. H. Lawrence, Bertrand Russell, and "The Blind man".--Rosenbaum, S. P. The philosophical realism of Virginia Woolf.--Bibliography (p. 357-360). (shrink)

In a work of astonishing intellectual range, James Engell traces the evolution of the creative imagination, from its emergence in British empirical thought through its flowering in Romantic art and literature. The notion of a creative imagination, Engell shows, was the most powerful and important development of the eighteenth century. It grew simultaneously in literature, criticism, philosophy, psychology, religion, and science, attracting such diverse minds as Hobbes, Addison, Gerard, Goethe, Kant, and Coleridge. Indeed, rather than discussing merely the abstract (...) notion of the imagination, Engell examines the community of thinkers, especially in England and Germany, who joined to pursue and develop what became the most fascinating and suggestive concept of modern Western thought. For as the imagination became the dominant subject of literature, its meanings multiplied. Finally it came to be seen as the crown of artistic creation and as the mediator in the ongoing dialectic between matter and spirit, materialism and transcendentalism. (shrink)

Interweaving past and present texts, The Challenge of Coleridge engages the British Romantic poet, critic, and philosopher Samuel Taylor Coleridge in a "conversation" (in Hans-Georg Gadamer's sense) with philosophical thinkers today who ...

This chapter focuses on white colonial emigration and the settlement of the British and Irish following the loss of the first British Empire. In particular, it examines the British imaginative engagement with the figure of the colonial settler as a casualty of war, industrialization, and poverty, as well as an economic migrant who nevertheless appeared to signify the potential for the recuperation of British society in the future. The chapter is also concerned with the role of (...) the Romantic writers and literature in the new national imaginative investment in colonial settlement. It furthermore discusses Tory arguments and policy making, which encouraged state involvement and planning of the colonization of the white-settler territories in New South Wales, Canada, the Cape, and New Zealand. This Tory strain of British imperialism was issued out from the Romantic critique of classical political economy and the Romantic assault on Malthus’s non-interventionist stance on poverty. In contrast to the liberal economists, proponents of the Tory arguments advocated the active involvement of the state in managing poverty, and the export of the excess of the population to the overseas colonies. By focusing on the Tory outlook and its implications for the settler colonies, including the imaginative dimension of the literary writers, the chapter gives a profound understanding on the strand of imperialism that evolved together with the nineteenth-century imperial liberalism, yet substantially differed from it. (shrink)

This paper explores Nietzsche's account of the free spirit's genesis, as primarily given in the 1886 prefaces written for the works of his ?free spirit trilogy?. In particular, it will focus on how what will be argued is the free spirit's distinguishing capacity for radical questioning is created out of the process described there. That is, it will examine how what Nietzsche calls, ?the experience of sickness?, in enabling the free spirit's liberation, helps forge a mode of philosophical awareness which (...) is not otherwise attainable. However, the second half of this paper goes on to explore how the success of this process is endangered by a certain psychological tendency to which free spirits are susceptible. In other words, the free spirit's chance of enduring those painful depths of sickness necessary for liberation is threatened by the appeal of ?romantic pessimism?; a perspective which offers consolation by idealizing the sufferer's state. As such, then, in our final section, we will examine Nietzsche's efforts to combat this phenomenon. In particular, we will look at his advocacy of a specific kind of asceticism for this purpose, and with it his attempt to show how a true liberation of the spirit can be achieved. (shrink)

Through his Romanticism, aesthetics, ‘religiosity’, the escapism which he offered urban readers, and the appeal that his search for unification, order, association, and simplicity had during a period of growing cultural fragmentation, Humboldt's translated writings asserted their magic on Regency and early Victorian lay and scientific minds.

The 18th-century emergence of aesthetics has been interpreted as a symptom of the entrance of a new image of man, individuality, a modern conception of subjectivity, a new mode of experience, as well as a new ideology or the modern concept of (fine) art into European consciousness. And even though these narratives all situate aesthetics within heteronomous contexts—from physiology and psychology to morality and politics, from social and economic history to belief and religion—one narrative came out as victorious, which neglects (...) the eighteenth-century interpenetration of various disciplines. It offers instead a teleological history of aesthetics which leads towards the concept of autonomy, aesthetic and/or artistic, as it takes shape, allegedly, in the aesthetics of Kant and then Romanticism. The new volume of the Routledge Studies in Eighteenth-Century Philosophy, entitled Beyond Autonomy in Eighteenth-Century British and German Aesthetics, joins the growing body of scholarship that re-examines the influential narratives of autonomy. (shrink)

Alan Richardson’s British Romanticism and the Science of the Mind charts the cross- fertilization of ideas and models concerning brain-based psychology that occurred between the domains of literature and science in the late eighteenth and early nineteenth centuries. In this exciting book, Richardson deftly interweaves history of science founded on the primary writings of and historical records concerning important natural philosophers of the period; cultural history founded on reviews and commentary in major journals of the time; comparative science (...) founded on broad and intelligent engagement with contemporary scientists and philosophers of mind; and literary criticism founded on a broad awareness of scientific and cultural trends. The interweaving illustrates, and is fueled by, the spirit of cross-fertilization between the domains of science and literature that was still very much alive in the early 1800s. And Richardson’s work suggests, even as it argues convincingly with its own considerable successes, that we would do well to engage more fully in such cross- fertilization in the early twenty-first century. (shrink)

ABSTRACTWriting in 2007, in The Wordsworth Circle, Jeffrey Robinson remarked on the “ephemerality” of improvisational poetry, its fundamental resistance to being “preserved.” Printed poetry is typically regarded as “fixed” and static: what any poem represents as improvisation is, at best, only a record, executed in a fixed medium, of a performance whose infinite variability is inherent in the nature of improvisation itself. Partly an homage to Rene Magritte’s This is Not a Pipe and to Michel Foucault’s 1973 essay on that (...) painting, and using as a test case The Improvisatrice, the long poem by Letitia Elizabeth Landon, herself a devotee of interdisciplinary and multimedia performance, this essay considers the physical, structural, and methodological challenges and limitations posed to printed “word art” by works that purport to be, or aspire to the condition of, “improvisations.” The improvisatrice who is the poem’s narrator claims to be both a painter and a songstress, but her “speech,” ca... (shrink)

ABSTRACT Professor of Moral Philosophy at Marischal College, Aberdeen, James Beattie (1735–1803) was one of the most prominent literary figures of late eighteenth-century Britain. His major works, An Essay on the Nature and Immutability of Truth (1770) and the two-canto poem The Minstrel (1771–1774), were two of the best-sellers of the Scottish Enlightenment and were key to Beattie’s role in the emergence of both the ‘Scottish School’ of Common Sense Philosophy and British Romanticism. Intellectual history scholarship on the (...) Scottish Enlightenment has tended to discuss Beattie in terms of his relationship to his fellow Aberdonian Thomas Read. While clearly important, his link with Reid does not exhaust our potential interest in Beattie. This article explores his extensive engagement with the thought of Jean-Jacques Rousseau (1712–1778). In the process, it is argued that the Genevan’s works – especially the Confession of the Savoyard Vicar in Emile (1762) – played an important though little noticed role in both Beattie’s rhetoric and anti-scepticism in both the Essay and Minstrel. Moreover, Beattie’s initially praising stance on Rousseau as a potential friend to true religion indicates the complexity of the reception of the Genevan’s works in late eighteenth-century Britain. (shrink)

Why was mythology of vital importance for the romantics? What role did mythology play in their philosophical and literary work? And what common sources of influence inspired these writers across Britain and Germany at the turn of the nineteenth century? In this wide-ranging study, Owen Ware argues that the romantics turned to mythology for its potential to transform how we see ourselves, others, and the world. Engaging with authors such as William Blake, Friedrich Schlegel, Samuel Taylor Coleridge, Friedrich von Hardenberg (...) (Novalis), and Percy Bysshe Shelley, Ware shows why they believed that neither perception nor reason alone can sustain a vision of the unity of all things. A new mode of cognition is necessary, they claimed, one that revives the poetic origin of mythology and reveals our own mythmaking powers. _Return of the Gods_ investigates the rise of mythology in the British and German traditions and the romantics’ practices of reinterpreting old myths and inventing new ones. Their shared aim was nothing less than to elevate the human imagination to higher stages of self-development in which philosophy and poetry, as well as intellect and imagination, form an integrated whole. Far from calling us to return to the past, the romantics’ work on mythology points us to a future where we can live in harmony with the personal, social, and natural worlds we inhabit. Owen Ware combines intellectual history with philosophical analysis and literary criticism to offer a bold reflection on why mythology mattered for the romantics—and why it still matters today. (shrink)

Nearly forty years after his death, social philosopher Frantz Fanon remains a towering intellectual figure. Born in Guadeloupe and trained as a psychologist in France, Fanon rejected his French citizenship to join the Algerian liberation movement in the 1950s. A brilliant scholar who developed the theory that some neuroses are socially generated, Fanon's revolutionary works—The Wretched of the Earth, Toward the African Revolution, and Black Skin, White Masks—spurred an African intellectual awakening. The rebirth of Fanonism today in universities and the (...) English-speaking world is a testament to his relevance. Edited by distinguished African-studies professor Nigel C. Gibson, Rethinking Fanon opens with an authoritative biography which corrects fallacious assertions about Fanon's life, situating him in Marxism, Negritude, Pan-Africanism, and the historical context of postwar decolonization, specifically the Algerian revolution. Section one is highlighted by extended discussions of Marx, Fanon's theories on sophisticated forms of cultural racism, and "true liberation." The next section examines Fanon's humanist philosophy, his philosophical and geographical journeys, and his attitude toward the necessity of revolution. Also included is Homi Bhabha's well-known essay "Remembering Fanon," which contemplates the seeming rejection of Fanon in Britain in the 1970s, in contrast to his major following in America and the influence of Fanon on South African writer Steven Biko. Henry Louis Gates Jr. and Edward Said discuss the importance of the 1980s' and 1990s' cultural and literary debates on Fanon. Gates notes that Fanon has been reinstated -not as a global theorist of "third world" revolution, but instead as a critic of English writers and British romanticists. Benita Parry reexamines African nationalism and liberation, and sheds new light on Fanon's questions of identity and agency. This excellent collection reflects the continuing impact of Fanon's thought on African-American and African studies, feminism, postcolonialism, and cultural studies. (shrink)

One of the signal developments in contemporary criticism over the past several years has been the ascendancy of the colonial paradigm. In conjunction with this new turn, Frantz Fanon has now been reinstated as a global theorist, and not simply by those engaged in Third World or subaltern studies. In a recent collection centered on British romanticism, Jerome McGann opens a discussion of William Blake and Ezra Pound with an extended invocation of Fanon. Donald Pease has used Fanon (...) to open an attack on Stephen Greenblatt’s reading of the Henriad and the interdisciplinary practices of the new historicism. And Fanon, and published interpretations of Fanon, have become regularly cited in the rereading of the Renaissance that have emerged from places like Sussex, Essex, and Birmingham.1My intent is not to offer a reading of Fanon to supplant these others, but to read, even if summarily, some of these readings of Fanon. By focusing on successive appropriations of this figure, as both totem and text, I think we can chart out an itinerary through contemporary colonial discourse theory. I want to stress, then, that my ambitions here are extremely limited: what follows may be a prelude to a reading of Fanon, but does not even begin that task itself.2 1. See Jerome McGann, “The Third World of Criticism,” in Rethinking Historicism: Critical Readings in Romantic History, ed. Marjorie Levinson et al., pp. 85-107, and Donald Pease, “Toward a Sociology of Literary Knowledge: Greenblatt, Colonialism, and the New Historicism,” in Consequences of Theory, ed. Barbara Johnson and Jonathan Arac.2. A properly contextualized reading of Fanon’s Black Skin, White Masks, the text to which I most frequently recur, should situate it in respect to such germinal works as Jean-Paul Sartre’s Réflexions sur la question Juive, Dominique O. Mannoni’s Psychologie de la colonisation, Germaine Guex’s La Névrose d’abandon, as well as many lesser known works. But this is only to begin to sketch out the challenge of rehistoricizing Fanon. Henry Louis Gates, Jr. is coeditor of Transition, a quarterly review, and the author of Figures in Black and The Signifying Monkey, which received an American Book Award. (shrink)

This volume offers readers a unique and comprehensive overview of theoretical perspectives on "the sublime," the singular aesthetic response elicited by phenomena that move viewers by transcending and overwhelming them. The book consists of an editor's introduction and fifteen chapters written from a variety of disciplinary perspectives. Part One examines philosophical approaches advanced historically to account for the phenomenon, beginning with Longinus, moving through eighteenth and nineteenth century writers in Britain, France, and Germany, and concluding with developments in contemporary continental (...) philosophy. Part Two explores the sublime with respect to particular disciplines and areas of study, including Dutch literature, early modern America, the environment, religion, British Romanticism, the fine arts, and architecture. Each chapter is both accessible for nonspecialists and offers an original contribution to its respective field of inquiry. (shrink)

Since the 1970s, there has been an increased focus on gender in the research literature concerning British philosopher Mary Wollstonecraft, which most likely is caused by the increasing interest in the social aspects of gender inspired by poststructuralist thinking. Although such readings have been illuminative and fruitful, focusing on the social and the interconnections between Wollstonecraft and modernity seems to have brought with them a neglect of two interesting aspects of Wollstonecraft’s notion about gender. On the one hand, her (...) thoughts on the body seem somewhat underexposed, while her impact on the subsequent British romanticists is equally neglected. The article focuses on these two aspects. Here the analyses are based on Wollstonecraft’s discussions with Jean-Jacques Rousseau and Edmund Burke about the relations gender has to nature, bodies, and aesthetics; discussions which inform a conception of gender that the later romantics would take inspiration from. (shrink)

This collection provides the first in-depth introduction to the theory of the religious imagination put forward by renowned philosopher Douglas Hedley, from his earliest essays to his principal writings. Featuring Hedley's inaugural lecture delivered at Cambridge University in 2018, the book sheds light on his robust concept of religious imagination as the chief power of the soul's knowledge of the Divine and reveals its importance in contemporary metaphysics, ethics and politics. Chapters trace the development of the religious imagination in Christian (...) Platonism from Late Antiquity to British Romanticism, drawing on Origen, Henry More and Samuel Taylor Coleridge, before providing a survey of alternative contemporary versions of the concept as outlined by Karl Rahner, René Girard and William P. Alston, as well as within Indian philosophy. By bringing Christian Platonist thought into dialogue with contemporary philosophy and theology, the volume systematically reveals the relevance of Hedley's work to current debates in religious epistemology and metaphysics. It offers a comprehensive appraisal of the historical contribution of imagination to religious understanding and, as such, will be of great interest to philosophers, theologians and historians alike. (shrink)

Inspired by Charles Taylor’s locating of Herder and Rousseau’s “expressivism” in Marx’s understanding of the human as artist, I begin this essay by examining expressivism in Taylor, followed by its counterpart in M. H. Abrams’s work, namely the wind as metaphor in British Romantic poetry. I then further explore this expressivism/wind connection in Percy Bysshe Shelley’s “Ode to the West Wind” and Marx’s The German Ideology. Ultimately I conclude that these expressive winds lead to poetic gesture per se, and (...) thereby, to a kind of poetry at the heart of Marx’s philosophy. (shrink)

The eminent historian and philosopher of biology, Michael Ruse, has written several books that explore the relationship of evolutionary theory to its larger scientific and cultural setting. Among the questions he has investigated are: Is evolution progressive? What is its epistemological status? Most recently, in "Darwin and Design: Does Evolution have a Purpose?," Ruse has provided a history of the concept of teleology in biological thinking, especially in evolutionary theorizing. In his book, he moves quickly from Plato and Aristotle to (...) Kant and such British thinkers as Paley and Whewell. His main focus, though, is on Darwin's theory and its subsequent fate. Ruse rests his history on some shaky historical and philosophic assumptions, particularly the unexamined notion that evolutionary theory is an abstract entity that is unproblematically realized in different historical periods. He also assumes that Darwin conceived nature as if it were a Manchester spinning loom -- a clanking, dispassionate machine. A more subtle analysis, which Ruse eschews, might discover that Darwin's conception of nature owed a strong debt to German Romanticism and that he contrived to infuse nature with moral and aesthetic values, not to suck them from nature. Ruse proves he is a thinker to contend with, and this essay is quite contentious. (shrink)