_Philosophical Romanticism _is one of the first books to address the relationship between philosophy and romanticism, an area which is currently undergoing a major revival. This collection of specially-written articles by world-class philosophers explores the contribution of romantic thought to topics such as freedom, autonomy, and subjectivity; memory and imagination; pluralism and practical reasoning; modernism, scepticism and irony; art and ethics; and cosmology, time and technology. While the roots of romanticism are to be found in early German (...) idealism, _Philosophical Romanticism_ shows that it is not a purely European phenomenon: the development of romanticism can be traced through to North American philosophy in the era of Emerson and Dewey, and up to the current work of Stanley Cavell and Richard Rorty. The articles in this collection suggest that philosophical romanticism offers a compelling alternative to both the reductionist tendencies of the naturalism in 'analytic' philosophy, and deconstruction and other forms of scepticism found in 'continental' philosophy. This outstanding collection will be of interest to those studying philosophy, literature and nineteenth and twentieth century thought. (shrink)

Romanticism and Pragmatism offers a new and original perspective by elucidating how pragmatism, humanism, anti-authoritarianism, and postmetaphysics are linked and is the first monograph to offer a detailed discussion of Richard Rorty's idea of a literary or poeticized culture. It argues that pragmatism's use of Romanticism is an integral part of a modern antifoundationalist story of progress, and that it can help us appreciate the significance of Romanticism in the twenty-first century. It also analyses the relation between (...) pragmatism and race (and cosmopolitanism), and approaches the question of a pragmatist literary ethics. (shrink)

Early German Romanticism sought to respond to a comprehensive sense of spiritual crisis that characterised the late eighteenth century. The study demonstrates how the Romantics sought to bring together the new post-Kantian idealist philosophy with the inheritance of the realist Platonic-Christian tradition. With idealism they continued to champion the individual, while from Platonism they took the notion that all reality, including the self, participated in absolute being. This insight was expressed, not in the language of theology or philosophy, but (...) through aesthetics, which recognised the potentiality of all creation, including artistic creation, to disclose the divine. In explicating the religious vision of Romanticism, this study offers a new historical appreciation of the movement, and furthermore demonstrates its importance for our understanding of religion today. (shrink)

The aim of this article is neither to challenge nor to defend Isaiah Berlin’s thought but rather to identify the main influences on his concept of liberalism. Berlin’s justification for liberalism is distinctive in that it reflects influences of Romanticism and Augustinianism. Unlike some liberals, his liberalism does not reflect unambiguous confidence in the products of the Enlightenment. Berlin valued the freedom of expression and identity, yet he feared that these freedoms faced potential threats from both left and right. (...) These considerations led Berlin to found his liberalism on the notion of limited government, as is reflected in his bias towards negative, rather than positive, liberty. Negative liberty implies restraint on the part of the state in order to limit anything that might act as an impediment to individual freedom. In contrast, positive liberty implies that the state may have to be active even to the point of imposing restrictions on individual freedom in order to ameliorate effective limits on liberty imposed as a consequence of societal inequities. Berlin is justly deemed to have been one of the great political theorists of the twentieth century. Few, even among his critics, would deny this, and even those who disagree with Berlin’s conclusions would acknowledge that his framing of the questions and his references to history have elevated and enriched the debate on liberalism. (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)

Since the early 1990s, there has been a resurgence of interest in philosophy between “Kant and Hegel,” and in early German romanticism in particular. Philosophers have come to recognize that, in spite of significant differences between the contemporary and romantic contexts, romanticism continues to “persist,” and the questions which the Romantics raised remain relevant today. The Relevance of Romanticism: Essays on Early German Romantic Philosophy is the first collection of essays that offers an in-depth analysis of the (...) reasons why philosophers are (and should be) concerned with romanticism. Through historical and systematic reconstructions, the collection offers a deeper understanding and more encompassing picture of romanticism as a philosophical movement than has been presented thus far, and explicates the role that romanticism plays—or can play—in contemporary philosophical debates. (shrink)

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)

Michael Ferber considers Romanticism in its time of growth in Western Europe, examining various types of Romantic literature, music, painting, religion, and philosophy. He provides examples and quotations throughout to demonstrate the diverse nature of the movement.

_From Romanticism to Critical Theory_ explores the philosophical origins of literary theory via the tradition of German philosophy that began with the Romantic reaction to Kant. It traces the continuation of the Romantic tradition of Novalis, Friedrich Schlegel and Schleiermacher, in Heidegger's approaches to art and thruth, and in the Critical Theory of Benjamin and Adorno. Andrew Bowie argues, against many current assumptions, that the key aspect of literary theory is not the demonstration of how meaning can be deconstructed, (...) but rather the relevation of how questions of language and literature change modern philosophical conceptions of thruth. He shows how the dialogue between literary theory, hermeneutics and analytical philosophy can profit from a re-examination of the understanding of language, thruth and literature in modern German philosophy. _From Romanticism to Critical Theory_ will provide a vital new introduction to central theoretical questions for students of philosophy, literature, German studies, cultural and social theory. (shrink)

Carl Schmitt, the author of such books as Political Theology and The Crisis of Parliamentary Democracy, was one of the leading political and legal theorists of the twentieth century. His critical discussions of liberal democratic ideals and institutions continue to arouse controversy, but even his opponents concede his uncanny sense for the basic problems of modern politics. Political Romanticism is a historical study that, like all of Schmitt's major works, offers a fundamental political critique. In it, he defends a (...) concept of political action based on notions of good and evil, justice and injustice, and attacks the political passivity entailed by the romanticization of experience. The book has three strands. The first is an attack on received notions of the origins of the Romantic Movement. Schmitt argues that this movement represents a secularization, subjectification, and privatization in which God is replaced by the emancipated, private individual of the bourgeois social order. The second is an assault on political romanticism that includes a broader attack on the new European bourgeoisie, which Schmitt characterizes as the historical bearer of the movement. The third strand is a defense of political conservatism and a refutation of the view that political romanticism is intrinsically linked with romanticism. Here Schmitt argues that the political romantic is tied not to positions but to aesthetics, and can therefore as easily become a Danton as a Frederick the Great. Guy Oakes's introduction places the book in historical context and also suggests its continuing relevance through his discussion of the latest outcropping of political romanticism in the late 1960s, intriguingly brought out in his example of Norman Mailer as a political romantic. (shrink)

Intellectual encounters between Europe and the Middle East have a long and rich history. During the last two centuries these encounters have accelerated, creating valuable opportunities to study the evolution of political concepts and dissemination of political ideas. This article examines one example of such encounters, showing how a liberal Persian intellectual of the late nineteenth century has borrowed and manipulated concepts from a French Romanticist of the late seventeenth century. Guided by theoretical insights from Quentin Skinner and Fred Dallmayr, (...) this article demonstrates the importance of context to the development of political thought, and refutes the conventional suggestion that Middle Eastern liberals have been the passive recipients of Western ideas. (shrink)

‘Romanticism’ is one of the more hotly contested terms in the history of ideas. There is a singular lack of consensus as to its meaning, unity, and historical extension, and many attempts to fix the category of romanticism very quickly become blurry. As a result, the great historian of ideas, Arthur Lovejoy, famously concludes that: ‘the word ‘romantic’ has come to mean so many things that, by itself, it means nothing. It has ceased to perform the function of (...) a verbal sign’ But his pessimistic advice has not stopped scholars from trying to define romanticism. If anything, it has brought renewed vigour to the determination with which critics try to pinpoint the term. There are several approaches to take, for those who attempt to do so. One class of critics tries to enumerate the features shared by the authors and texts generally considered romantic. An alternative approach would try to identify the fundamental unity that informs romanticism and gives rise to the empirical commonalities. But what would this essential feature be? Both of these approaches take an external perspective on romanticism, seeing it as the object of inquiry. An alternative approach, which we will pursue, looks at romantic subjects, and romanticism as a self-constituting category, rather than merely as an externally imposed one. In other words, we will take as basic neither an (empirical) array of candidate properties constituting romanticism, nor a supposed underlying (rationalist) essence from which properties can be derived, but rather we will focus on how the romantics themselves took up the idea of romanticism and transformed it into a self-conscious movement. We will treat the question of romanticism with respect to England, but above all Germany. Although romantic movements arose and flourished elsewhere in Europe (and in France in particular), German and English romanticism were uniquely theoretically sophisticated and philosophically nuanced. (shrink)

The persistence of Romantic thought and literary practice into the late twentieth century is evident in many contexts, from the philosophical and ideological abstractions of literary theory to the thematic and formal preoccupations of contemporary fiction and poetry. Though the precise meaning of the Romantic legacy is contested, it remains stubbornly difficult to move beyond. This collection of essays by prominent critics and literary theorists was first published in 1999, and explores the continuing impact of Romanticism on a variety (...) of authors and genres, including John Barth, William Gibson, and John Ashbery, while writers from the Romantic and Victorian period include Wordsworth, Byron and Emily Brontë. Many critics have assumed that the forms and modes of feeling associated with the Romantic period continued to influence the cultural history of the the first half of the twentieth century. This was the first book to consider the mutual impact of postmodernism and Romanticism. (shrink)

Explores the philosophical contributions and contemporary relevance of early German Romanticism.

Interest in German Romanticism has been revitalized in recent years by new post-structural, interdisciplinary, and intertextual perspectives. However until now this renewed interest has not led to a re-examination of Jakob Böhme's formative influence on.

Source: Author: Mohammed Hussein Oroskhan, Esmaeil Zohdi From its beginning in the academic studies during the later nineteenth century, Romanticism has provoked ongoing debates over the nature of its definition. Nonetheless Morse Peckham has satisfactorily settled this matter by indicating that romanticism has dramatically altered the way of thinking therefore it should be distinctively met. For this purpose, he proposed that dealing with the concept of romanticism necessitate dividing it into two concepts of negative and positive (...) class='Hi'>romanticism in which a transition is occurred from negative romanticism to positive romanticism however in some cases this transition may not become completed and is lead to the obscure origin of the sense of isolation among various romantic poets. To clearly illustrate Peckham's notion of negative romanticism, it is tried to explore Nima Yushij's Afsaneh who is known to be the most romantic poet of Persian literature. Based upon Peckham's notion of negative romanticism, Nima's sense of despair and isolation in Afsaneh is fully justified and it is highly suggested that Peckham's new perspective toward romanticism can eventually settle the conflicting views on the subject of Romanticism. ]]>. (shrink)

Cutting-edge essays on theory, aesthetics, and human and nonhuman ontology.

This collection takes its point of departure from Walter Benjamin's concept of the historical constellation, a concept which puts "contemporary" as well as "Romanticism" in play as period designations and critical paradigms. The book regards Romanticism as a thought experiment that poses questions for our own "now" time.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.2 (2001) 307-308 [Access article in PDF] Mayer, Paola. Jena Romanticism and Its Appropriation of Jakob Böhme: Theosophy, Hagiography, Literature. McGill-Queen's Studies in the History of Ideas, no. 25. Montreal and Kingston: McGill-Queen's University Press, 1999. Pp. x + 242. Cloth, $65.00. Paolo Mayer sets out to revise the accepted image of the influence of Jakob Böhme, the sixteenth-century mystic and theosophist, (...) on the romantic poets and philosophers who congregated at Jena in the years 1798-1803. She convincingly argues that, except for the philosophers and critics Friedrich Schlegel and F. W. J. Schelling, Böhme's direct influence was negligible, more a matter of the self-proclaimed new religion of romanticism making ideological use of a controversial, in some sense subversive, forerunner in German literary history. In the hands of Ludwig Tieck, for instance, or Novalis, Böhme becomes a symbol of the new religion of Poesie and the hostile reception afforded by the orthodox evangelical pastors of his time becomes an allegory for the hostility that the new, "let it all hang out" aesthetic of romanticism encountered in the more classical and form-loving members of the literary culture. In Mayer's terms, Böhme's reception among the poets was hagiographic; he was the romantics' poster child.Böhme lived from 1575 to 1624. The son of peasants, but by no means unlettered, the "mystic shoemaker of Görlitz" claimed the source of his teachings was direct divine revelation. He claimed to have visions in 1600 and 1610, whose content he translated into his unusually graphic writings, interspersed with Pietist attacks on reason and on outward religious observances. This unusual 'theology' blended themes that F. Schlegel and Schelling, at least, found attractive: (a) the idea of a self-generating or developmental God, (b) an approach to the problem of evil that logically seems to place responsibility on God, and (c) a large systematic role for desire and will, rather than reason, in the origin of the world and in human salvation. Notable also is the physicalism of Böhme's theology, and the assignment of a wrathful nature to God the Father. Böhme's reception in the seventeenth and eighteenth centuries, determined largely by a first biography written in 1652 by a disciple named von Furstenburg, was generally warm in pietist circles, cool in rationalist quarters, e.g., in that of Lessing and Leibniz.The established story is that all the major romantic writers, poets as well as philosophers, were influenced through a direct study of Böhme's texts. Mayer takes issue with that, especially in the case of the poets Tieck and Novalis and the scientists J. W. Ritter. Though each of them writes glowingly of Böhme as a poet—in fact a persecuted poet, a near-martyr for the religion of Poesie—Mayer finds no sound evidence for a direct transmission, either of ideas or of terminology, from Böhme to these figures. What other literary critics have advanced as evidence is, she argues, a body of ideas and vocabulary common to the Neoplatonic, mystic tradition and to Christian thinking in general. If a stricter standard of proving "reception" than mere similarity of language is adopted, it seems that Tieck, Novalis, and Ritter had a slim acquaintance with Böhme's writings, but nonetheless advanced a hagiographic view of the "folk poet." Others among the Jena circle—Schleiermacher, A. W. Schlegel, Dorothea and Caroline Schlegel—took a skeptical view of this propagandistic ploy. Only the more philosophical minds, F. Schlegel and Schelling, read Böhme in any depth or ventured elaborate appropriations. Mayer argues that both these figures went [End Page 307] through an initial phase of enthusiasm for Böhme, to be later followed by personal reservations about him and, eventually, by public criticism from a philosophical or orthodox theological stance. Mayer obviously relishes the irony, in this case, of an initial idolization of Böhme as a representative of the 'new religion... (shrink)

Sally Gadow's work is a sophisticated version of a familiar line of thought in nursing. She creates a chain of distinctions which is intended to differentiate cultural narratives, and particularly the ‘science narrative’, from imaginative narratives, especially poetry. Cultural narratives regulate and restrict; imaginative narratives are creative, liberating and potentially transcendent. These ideological effects are (supposedly) achieved through different structures of language. Scientific language, for example, is abstract and literal, while poetry is sensuous and metaphorical. In this paper, I argue (...) that Gadow's way of discriminating between science and poetry fails. In the first place, the ideological valence she assigns to each of them is unwarranted. Science and poetry can both be harnessed to the project of emancipation, just as both can be incorporated in a strategy of oppression. In the second place, the claim that poetry and science are distinguished by their respective linguistic features – specifically, that one is metaphorical and the other literal – cannot be sustained. I illustrate this argument, as Gadow illustrates hers, by reference to the concept of embodiment, and consider whether Gadow is correct in thinking that poetry, not science, makes it possible for individuals (especially women) to ‘reclaim the body’. I also suggest that Gadow's brand of postmodernism echoes Romanticism, whose defining characteristic was an insistent contrast between poetry and science. This is ‘flip side’ postmodernism, which merely opposes modernist values, preferring subjectivity to objectivity, feeling to rationality, and multiple realities to truth. It is less radical, and far less interesting, than ‘remix’ postmodernism, whose objective is not to reverse the polarities, but to reconfigure the entire circuit. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Romanticism and Coleridge’s Idea of HistoryMichael John Kooy*Romantic historiography is widely understood in methodological terms as a subjectively determined treatment of the human past, according to which historical knowledge is grounded in imaginative activity. That ambition was amply fulfilled in Scott’s historical novels, as Georg Lukacs once demonstrated. 1 Writing in broader terms, Hayden White characterized that whole creative enterprise as an “effort at palingenesis,” the striving to (...) recreate or relive the past in individual consciousness. 2In more recent years, as the approach to the period has become more historicist, criticism has begun to separate the historical and the aesthetic aspects of this romantic sensibility, usually emphasizing one at the expense of the other. The result has been a standoff in critical thinking about the way Romanticism represents the past. One side is occupied by some new historicists who claim to find a precedent for their own methodology among prominent figures of the period. Heyne, Wordsworth, and Keats, it turns out, not only were engaged actively in their own contemporary history, but they also demonstrated in their sophisticated evocation of the past the impossibility of overcoming historical difference by reference to natural law. 3 Arguments advanced on the other side of the controversy insist that the Romantics were not nearly such good historicists as supposed. In these accounts, often allied to post-structuralism, the aesthetic absolutism implicit in the high romantic argument is undiminished by the burgeoning historical consciousness in the period. Indeed, Romanticism’s aesthetic [End Page 717] retrieval of the past appears to be an instance of how subjectivity, rather than admit its own historicity, again asserts mastery over the object through its own self-will. 4Each of these accounts commands a considerable following, and a peace between them seems unlikely, indeed undesirable. On one matter they do agree, though, and that is in their distrust of Coleridge. His historiography—the notion that ideas make history and that the way to get at these ideas is aesthetically—is too idealist for today’s historicists and too monumentally subjective for the post-structuralists. I think both judgments are hasty. Coleridge, more than most contemporaries, reflected for many years upon the difficulties that arose in his own attempts to interpret historical knowledge (which appeared as a subjective, aesthetic construct) in systematic terms (as the reflection of natural order); and a good look at the record will show that his thought is not quite so anti-historical as some believe, and his subjective approach not nearly so absolutist.The goal of this essay is to rehabilitate Coleridge’s idea of history, considering what it tells us about Romanticism and how it foreshadows current debates about methodology. 5 More specifically, I want to show how in different contexts Coleridge treats, with varying degrees of success, history as an ideational field that is both created and then interpreted by an inquiring subject. First, at the literary and cultural level, history is conceived as the object of imaginative reconstruction, where subjectivity provisionally orders the mass of material according to an idea found nowhere within history itself. Here the anti-positivist bias of Coleridge’s idealist historiography dominates a project that is, both in orientation and achievement, not so much cognitive as aesthetic. Secondly, at the level of religion, history is conceived in mythic terms, the past being revealed only symbolically to the discerning inquirer who must interpret the Christian mythos as recorded in the inspired biblical account of the nation of Israel. Here it is the application of certain interpretive or hermeneutic strategies that determines success or failure. Finally, as a single idea, history is conceived as the process of humanity seeking consciousness of itself, and this Coleridge expresses in a narrative of universal proportions, beginning in apostasy and ending in grace. Here teleology dominates, but as Coleridge discovers, this providential [End Page 718] history is a story that cannot be fully told, thought, or even, it turns out, imagined. It can only be postulated as an idea of reason or, in religious terminology, held as an article of faith. In a curious return to aesthetics Coleridge argues that for the grand historical narrative, just as for art... (shrink)

An analysis and critique of irrationalist and romanticising threads in thinking about love.

The following text is taken from the publisher's website: "Romanticism is, and always has been, one of the most hotly contested terms in literary and cultural history. Many of the writers now described as Romantic refused to be defined by the word: 'it would be such bad taste', said Byron in 1820. Lovejoy spoke of a plurality of ‘romanticisms’, born of distinct thought complexes, whilst René Wellek argued that literatures labelled Romantic indicated common conceptions. Comparably, in the post-World War (...) II period, political commentators have seen Romanticism as either profoundly radical or deeply reactionary. This significant collection gathers key critical discussions that explore the complex and many-sided nature of the 'Romantic'. A new introduction by the editors, a full index and chronological table of contents guide the reader through the wealth of material dedicated to a term that is both extremely unstable and remarkably persistent.". (shrink)

These challenging essays defend Romanticism against its critics. They argue that Romantic thought, interpreted as the pursuit of freedom in concrete contexts, remains a central and exemplary form of both artistic work and philosophical understanding. Marshalling a wide range of texts from literature, philosophy and criticism, Richard Eldridge traces the central themes and stylistic features of Romantic thinking in the work of Kant, Hölderlin, Wordsworth, Hardy, Wittgenstein, Cavell and Updike. Through his analysis he shows that Romanticism is neither (...) emptily literary and escapist nor dogmatically optimistic and sentimental. This is the first serious philosophical defense of the ethical ideals of Romanticism and will appeal particularly to all professionals and students in philosophy, literature and aesthetics who are interested in what, philosophically, literature can show that philosophy cannot say. (shrink)

The emphasis that the modernity gives to disengagement and beginning leads one to think that the modernity itself is in fact a culture that initiares crisis. Even if there is no initial crisis, it can be created through the ambivalent nature of modernity. Behind the concept of crisis lies the notion that history is a continuous process or movement that opens the door to nihilistic understanding which stems from the idea of contemporary life and thought alienation through the pessimistic meaning (...) of the word. There is a dialectical relationship between the ideas of modernity and progress, and the decadence, and the main theme of Nietzsche's philosophical career. Since the death of Hegel, who made the idea of crisis plausible, everything is nothing but a counter-movement not only in Germany, but also in Europe. The first of these counter-movements is romanticism with its objection to the mind which is liberated from the bonds of tradition. The main thesis of the present article is, between reactiveness of romanticism -on the surface- and the modernity; from one side romanticism's consuming modernity, which is its mirror image, while at the same time feeding from it and modernity's manipulating the ideas developed against it and monopolizing them thanks to its ambivalent nature. For this purpose, following an an anti-enlightenment thinker Nietzsche's, anti-romantic footsteps which at the same time feeds from the romantic heritage, an attempt will be made to analyze the relationship between modernity and romanticism. Another goal of this article is to allow a comparison of how the intellectual development in the West finds its response on the modernization process of our country by probing how the modernization experience of early period Islamist's who experienced this process in a feeling of "backwardness" and with a wounded consciousness and anxiety has led to a shallow romantic worldview. SummaryRomance and romanticism are the main topics of this article. Romanticism is a period, whereas romance is a spiritual attitude not limited to this period, therefore, even today it’s existence is felt. In other words, it is not specific to the Germans. This term is often used to correspond to certain aspects of European intellectual life in the late eighteenth and early nineteenth centuries, for instance between 1790 and 1850. In its extremely diverse definitions, the most "romantic" definition in our opinion, belongs to Novalis: “I'm romanticizing by giving a high meaning to ordinary things, a mysterious reputation to the ordinary, the honor of the unknown to the known, an infinite look to the finite.” The rejection of existing social reality, the experience of loss, the melancholic longing and the search for loss are the main components of the romantic motive. This study is based on the argument that there is a dialectical relation between romanticism and modernity, which is known as an opposing movement against enlightenment thought. The intellectual feature, which contains the opposite of modernity itself, makes this argument plausible. In addition, the view of modernity as a crisis culture due to the emphasis on disengament and beginnings offers us the possibility to establish a relationship between modernity, which accepts itself as decadence, and romance. Behind the concept of crisis lies the idea that history is a continuous process or movement opening the door to the nihilist understanding in which modern life and thought are alienated in a pessimistic sense. Thus, Allan Megill defines historicism as a prerequisite for nihilism. According to the author, Prophets of Extremity, if the history has no direction to be changed, maintained or lost when wandering in history, it also cannot have a "crisis". The suggestion of "God is dead" is the most concise expression of this crisis. In this crisis state of nihilism, it is a completely forlorn condition of living in the present. Today, which is in the absolute forlorn state; the savior declares his belief that he is devoid of all sorts of features, things that let us reconcile with the current situation of things. In the face of this situation, when people see that the present becomes completely forlorn, they move in two opposite directions with a desire to regenerate culturally: They either have to go back to the past or head for the future. However, every attempt to determine what the future or the past posess will require them to be real, belonging to the present. This will return us to the forlorn state. Nietzsche embraces both opposing sides, but does not attempts choose between them. This is the place where Nietzsche dictates that today is corrupt taking a radical attitude against romanticism fed by the notion of crisis. The fact that modernity has given up its critique of reason, which is revealed by its dialectic, had a great influence on Nietzsche's putting distance between himself and romantics. That is to say, in response to enlightened thought, although romantics speak of unity, apparently, they could not prevent emergence of emotion against mind, local against the universal, individual against social, in other words, the emergence of the second values, which they believed that these were belittled and despised by Enlightenment. Therefore, romantics seem like they could not save themselves from being caught in the web of dialectics in the account they entered that is based on the subject-object distinction in cartesian thought. It is because modernity acts with the consciousness that the life is established on the occurrence and decadence. Based on this, we can say that decadence is inevitable. This decadence (distortion) from the outside may be through movements developed against it, or experienced within itself (even if no one attempts to destroy it). Modernity, with the awareness that it cannot escape from the decadence, wants to arbitrate itself by turning this decadence in its favor by manipulating it. In other words, the modernity dramatizes the feeling of crisis considering itself decadence and the seemingly contradictory ideas of avant-garde and decadence become almost synonymous. It must be the reason why Nietzsche identifies modernity with decadence Modernity manages to put the decadence in its body at the center of attraction by producing self-opposing movements, monopolizing and manipulating. In short, both romanticism and avant-garde movements are the movements that are emerged not against modernity but from itself. Just like an apple worm, they both consume modernity and feed on it. They act as a mirror. Although they seem to criticize, as movements that have emerged from it, they allow the modernity to complete and correct the deficiencies. As a result of this, we can say that romantic critical movements are developed against the world and are shaped by modernity, beginning with the idea of enlightenment, and moved forward in the track of modernity.While romanticism developed in the West as opposed to modernity, in Ottoman-Turkish thought, it was seen as the rhetoric of retardation and regretting of backwardness from civilization. It is inevitable that the experience of modernization in a sense of backwardness, with a wounded consciousness and urgency, will open up space for romance. In our modernization adventure starting with Tanzimat, it is a fact that there has not been a drastic reckoning due to Enlightenment on an intellectual basis, industrialization on an economic basis, programs of revolutionary and nationalist formations on a political basis. Therefore, in Turkish thought, it is not possible to talk about a critical tradition developed against modern paradigm. The status of being audience to what was being experienced in Europe, resulting from superiority was transformed into grudge due to the defeats in the military field. Due to the decadence experienced in the present, inability to find the solution to the problems of its age, melancholic state of mind because of being stuck in the golden age experienced in the past, in the case of a preference, led to a romantic world view because of the appeal of its simplicity to imitate what was once lived in the past. Thus, it is very natural that the direction of Namık Kemal, the cult personality of Islamist-Turkish thought, is towards the past even when talking about progress and civilization. Seeing the 19th century Europe as a re-implementation of ideas and institutions that are actually Islamic, Namık Kemal, in our opinion, showed us a clear example of a typical Islamist romanticism and an example of occidentalist approach regarding that the West learned the civilization from Muslims. In fact, the exact equivalent of this approach displayed in Turkish cogito without even knowing that it is romantic, emerging in the personality of Namık Kemal and in the feeling of backwardness,with a hectic and injured consciousness, is kitschization. So much so that, the state of being kitsch also explains the current situation of Islamic geography which is far from creating a tradition for at least a century, and it clearly tells the usual romantic end. (shrink)

Thus Pascal sets forth the romanticist thesis that reason has nothing to do with the deep intimations of the worshipping soul. Religion is an affair of the heart, and the productive Source of all things cannot be comprehended by the exercise of the finite intellect. This doctrine foreshadows the Kantian dichotomy between phenomena and noumena: the understanding can legitimately operate only within the sphere of space, time and natural causality, as it knows nothing of the transcendental postulates of the moral (...) life. In Kant's case, however, the opposition is worked out by means of a sustained and systematic analysis of man's faculties of cognition, and the intuitions of moral feeling are not without a rationality of their own. One might say that in Kant's view there is a logic of ethical sentiment as well as a logic of the scientific understanding, the former being practical, the latter theoretical. In the practical domain of morality the categories of the scientific understanding do not apply: the individual who acts from a sense of duty is free and immortal, besides being destined to receive rewards from the hand of God according to his deserts. The practice of the moral life therefore creates a sort of categoreal vacuum, the individual becoming a noumenon, emancipated from the shackles of the sensible world; from an empirical point of view, morality means self-transcendence. (shrink)

German Romanticism is a thinking of life as exposed. Philosophical conceptions of botanical life are paradigmatic of this. Goethe, Schelling, and Hegel each address the plant in their respective philosophies of nature. This article traces the connections and divergences in their thinking of plants, focusing on the role of love, lack, and exposure in order to present the plant as a peculiarly apt figure for considerations of life as exposed.

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)

Carl Schmitt, the author of such books as Political Theology and The Crisis of Parliamentary Democracy, was one of the leading political and legal theorists of the twentieth century. His critical discussions of liberal democratic ideals and institutions continue to arouse controversy, but even his opponents concede his uncanny sense for the basic problems of modern politics.Political Romanticism is a historical study that, like all of Schmitt's major works, offers a fundamental political critique. In it, he defends a concept (...) of political action based on notions of good and evil, justice and injustice, and attacks the political passivity entailed by the romanticization of experience.The book has three strands. The first is an attack on received notions of the origins of the Romantic Movement. Schmitt argues that this movement represents a secularization, subjectification, and privatization in which God is replaced by the emancipated, private individual of the bourgeois social order. The second is an assault on political romanticism that includes a broader attack on the new European bourgeoisie, which Schmitt characterizes as the historical bearer of the movement.The third strand is a defense of political conservatism and a refutation of the view that political romanticism is intrinsically linked with romanticism. Here Schmitt argues that the political romantic is tied not to positions but to aesthetics, and can therefore as easily become a Danton as a Frederick the Great.Guy Oakes's introduction places the book in historical context and also suggests its continuing relevance through his discussion of the latest outcropping of political romanticism in the late 1960s, intriguingly brought out in his example of Norman Mailer as a political romantic.Political Romanticism is included in the series Studies in Contemporary German Social Thought, edited by Thomas McCarthy. (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)

Star Trek is a successful popular cultural endeavor because it allows for exactly different kind of imaginative escapism, the possibility of joining in on an alternative narrative. In “The City on the Edge of Forever”, the Enterprise orbits a mysterious planet, where on its surface someone or something is causing temporal and spatial displacement. This chapter uses Romanticism as a philosophical gateway to the sublime experience that is the Guardian of Forever. The Guardian of Forever is the cause of (...) the spatial displacement and ripples in time that shake the Enterprise at the episode's beginning. Friedrich Nietzsche in his writings on Greek history, adopted the Romantic attitude toward the past by suggesting there are certain meaningful archetypes in the Greek past: in the context of “City on the Edge”, James T. Kirk represents the Tragic Hero, Spock the Apollonian figure, and McCoy the Dionysian figure. (shrink)

At the end of the 19th century, Turkish romanticism Tevfik Fikret, Namık Kemal, Rıza Tevfik, and Mehmet Ersoy had a powerful impact on the literature that entered the entire Caucasus region. 20th-century Azerbaijan romantics Huseyin Javid and Mohammed Hadi, especially young people, wrote and created in line with their influence and style. The article discusses the aspects of the effect of Turkish and Azerbaijan romanticism on the creativity of Bahtiyar Vahabzade. This study also included the impact of Turkish (...) romanticism on the creativity of Bahtiyar Vahabzade. In addition, the extraordinary influence of prominent artists such as Hüseyin Javid and Muhammed Hadi, the prominent representatives of Azerbaijan romanticism, on the creativity of Bahtiyar Vahabzade has been clarified. These nfluenced Bahtiyar Vahabzade both ideologically and artistically. Accordingly, this study aims to reveal how Bahtiyar Vahabzade, who exhibits his ideological and literary stance inspired by Turkish and Azerbaijan romanticism, reflects these influences in his work. It has been concluded that Bahtiyar Vahabzade's poetry is related to modern Turkish literature and poetry as well as classical Turkish poetry at the time of creation. (shrink)

This wide-ranging book explores the generic innovations that propel the Romantic 'revolution in literature', but also the fascination with archaic forms such as the ballad, sonnet, epic, and romance. It shows how the tension between the drives to 'make it old' and 'make it new' generates one of the most dynamic phases in the history of literature, whose complications are played out in the critical theory of the period as well as its poetry, prose and drama.