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A Handbook of Romanticism Studies (Critical Theory by Joel Faflak, Julia M. Wright

By Joel Faflak, Julia M. Wright

The guide to Romanticism Studies is an obtainable and indispensible source delivering scholars and students with a wealthy array of old and updated severe and theoretical contexts for the examine of Romanticism.

* specializes in British Romanticism whereas additionally addressing continental and transatlantic Romanticism and previous periods
* makes use of keyword phrases akin to mind's eye, elegant, poetics, philosophy, race, historiography, and visible tradition as issues of entry to the research of Romanticism and the theoretical issues and the tradition of the period
* Explores issues relevant to Romanticism reviews and the serious tendencies of the final thirty years

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Extra info for A Handbook of Romanticism Studies (Critical Theory Handbooks)

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More recently, defenders of the imagination such as John Whale and Deborah White have argued that the imagination was used far more self-consciously than has been credited. If, for McGann, literature as ideology locates the capacity for critical distance in historical distance, then lost in such a position is the possibility of critical sympathy with the Romantics’ belief in the imagination and its capacity to change the world. For McGann, it seems, critical sympathy is not possible. More importantly, Romantic writers had their own suspicions about the imagination.

Hamilton thus demands thinking about how the imagination can heal the gap between wanting and being, and invites us to consider what we are to do with this gap. The gap between wanting and being is well worth thinking about, especially with regard to the critical history of the imagination. This essay deliberately begins a few miles above Romantic accounts of the imagination because it charts the competing A Handbook of Romanticism Studies, First Edition. Edited by Joel Faflak and Julia M. Wright.

7). He defines “organicism” as “the philosophy whose major categories are derived metaphorically from the attributes of living and growing things” (168). Underlying both is an associationalist psychology that moves from understanding the mind in terms of a mechanical combination of ideas to a more “organic” synthesis and fusing: in the same way that a plant unfolds “spontaneously from within” and assimilates “to its own nature the materials needed for its nourishment and growth” (167), the imagination works Imagination 21 organically.

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