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Journal articles on the topic 'Romantic writing'

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Published: 4 June 2021
Last updated: 11 February 2022

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1

Mcisaac, Peter M. "Embodying the Romantic Collector in Post-Romantic Writing." Seminar: A Journal of Germanic Studies 50, no. 3 (September 2014): 314–31. http://dx.doi.org/10.3138/sem.50.3.314.

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2

Rudd, Andrew. "Romantic Period Writing and India." Literature Compass 1, no. 1 (January 2004): **. http://dx.doi.org/10.1111/j.1741-4113.2004.00077.x.

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3

O'Connor, Maura, and Robin Jarvis. "Romantic Writing and Pedestrian Travel." Albion: A Quarterly Journal Concerned with British Studies 30, no. 3 (1998): 527. http://dx.doi.org/10.2307/4053332.

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4

Porter, Laurence M. "Writing Romantic Epiphany:Atala, Séraphîta, Aurélia, Dieu." Romance Quarterly 34, no. 4 (November 1987): 435–42. http://dx.doi.org/10.1080/08831157.1987.11000484.

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5

Harper, Graeme. "The romantic ethic and creative writing." New Writing 17, no. 1 (January 2, 2020): 1–2. http://dx.doi.org/10.1080/14790726.2020.1715586.

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6

Budge, Gavin. "“Art’s Neurosis”: Medicine, Mass Culture and the Romantic Artist in William Hazlitt." Articles, no. 49 (April 9, 2008): 0. http://dx.doi.org/10.7202/017856ar.

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AbstractAlthough criticism has traditionally focussed on the Romantic celebration of artistic genius, there is also an emphasis on artistic abjection in Romantic writing. This essay argues that the Romantic theme of abjection is linked to the claims of early nineteenth-century Brunonian medicine that conditions of nervous over- and understimulation are the cause of diseases such as consumption and hypochondria, a case which is made with particular reference to the writings of William Hazlitt. Brunonian medical theory also informs Romantic period analyses of a newly emergent mass culture, enabling Romantic depictions of artistic abjection to be understood as a denial of the Romantic artist's involvement in a mediatization of experience which potentially distances the audience from the intuition of reality to which Romanticism ultimately appeals. This ambivalence about the position of the Romantic artist is reflected in the Romantic period debate surrounding the aesthetic category of the picturesque, which is shown to draw on Brunonian ideas about nervous stimulation in a way which makes it exemplary of conflicted Romantic attitudes towards the effects of mediatization.
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7

Priestman, Martin. "Temples and Mysteries in Romantic Infidel Writing." Romanticism on the Net, no. 25 (June 11, 2009): 0. http://dx.doi.org/10.7202/006010ar.

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Abstract Not all apparently religious imagery in Romantic Period writing is in fact religious. Temples—particularly when presided over by a priestess and linked with the ideas of reason or nature—often denote active hostility to Christianity if not to all religion. Examples from the Temple of Reason in revolutionary Paris to Shelley are considered, as well as references to Eleusinian and other Greek Mystery cults, seen as revealing hidden truths to an elite while concealing them from the masses. For Coleridge, these truths were quasi-Christian; for many others, they were materialistic and religiously subversive, but suppressed for political reasons. Hints of the latter position are briefly examined in Godwin, Richard Payne Knight, and Blake, as are some parallels in Freemasonry. Perhaps the fullest poetic use of temple and Mystery imagery is in The Temple of Nature (1803) by Erasmus Darwin, grandfather of Charles, whose evolutionary theory it anticipates. Despite a brief deistic identification of God as First Cause, its opening uses an exciting technique of imagistic montage to overthrow the story of Adam and Eve as a vulgar myth, to be replaced by an Eleusinian-style initiation of the few into the truths of the materialist self-sufficiency of nature. Its elaboration of these images makes it a crucial reference-point for their use in religiously unorthodox Romantic period literature.
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8

Kean, Hilda, and Christine Kenyon-Jones. "Kindred Brutes: Animals in Romantic-Period Writing." Albion: A Quarterly Journal Concerned with British Studies 34, no. 4 (2002): 664. http://dx.doi.org/10.2307/4054700.

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9

Barbeau, Jeffrey W. "Romantic Religion, Life Writing, and Conversion Narratives." Wordsworth Circle 47, no. 1 (January 2016): 32–39. http://dx.doi.org/10.1086/twc47010032.

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10

Guyon, L. P. "French Romantic Travel Writing: Chateaubriand to Nerval." French Studies 67, no. 2 (March 29, 2013): 260. http://dx.doi.org/10.1093/fs/knt020.

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11

Todorova, Maria. "Bulgarian Historical Writing on the Ottoman Empire." New Perspectives on Turkey 12 (1995): 97–118. http://dx.doi.org/10.1017/s0896634600001163.

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Bulgarian historiography began to professionalize itself after the creation of an independent Bulgarian state (de facto in 1878, de jure in 1908), and the foundation of scholarly institutions. Until then historical writing had been dominated by enthusiasts (clergymen, teachers, local dilettanti), passionately serving the ideas of cultural revival and political independence through historical knowledge. Thus, Bulgarian historiography at its inception was shaped both by its romantic predecessors, whose noble (and only) aim was to stir national consciousness and legitimize national aspirations, and by the influence of the positivist and romantic historiographies then prevalent in Europe.
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12

McConnell, Frank, and Jerome Christensen. "Lord Byron's Strength: Romantic Writing and Commercial Society." Rocky Mountain Review of Language and Literature 48, no. 1 (1994): 90. http://dx.doi.org/10.2307/1347890.

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13

Kelsall, Malcolm, and Jerome Christensen. "Lord Byron's Strength: Romantic Writing and Commercial Society." Modern Language Review 90, no. 2 (April 1995): 418. http://dx.doi.org/10.2307/3734567.

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14

Wang, Orrin N. C., and Jerome Christensen. "Lord Byron's Strength: Romantic Writing and Commercial Society." Studies in Romanticism 33, no. 2 (1994): 301. http://dx.doi.org/10.2307/25601061.

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15

Wedd, Mary R. "Mad Women in Romantic Writing. Philip W. Martin." Wordsworth Circle 20, no. 4 (September 1989): 213–15. http://dx.doi.org/10.1086/twc24042549.

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16

Scheffler, Judith. "Romantic Women Writing on Imprisonment and Prison Reform." Wordsworth Circle 19, no. 2 (March 1988): 99–103. http://dx.doi.org/10.1086/twc24042862.

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17

Swann, K. "Lord Byron's Strength: Romantic Writing and Commercial Society." Modern Language Quarterly 55, no. 2 (January 1, 1994): 225–29. http://dx.doi.org/10.1215/00267929-55-2-225.

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18

Ferris, I. "Mobile Words: Romantic Travel Writing and Print Anxiety." Modern Language Quarterly 60, no. 4 (January 1, 1999): 451–68. http://dx.doi.org/10.1215/00267929-60-4-451.

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19

Townshend. "Romantic Necromancy: Reading and Writing as Ghost-Seeing." Criticism 62, no. 3 (2020): 485. http://dx.doi.org/10.13110/criticism.62.3.0485.

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20

Keach, William. "Romantic Writing and the Determinations of Cultural Property." European Romantic Review 30, no. 3 (May 4, 2019): 223–37. http://dx.doi.org/10.1080/10509585.2019.1612586.

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21

James, Felicity, and Julian North. "Writing Lives Together: Romantic and Victorian Auto/biography." Life Writing 14, no. 2 (April 3, 2017): 133–38. http://dx.doi.org/10.1080/14484528.2017.1291063.

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22

P, Joshua Gnana Raj, and B. J. Geetha. "Mary Ann Lamb: A Romantic Poet." Think India 22, no. 2 (October 25, 2019): 358–62. http://dx.doi.org/10.26643/think-india.v22i2.8737.

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Mary Ann Lamb is a Romantic poet whose work in the literature of English was in the shadows, though she was the sister of Charles Lamb. This diminished image of Mary could also be because of her being caught hold of the Bipolar Disorder, on one such onset she stabbed her own mother Elizabeth Lamb. It was her brother who was her guardian and also brought her into the field of writing. The works done by Mary was always in collaboration with Charles. This collaboration made the sister and brother to bring three major works for juvenile literature which are namely Tales from Shakespeare, Mrs Leicester’s School, and Poetry for Children. This paper is done in order to establish and explore the poem “The End of May.” to show the writing style of Mary.
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23

Matthews, Susan. "Productivity, Fertility and the Romantic ‘Old Maid’." Romanticism 25, no. 3 (October 2019): 225–36. http://dx.doi.org/10.3366/rom.2019.0428.

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William Hayley's Essay on Old Maids (1785, 1793) bafflingly constructs an image of the old maid from libertine fantasy, learned wit, pro-feminine critique and feminist scholarship. This essay traces some of these strands in later treatments of female sexuality and ageing in writing by Hannah More and Joanna Southcott, suggesting ways in which shifting attitudes to fertility enable new accounts of the female body. It argues that the terms of Hayley's Essay constrain later attempts to shift the debate. Whilst More attempts to escape the representation of the ageing body, the topic of female writing allows a renewed focus on reproduction.
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24

Woodson, Thomas, and Joel Porte. "In Respect to Egotism: Studies in American Romantic Writing." American Literature 64, no. 4 (December 1992): 817. http://dx.doi.org/10.2307/2927648.

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25

Miller, Linda Patterson, and Joel Porte. "In Respect to Egotism: Studies in American Romantic Writing." Journal of the Early Republic 12, no. 4 (1992): 588. http://dx.doi.org/10.2307/3123901.

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26

Liebersohn, Harry. "Discovering Indigenous Nobility: Tocqueville, Chamisso, and Romantic Travel Writing." American Historical Review 99, no. 3 (June 1994): 746. http://dx.doi.org/10.2307/2167768.

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27

Scott, Grant F. "Writing Keats's Last Days: Severn, Sharp, and Romantic Biography." Studies in Romanticism 42, no. 1 (2003): 3. http://dx.doi.org/10.2307/25601600.

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28

Anderson, Douglas, and Joel Porte. "In Respect to Egotism: Studies in American Romantic Writing." Yearbook of English Studies 24 (1994): 299. http://dx.doi.org/10.2307/3507911.

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29

Crochunis, Thomas C. "Women and Dramatic Writing in the British Romantic Era." Literature Compass 1, no. 1 (January 2004): **. http://dx.doi.org/10.1111/j.1741-4113.2004.00094.x.

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30

Lensmire, Timothy J., and Lisa Satanovsky. "Defense of the romantic poet? Writing workshops and voice." Theory Into Practice 37, no. 4 (September 1998): 280–88. http://dx.doi.org/10.1080/00405849809543817.

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31

Ziff, Larzer, and Joel Porte. "In Respect to Egotism: Studies in American Romantic Writing." New England Quarterly 65, no. 2 (June 1992): 310. http://dx.doi.org/10.2307/366105.

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32

Clark, Timothy. "The Theory of Inspiration: Composition as a Crisis of Subjectivity in Romantic and Post-Romantic Writing." College Composition and Communication 50, no. 2 (December 1998): 294. http://dx.doi.org/10.2307/358524.

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33

Dornbach, Márton, and Timothy Clark. "The Theory of Inspiration: Composition as a Crisis of Subjectivity in Romantic and Post-Romantic Writing." Studies in Romanticism 42, no. 2 (2003): 289. http://dx.doi.org/10.2307/25601623.

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34

Lansdown, Richard. "Berlioz’ Memoirs and Delacroix's Journal : Context, Personality, Ethos." Romanticism 23, no. 1 (April 2017): 1–14. http://dx.doi.org/10.3366/rom.2017.0302.

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Berlioz’ Mémoires (1870) and Delacroix's Journal (1893) are commonly seen as two of the greatest records of Romantic creativity. They also share a common background in French Romanticism, and are powerful instances of two great forms of autobiographical writing. This essay takes these features into account, but also contrasts the two Romantic artists — and human individuals — recorded in these books.
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35

Le Thi Thuy, Vinh. "A teaching procedure of reading comprehension of romantic poetry in high school textbooks from theory to asthetic signals." Journal of Science Educational Science 65, no. 9 (September 2020): 3–13. http://dx.doi.org/10.18173/2354-1075.2020-0087.

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How to teach reading effectively is a frequently discussed topic in the field of reading comprehension. For romantic poetry, a specific genre of literary writing, how to read, recognize, and decode poetic imagesto interpret the ideas of poets, has many significant meanings. This paper will apply aesthetic signal theory, which plays an important role in resolving the relationship between the linguistic and semantic aspects of a textto establish a teaching procedure for reading comprehension of romantic poetry in high school textbooks. With this process, teachers will have scientific grounds for decoding romantic poetry.
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36

Moser, Ingunn, and John Law. "Materiality, Writing, Subjectivity." Concepts and Transformation 3, no. 3 (January 1, 1998): 207–27. http://dx.doi.org/10.1075/cat.3.3.03mos.

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We start the paper by reviewing the theory of desire developed by Gilles Deleuze and Félix Guattari. Their theory of desire is complex in narrative terms, but it is, or so we suggest, overly romantic. It doesn't really explore the ways in which different performances of desire intersect with one another. We then proceed by telling stories from the life of a severely physically disabled person, Liv. These are stories to do with desire, and they are intended to show (with Deleuze and Guattari) that desires are discursively complex, and that they are produced in specific materially heterogeneous circumstances. But the stories are also intended to explore the intersections of different kinds of desires — and indeed the ways in which they produce one another. We conclude by returning to the question of story-telling, and press the view, touched on above, that single stories about persons (or their contexts) are unable to catch the ways in which different stories intersect to produce personal and social realities.
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37

McQuillan, Gene. "Mont Blanc, Romantic Tourism, and the Legacy of Travel Writing." Essays in Romanticism 3, no. 1 (January 1995): 35–54. http://dx.doi.org/10.3828/eir.3.1.3.

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38

Copeland, Marion W. "Kindred Brutes: Animals in Romantic Period Writing Christine Kenyon-Jones." Anthrozoös 16, no. 4 (December 2003): 373–76. http://dx.doi.org/10.2752/089279303786992017.

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39

Schoenfield, Mark L. "Lord Byron's Strength: Romantic Writing and Commerical Society. Jerome Christensen." Wordsworth Circle 25, no. 4 (September 1994): 268–71. http://dx.doi.org/10.1086/twc24043139.

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40

Broglio, Ron. "Kindred Brutes: Animals in Romantic-Period Writing. Christine Kenyon-Jones." Wordsworth Circle 33, no. 4 (September 2002): 154–55. http://dx.doi.org/10.1086/twc24044210.

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41

Heinzelman, Kurt. "Lord Byron's Strength: Romantic Writing and Commercial Society. Jerome Christensen." Modern Philology 94, no. 1 (August 1996): 111–14. http://dx.doi.org/10.1086/392371.

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42

Baudoin, Sébastien. "Christopher Warwick Thompson, French Romantic Travel Writing: Chateaubrand to Nerval." Studi Francesi, no. 171 (LVII | III) (December 1, 2013): 614–15. http://dx.doi.org/10.4000/studifrancesi.2794.

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43

Townshend, Dale. "Transgression, writing and violence in romantic Gothic Fiction, 1794–1820." Journal of Literary Studies 13, no. 1-2 (June 1997): 151–89. http://dx.doi.org/10.1080/02564719708530166.

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44

O’Connell, Anita. "Visions in Verse: Writing the Visual in Romantic Dream Visions." Studies in the Literary Imagination 48, no. 1 (2015): 35–54. http://dx.doi.org/10.1353/sli.2015.0003.

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45

McInnes, Andrew, Michael Bradshaw, and Steve Van-Hagen. "Introduction: Edgy Romanticism." Romanticism 24, no. 2 (July 2018): 113–17. http://dx.doi.org/10.3366/rom.2018.0365.

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This introduction provides a rationalisation for a special issue of Romanticism on edges, boundaries, and borders. The Romantic period and Romantic studies have both been fascinated by the marginal, the exile, and the outsider. ‘Edgy Romanticism’, inspired by a conference held in April 2016 at Edge Hill University, looks again at these figures, but we are also interested in new work that is being done at the edges of the discipline, thinking about new methodologies and themes as constituting the borders and boundaries of Romanticism as such. So, our collection of articles begins and ends with new ways to conceptualise Romantic understandings of history, continuing with novel approaches to place, canonical Romantic poetry, and women's writing. The introduction concludes with a consideration of the effect the digital turn in the humanities will have on Romantic studies.
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46

Chalise, Keshav Raj. "Mayavini Sarsi (Circe): Devkota’s Reworking to Western Myths." Literary Studies 33 (March 31, 2020): 20–30. http://dx.doi.org/10.3126/litstud.v33i0.38032.

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Laxmi Prasad Devkota, celebrated poet as the Mahakavi or Poet the Great wasborn in 1966 BS. Writing in distinct style from the tradition, Devkota has broken the convention in Nepalese writing, both in form and content, though he was in the difficult mode of free expression due to Rana observation over writings and even the discouraging situation on free thinking and creative writing. He has adapted Sanskrit tradition of writing epics, (Mahakavya) and also, he has composed the epic on free verse. He has introduced and applied western Romantic trend of writing poetry. With these new modes, he has introduced new genre and approach in writing poems and other forms of literature. Openness, lucidity and honesty are some of the characteristics of Devkota’s poetic works. His feelings, sensibility and expressions have been blended perfectly and brilliantly with words and meanings that have created an explosion of thoughts and ideas in his writings. We find spontaneous expression in his poems and there is no artificial sense. As a versatile writer, he has composed in all literary genres, pomes, epics, essays, plays and fictions, but he is basically a poet. Having with the knowledge both in eastern Sanskrit literature and western literary traditions, he has combined both traditions in his Nepali writings. With the use of the western and eastern mythical references, he has united the traditions of the both in his writings. This article aims to observe his revisit to the eastern and western mythical references in Mayavini Circe, the epic on free verse.
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47

Edwards, Elizabeth. "‘A Kind of Geological Novel’: Wales and Travel Writing, 1783–1819." Romanticism 24, no. 2 (July 2018): 134–47. http://dx.doi.org/10.3366/rom.2018.0367.

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This article explores the layered and multivocal nature of Romantic-period travel writing in Wales through the theme of geology. Beginning with an analysis of the spectral sense of place that emerges from William Smith's 1815 geological map of England and Wales, it considers a range of travel texts, from the stones and fossils of Thomas Pennant's A Tour in Wales (1778–83), to Humphry Davy and Michael Faraday's early nineteenth-century Welsh travels, to little-known manuscript accounts. Wales is still the least-researched of the home nations in terms of the Enlightenment and the Romantic period, despite recent and ongoing work that has done much to increase its visibility. Travel writing, meanwhile, is a form whose popularity in the period is now little recognised. These points doubly position Welsh travel writing on the fringes of our field, in an outlying location compounded by the genre's status as a category that defies easy definition.
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48

Oroskhan, Muhammad Hussein, and Esmaeil Zohdi. "Nima Yushij's "Afsaneh" as a Striking Exemplar of the 'Greater Romantic Lyric'." International Letters of Social and Humanistic Sciences 66 (February 2016): 23–30. http://dx.doi.org/10.18052/www.scipress.com/ilshs.66.23.

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Persian poetry lingered upon the old classical Persian prosody for more than a thousand year that it stagnated and stopped flowering new concepts and forms. However, Nima broke the dull and monotonous routine of Persian poetry by writing the first true modernist poem. When Nima's "Afsaneh" appeared, traditionalist adamantly opposed its new artistic and aesthetic view due to revealing some similarity with great European romantic examples. The similarity can never be considered as a weak point of "Afsaneh" because Nima has masterfully used European romantic elements to refresh the long-standing tradition of Persian poetry. In this respect, Nima has written his poetry consciously or unconsciously in the same poetic style of great European romantic poets. M. H. Abrams has labeled this poetic style "the greater romantic lyric". As a result, it is tried to examine Nima's "Afsaneh" with respect to Abrams's definition of "the greater romantic lyric" so as to prove that Nima's "Afsaneh" closely conform to this new poetic genre.
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49

Heimlich, Timothy. "Romantic Wales and the Imperial Picturesque." Modern Language Quarterly 81, no. 2 (June 1, 2020): 169–92. http://dx.doi.org/10.1215/00267929-8151559.

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Abstract This essay argues that the aesthetic category named the picturesque was first systematized in a Welsh colonial context and that picturesque looking always reflects, to some degree, its initially imperialist function. While the picturesque rapidly acceded to a preeminent place in British travel and landscape writing, its rise was contested by Welsh and working-class writers like the antiquarian poet Richard Llwyd (1752–1835). By conspicuously failing to impose picturesque features on a carefully historicized landscape, Llwyd’s poem Beaumaris Bay (1800) lays bare the picturesque’s antihistorical drive to eradicate local difference. Renewed critical attention to early attempts to establish an antipicturesque aesthetic may uncover important precursors to present-day postcolonial and transnational theory, precursors that can enrich the ongoing global turn in literary history.
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50

Kuczera-Chachulska, Bernadetta. "MIĘDZY REALIZMEM OBSERWACJI A WIZJĄ. PROCES TWÓRCZY I WARTOŚĆ JEGO REZULTATU NA PRZYKŁADZIE PIERWSZEJ CZĘŚCI NIE-BOSKIEJ KOMEDII ZYGMUNTA KRASIŃSKIEGO." Colloquia Litteraria 13, no. 2 (November 19, 2012): 7. http://dx.doi.org/10.21697/cl.2012.2.01.

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Between realism of observation and vision. Creative process and the value of its outcome A case study of Zygumnt Krasiński’s The Un-Divine Comedy. The article touches upon the characteristics of Zygmunt Krasiński’s creative process. The author analyses this issue in reference to the wellestablished in the history of literature argument of predominantly intellectual, historiosophical and visionary background to Krasiński’s writing. Using the example of the first part of The Un-Divine Comedy, she brings forward an argument on the weight and relevance of realistic observation of reality in the writings of this romantic author.
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