Romanticism

Key to figures in Butlin 662, "Satan Calling up His Legions," the version now in Petworth House, done for Elizabeth Ilive, Countess of Egremont. Blake seems to have managed to squeeze in all the devil-deities Milton mentions (a few classical gods excepted) to this one picture. I mention that my arguments about Butlin 538.3 (Nativity Ode for Thomas), in Appendix III of another essay on this site ("William Blake wrote 'The Angry God of this World & his Basileia' atop Butlin 812.3 ('The Mission of Virgil')"), do apply here; it should be noticed that a number of similar devices, strategies, and portrayals are shared with our picture and that one.
Here again (as in the predecessor tempera, Butlin 661 and in Butlin 538.3), the "architect" (_PL_ 1:732), is portrayed as the Enochian 'watcher' Azael, following the speculation of John Callander in his 1750 edition of Book 1.
This entails that the predecessor--Butlin 661--to our picture is the first well-substantiated portrayal, by Blake, of a 'watcher' from the _First Book of Enoch_.
Blake has included a miniature self-portrait (as Azael/Mulciber, the "architect" of Pandemonium) in both our picture and in Butlin 661. While the caricatural portrayal of the "architect" in 538.3--the later picture for the Nativity Ode--makes his identity as a 'watcher' overt, in our tempera painting Blake is more substantially and 'materially' involved with the "architect," for Blake added gold to our tempera, thereby making him an artistic worker in gold (like Azael or Mulciber).
Blake is also the "architect" of Pandemonium insofar as he has made an artistic structure for *ALL* the demons/devils.
Note also the number of figures Blake carries over from his illuminated books (and/or independent prints)--Mammon (Nebuchadnezzar), Chemos (from _Urizen_) and Belial (from _Urizen_) are examples of these. Please comment!
Blake seems to have gotten more sophisticated in the Nativity Ode picture, which is clearly later than our illustration for Book 1 of _Paradise Lost_.

Vittorio Barzoni (1767-1843) è stato un letterato e giornalista nato a Lonato (Brescia). Questo intellettuale, confidando nelle riforme dei principi, rimase intimamente sconvolto dalla Rivoluzione Francese e dalla caduta della Repubblica Veneta. Proclamatosi avverso alle dottrine dei filosofi democratici, ma sostenitore della liberazione della Penisola dai governi stranieri, iniziò un’agguerrita polemica contro Napoleone Bonaparte che gli costò una vita da esule.
Questo libro ripercorre le tappe fondamentali dell’esistenza del Barzoni, attraverso una raccolta di saggi che mette in luce le sue vicende personali e familiari, i suoi ideali patriottici e le sue influenze letterarie.

Indice

Introduzione p. 7

I L’intellettuale che sfidò l’invasore Biografia di Vittorio Barzoni p. 13

Opere di Vittorio Barzoni p. 39

II Un dialogo anonimo tra Eraclito e Democrito sulla caduta di Venezia p. 43

III I racconti marinareschi di Vittorio Barzoni p. 63

IV Il Barzoni ne Le Confessioni d’un Italiano p. 87

Bibliografia p. 99

В статье предпринята попытка выявить особенности освещения Н. М. Карамзиным истории Русской церкви рубежа XV–XVI вв. Рассмотрено влияние на позицию историка по данной теме его личных религиозных и общественно-политических взглядов, культурных течений эпохи (Просвещение, романтизм), методологических подходов исследователя. Анализируется отношение Карамзина к чудесам и знамениям, о которых содержится информация в источниках указанного периода. Показано, каким образом рациональные объяснения Карамзиным процессов в России эпохи правления Ивана III сочетались с его верой в Провидение. Рассматривается изменение взглядов Карамзина на роль православия в русской истории рубежа XV–XVI вв. Показано, каким образом недолгий опыт участия Карамзина в деятельности масонов отразился в его характеристиках ереси жидовствующих. Сравнивается оценка Карамзиным религиозных гонений на жидовствующих в России и притеснений православных в Литве.

Ключевые слова: Н. М. Карамзин, историография, история религии, православие, Просвещение, романтизм, консерватизм.

Review essay on Romanticism and the public sphere. Reviewed works:

Trevor Ross
WRITING IN PUBLIC
Literature and the liberty of the press in eighteenth-century Britain
312pp. Johns Hopkins University Press. £40.50 (US $54.95).
Ian Newman

THE ROMANTIC TAVERN
Literature and conviviality in the age of revolution
298pp. Cambridge University Press. £75 (US $99.99).
Jonathan Mulrooney

ROMANTICISM AND THEATRICAL EXPERIENCE
Kean, Hazlitt, and Keats in the age of theatrical news
292pp. Cambridge University Press. £75 (US $99.99).

“The Polemic over the Sonnet in Polish Early Romantic Literary Criticism”.
Adam Mickiewicz’s Sonnets, published in 1826, initiated the vogue for this poetic genre in Poland and shortly after a passionate discussion broke out among literary critics on the place and significance of the sonnet in Polish poetry. In the space of barely several years from the pu-blication of this collection there appeared a plethora of articles, reviews, polemics and satirical verse on this matter. Those who put pen to paper were among the most renowned literary lions of this period as well as those a good deal lesser known, often anonymous, standard bearers of traditional, renaissance views on literature as well as advocates of new, romantic tendencies. It is thus that literary exchanges on the sonnet became an important milestone at the Romantic turn, pursued in the 1820s in Poland. This anthology is pleased to unfold before the reader some twenty five expressions of literary criticism on the sonnet. These have been placed in chronological order and given detailed editorial commentary.

On pourrait dire qu'il existe trois natures dans Les Contemplations : antique-néoclassique, chrétienne-romantique, déiste 1-surnaturaliste ; en d'autres termes : panthéiste ou animiste, spiritualiste-dualiste et métaphy-sique-immanentiste 2. La conception néo-classique trouve dans l'idylle une forme-sens qui cadre une idée de nature comme finitude, dans un ensemble de représentations mais aussi de conventions et traditions poétiques qui ont certes le mérite de la lisibilité mais surtout la capacité d'offrir à la nature une configuration poétique de première importance. On peut à bon droit considé-rer que dans Les Contemplations, Hugo a tendance à subvertir cette nature-cadre par une nature-horizon d'inspiration romantique : l'idylle s'accommode mal du sentiment romantique de l'infini même si certaines formes renouvelées par subversion (Mugitusque boum) ou par transposition (Pasteurs et troupeaux) témoignent d'accommodements géniaux. Avec le sentiment d'infini, la nature se perd un peu de vue : signe d'une présence-absence, elle est à déchiffrer davantage qu'à représenter, elle accompagne aussi les réflexions engendrées notamment par l'expérience douloureuse du deuil quant au rapport entre la créature, la création et le créateur. Ces deux conceptions, néo-classique et romantique, restent toutefois des représentations, dans tous les sens du terme. Mais il y a aussi dans Les Contemplations une nature irreprésentable, où l'infini infuse dans le fini, et qu'on ne peut sans doute que présenter ou figurer grâce aux ressources propres du poème : c'est ce qu'on pourrait appeler la nature de la nature et au sens propre, sa métaphysique.

À partir de 1830, décrire la France revient donc avant tout à s’intéresser enfin à la Province non plus comme un pays étrange ou étranger encore dominé par les traces ou les reliques d’un passé révolu, mais comme un territoire national recouvré et unifié que l’on peut enfin prendre au sérieux. C’est ce que fit Michelet dans son Tableau de la France en 1833 en consacrant l’organisme et l’organisation comme principes d’individuation nationale et comme modèles de régulation des échanges internes et externes constitutifs de l’identité nationale. Quatre ans plus tard, dans ses Mémoires d’un touriste, selon une autre conception de la fécondité des mouvements d’échanges, Stendhal proposera une autre approche, plus dynamique et centrifuge, de la constitution identitaire du territoire national. Les deux écrivains retrouvent, réinvestissent et relancent ainsi, à leur façon, une problématique majeure de l’identité française. Mais quand l’un privilégie l’exigence de totalité ("l'Être-Nation"), l’autre fait la promotion de la singularité ("le Devenir-Peuple").

La présente étude n’a pas pour objet principal d’étudier la présence du sentiment du sublime, ni d’en faire la symptomatologie affective dans le discours des personnages, dans les descriptions de paysages ou les commentaires esthétiques qui émaillent l’œuvre de Mme de Staël mais plutôt d’en repérer l’effectivité, pour reprendre le terme de Jean Bessière , au sein de la poétique romanesque. Si « le sublime se définit comme force et comme effet » , comme dépassement de la mimesis représentative par la pure présentation d’un événement d’autant plus présent (donc sidérant) qu’il est sans cause ni origine, il s’agira plutôt de montrer comment se il déploie au sein d’une poétique romanesque qui s’est historiquement élaborée à l’abri de telles ambitions, et même qui a pu s’en protéger, voire s’en méfier, ou s’en distancier au cours de son évolution. Ainsi, on abordera plutôt le concept dans sa dimension problématique quant à la poétique littéraire, et spécialement romanesque en l’occurrence, avec l’idée d’y déceler une tension problématique entre un genre, essentiellement immanent dans son "dépliement" explicatif et progressif dans son déploiement narratif, et une expérience transcendante de l’intensité pure, du sommet ou summum esthétique sans amont ni aval.

'What is the Material World, and is it dead?' Blake's question invites another, one that is frequently posed by scholarship concerned with Blake's poetry: was Blake a materialist? Current criticism-in line with broader trends within literary scholarship-is interested in reinstating a sense of Blake's works as physical products, and in his emphasis on embodied experience and in the continuities between his work and the traditions of British empiricism. This need not, though, mean we should think of Blake as a 'materialist', at least not in the philosophical sense. My essay revisits the question of materiality in Blake's poetry and prose by placing his work alongside the figure credited with coining the term 'materialism' itself: George Berkeley. Working from his marginal comments in Berkeley's Siris outwards, I offer the fullest account to date of Blake's reading of Berkeley and of the Berkeleian strands in his thinking. This includes the 'spiritual body' sketched in the Siris annotations, Blake's critique of abstraction, and the structure of his 'minute particulars'-an epistemological concept that borrows from Berkeley's own critique of abstraction and his account of general ideas.

'Ecological civilisation' establishes ecology as an ur-science which informs a radical rethinking of humanity's relationship with Nature, fueled by the acknowledgement that neoliberalist assumptions about Nature and science ultimately pose dire threats to the survival of the human species. Friedrich Schelling's thought, and specifically his Naturphilosophie, has rightly been seen as a precursor of the process philosophy underwriting contemporary notions of ecological civilisation and the critique of the Cartesian gap between humanity and Nature perpetuated by neoliberalism. Yet the psyche-Nature isomorphism cemented early in Schelling's Naturphilosophie by his description of Nature in protopsychoanalytic terms such as drive [Trieb] and compulsion [Zwang] gesture to a dark, indeterminate Nature which, in its profound ambivalence toward its own products, resists idealist projections of unity or harmony. The question thus arises: can the transformative political action demanded by an ecological civilisation be underwritten by a Nature infected by an indeterminacy which also implicates the human psyche? This essay explores this question by examining first the Nature articulated by Schelling in his First Outline of a System of the Philosophy of Nature (1799), then turning to this Nature's recrudescence as theodicy and a theory of personality in his Philosophical Investigations into the Essence of Human Freedom (1809). I conclude without concluding, with more questions than answers in the form of brief observations on the implications of Schelling's dark Nature for ethical metanarrative and its relevance to the future.

Cumhuriyetin kolektif hafızası var mıdır, varsa bu hafıza nasıl oluşur ve işler? Modern cumhuriyetçilik kuramı ve pratiğinde etkisi yirminci yüzyılın ilk yarasına kadar süren başat eğilim, cumhuriyetin hafızasını münhasıran halk-ulus ve ulus-devlet koordinatları çerçevesinde ele alıyor, halk-ulusun öz değer duygusunu pekiştirmeyi, duygu ve hafıza birliği yaratmayı ve yurtseverlik bilincini güçlendirmeyi amaçlıyordu. İlk kuramsal ifadesiyle Rousseau’nun siyaset felsefesinde, daha belirgin bir ulusallık veya millî aidiyet vurgusu taşıyan versiyonuyla ise Fichte’nin Alman Ulusuna Söylevler’inde karşılaştığımız bu yaklaşımı “romantik tahayyül” olarak adlandırmayı öneriyorum. Romantik tahayyül yalnızca cumhuriyetçi/ulusal geçmiş hakkında birleştirici ve abidevi bir resmi anlatı sunmakla kalmaz, aynı zamanda kamusal tartışmayı ve travmatik hatıraları bastırma eğilimi sergiler. Dolayısıyla daimî bir hatırlama-unutma salınımında seyreder. Makalenin öncelikli hedefi, birleştirici, seçici ve pozitif bir hafıza tasarımına dayanan romantik tahayyülün zaaflarını ve gelişim seyrini Rousseau ve Fichte’nin perspektiflerine atıfla göstermek. İkinci olaraksa, yirminci yüzyılda tanık olduğumuz travmatik deneyimler ve 1945 sonrasında ortaya çıkan geçmişle hesaplaşma dalgalarıyla birlikte romantik tahayyülden kozmopolit tahayyüle doğru bir kayma yaşandığını göstermeyi amaçlıyorum. Yazının son bölümünde bu radikal dönüşümün kuramsal köklerinin, Jaspers, Arendt ve Habermas’ın geçmişle hesaplaşma meselesini tartışmaya açan metinlerinde bulabileceğimize dikkat çekiyor ve kolektif hafıza kavrayışımızdaki bu dönüşümün doğurduğu siyasal sonuçları tartışmaya açıyorum.

Two-hundred and three years ago on a dreary night in June, Mary Shelley imagined a “pale student of unhallowed arts kneeling beside the thing he had put together […] the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion.” Two years later, she would publish Frankenstein: or The Modern Prometheus (1818), arguably one of the most influential and popular science fiction novels ever. The novel has long fascinated me (specifically due to the conditions under which it was composed). Given the novel’s importance—especially its reflections on science and technology—I thought it would be a good fit for the iGniTe program.

Part of "7 Brittain Fellows Reflect on Summer Pedagogical Experiments in First-Year Writing" edited by Nick Sturm.

Link to Article -- http://techstyle.lmc.gatech.edu/7-brittain-fellows-reflect-on-summer-pedagogical-experiments-in-first-year-writing/

The emphasis on the mix of facts and inventions has prevailed in the studies about Bavarian director Werner Herzog's treatment of fiction, leading to the same result again and again: for Herzog, poetic truth is more important than factual truth. But how can we go beyond this conclusion? This paper will try to open an alternative path of analysis more adequate to his philosophy of filmmaking, one that works through the detection of visual and narrative motifs in his films, thus searching the impact of Herzog's idea of fiction into his poetics.

Sláwa Bohyně a původ gména Slawůw čili Slawjanůw... by Ján Kollár

This study focuses on history and historism in the work of Ján Kollár Sláwa Bohyně a původ gména Slawuw čili Slawjanuw… [The Goddess Fame/Glory (Sláwa) and Origin of the name Slaw or Slawjan...] (1839). Historism appeared even in Kollár's early writings and he had a specific approach to its scholarly analysis. The works of Jan Kollár contain a huge amount of historic facts however none of them are really historiographic. His academic methods were based on pieces of information in original sources but he also believed that old myths and songs contain important data as well. The etymological (or rather a linguistic) method was considered to be a popular and widespread method of the period. However its results are doubted from a current point of view. In presented work, Kollár described a fictitious goddess “Sláva” (Glory/Fame), the alleged Slavic national divinity, her attributes as well as believed religious or mythological songs of Slavic folk. From her name he also originated the Slav's name (Sláva – Slavs). In the appendix, he depicted an extensive analogy between the Slavs and Indians, based mostly on comparison of their mythology.

Keywords: Ján Kollár (1793 – 1852), work Sláwa Bohyně a původ gména Slawuw čili Slawjanuw…, Slavic historiography, Slavic mythology, religion, etymology, Slavic-Indian analogy, 30th years of the 19th century