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Books on the topic 'Dark Romanticism'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 April 2022

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1

Hard-boiled fiction and dark romanticism. Frankfurt am Main: Peter Lang, 1998.

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2

Städtische Galerie im Städelschen Kunstinstitut Frankfurt am Main, ed. Dark Romanticism: From Goya to Max Ernst. Ostfildern: Hatje Cantz, 2012.

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3

Moores, D. J. The dark Enlightenment: Jung, Romanticism, and the repressed other. Madison [N.J.]: Fairleigh Dickinson University Press, 2010.

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4

The dark Enlightenment: Jung, Romanticism, and the repressed other. Madison [N.J.]: Fairleigh Dickinson University Press, 2010.

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5

Moores, D. J. The dark Enlightenment: Jung, Romanticism, and the repressed other. Madison: Fairleigh Dickinson University Press, 2010.

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6

Hardy's early poetry: Romanticism through a "dark bilberry eye". Lanham, Md: Lexington Books, 2000.

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7

Ascher, Barbara Lazear. Dancing in the dark: Romance, yearning, and the search for the sublime. New York, NY: Cliff Street Books, 1999.

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8

Mervyn Peake: The evolution of a dark romantic. New York: P. Lang, 1989.

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9

Parker, Reeve. Romantic tragedies: The dark employments of Wordsworth, Coleridge, and Shelley. Cambridge: Cambridge University Press, 2011.

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10

The fabulous dark cloister: Romance in England after the Reformation. Baltimore: Johns Hopkins University Press, 2011.

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11

Romantic tragedies: The dark employments of Wordsworth, Coleridge, and Shelley. Cambridge: Cambridge University Press, 2011.

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12

Rock and Romanticism: Post-Punk, Goth, and Metal as Dark Romanticisms. Palgrave Macmillan, 2018.

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13

Rovira, James. Rock and Romanticism: Post-Punk, Goth, and Metal as Dark Romanticisms. Palgrave Macmillan, 2019.

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14

Nyman, Jopi. Hard-Boiled Fiction and Dark Romanticism. Lang Publishing, Incorporated, Peter, 1998.

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15

Nyman, Jopi. Hard-Boiled Fiction and Dark Romanticism. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2012.

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16

Moores, D. J. Dark Enlightenment: Jung, Romanticism, and the Repressed Other. Rowman & Littlefield Publishers, Incorporated, 2010.

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17

Dark Interpreter: The Discourse of Romanticism (Cornell Paperbacks). Cornell University Press, 1986.

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18

McAdams, Charity. Poe and the Idea of Music: Failure, Transcendence, and Dark Romanticism. Rowman & Littlefield Publishers, Incorporated, 2020.

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19

Poe and the Idea of Music: Failure, Transcendence, and Dark Romanticism. Lehigh University Press, 2017.

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20

Edward, Dramin, ed. Light in a dark place: Romanticism in the Victorian social-political novel : a critical anthology. Lanham, MD: University Press of America, 1987.

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21

Parker, Reeve. Romantic Tragedies: The Dark Employments Of Wordsworth, Coleridge, And Shelley. Cambridge University Press, 2014.

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22

Westenra, Lucy. Goth: The Dark Romantics. Plexus Publishing, 2008.

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23

Pastures Green and Dark Satanic Mills: The British Passion for Landscape. Giles Limited, D., 2015.

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24

Ahmed, Maaheen. Monstrous Imaginaries. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825261.001.0001.

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This books engages with studies on Romanticism and on monsters in order to map out the heritage, functions, and affects of good monsters in contemporary comics and graphic novels. It shows how Romantic inclinations and themes are continued through comics monsters that question the distinction between human and monster, self and other. Taking as its point of departure Romantic artists such as Goya and Blake and protagonists such as Mary Shelley’s Frankenstein's monster as well as figurations of the trickster and Baudelairian ennui, the book gleans recurrent Romantic features that are then drawn out through monstrous protagonists in English- and French-language comics: dark romantic predilection for ruins and the sordid, the solitary protagonist, his quest, nostalgia, the prominence of the spectacle, excessive emotions, and above all, the characters' ambiguity and rebelliousness. In addition to insights from studies on comics, monsters, and Romanticism, the book also engages with the concepts of the imaginary, presence, and remediation. In blurring the otherness of the monster, these protagonists retain the exaggeration and uncontrollability of all monsters while incorporating Romantic elements and thus exemplifying the continuation of one of the most significant transformations of Western consciousness. Each theme is highlighted through close readings of well-known but often overlooked comics: Enki Bilal's Monstretetralogy, Alan Moore's Swamp Thing run, Mike Mignola'sHellboy, and James O'Barr'sThe Crow.

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25

Burney, Fanny. Camilla. Edited by Edward A. Bloom and Lillian D. Bloom. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199555741.001.0001.

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First published in 1796, Camilla deals with the matrimonial concerns of a group of young people-Camilla Tyrold and her sisters, the daughters of a country parson, and their cousin Indiana Lynmere-and, in particular, with the love affair between Camilla herself and her eligible suitor, Edgar Mandlebert. The path of true love, however, is strewn with intrigue, contretemps and misunderstanding. An enormously popular eighteenth-century novel, Camilla is touched at many points by the advancing spirit of romanticism. As in Evelina, Fanny Burney weaves into her novel strands of light and dark, comic episodes and gothic shudders, and creates a pattern of social and moral dilemmas which emphasize and illuminate the gap between generations. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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