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1
Jones, Elizabeth. Early U.S. and Romantic Period (American Literature Library). Moonbeam Publications, Incorporated, 1990.
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2
Raising Miltons Ghost John Milton And The Sublime Of Terror In The Early Romantic Period. Bloomsbury Publishing PLC, 2011.
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Niayesh, Ladan, and Claire Gallien. Eastern Resonances in Early Modern England: Receptions and Transformations from the Renaissance to the Romantic Period. Palgrave Macmillan, 2019.
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4
Beecher, Jonathan. Early European Socialism. Edited by George Klosko. Oxford University Press, 2011. http://dx.doi.org/10.1093/oxfordhb/9780199238804.003.0022.
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As a self-conscious movement and ideology, socialism came into being in France and in the Romantic period. The first self-proclaimed socialists were contemporaries of Victor Hugo, Eugene Delacroix, and George Sand; and the word socialisme itself was first used in the early 1830s. This article focuses on the early history of socialism, beginning with the work of the romantic or “utopian” socialists and concluding with a consideration of four new forms of socialism that emerged during the pivotal years following the European revolutions of 1848 and continued to have resonance well into the twentieth century. It traces the early history of Marxism, one of these new forms of socialism. After considering the problem of utopian socialism, the article looks at the challenges posed to Marxism by anarchist socialism and Russian agrarian socialism during the 1860s.
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Whitehead, James. Madness and the Romantic Poet. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198733706.001.0001.
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This book examines writing that has linked poetry and poets to madness, covering early literary criticism, biography, medical literature, and poetry itself, and moving between the late eighteenth and the twentieth century. More specifically, its purpose is to offer an account of the development and dissemination of the figure of the ‘Romantic mad poet’ in the nineteenth century, and to show how this figure interacted with coeval ideas about genius or creativity, and the varying fortunes in reception and reputation of Romantic poets, poetry, and conceptions of Romanticism generally. The opening sections address the currency of popular myths on the topic, and the relevance of modern psychological studies on mental illness and creativity. The greater part of the book focuses on reception, broadly conceived, discussing the Romantic conversation with classical and early modern ideas about poetic madness; attitudes towards the creative and literary mind in the psychiatric medicine of the period; contemporary reviews of Romantic poetry, and the hostile rhetoric of insanity they deployed; and life-writing, moving from early brief lives and popular anthologies of the ‘infirmities of genius’ to the larger narratives of irrationality in Victorian literary biography. Figures discussed include Wordsworth, Coleridge, Blake, Hazlitt, Byron, Lamb, Shelley, and Clare. The book reassesses how Romantic writers both contributed to and resisted the construction of the mad poet, or new and rediscovered mythologies of poetic madness. Finally, the Romantic mad poet is considered as an image of the artist in modernity, and the image’s long afterlife and importance are explained.
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Frazier, Adrian. Irish Acting in the Early Twentieth Century. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.16.
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Frank Fay, with his brother William Fay, were primarily responsible for the development of what became known as the Abbey style of acting, Frank drawing upon his study of the French actor Coquelin and the director André Antoine, William with his experience of acting in fit-up touring companies. This style, conditioned by the limited playing resources available to them, centred on fine speech, teamwork, and restraint. In a later period, after the Fays had left in 1908, the tradition of ensemble playing in a permanent company allowed for the development of fine individual character acting represented by Sara Allgood, F. J. McCormick, and Barry Fitzgerald. The actor-manager Anew McMaster, with his large romantic style, helped to shape the tradition of the otherwise modernist Gate Theatre. Irish acting in the first half of the twentieth century was thus a hybrid compound of many different elements.
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Whitehead, James. ‘A Precarious Gift’. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198733706.003.0001.
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This chapter (along with those following) concerns reception, broadly conceived, beginning with the Romantic reception of classical and early modern commonplaces about poetic madness. The chapter examines the status of earlier topoi such as the furor poeticus and the vesanus poeta in the Romantic period, by looking at the way in which these topoi were handled or discussed in the period. Subjects include Plato’s dialogue Ion, via Coleridge’s notebooks and Shelley’s Platonic translations, the Aristotelian Problems, Byron’s translation of Horace’s Ars Poetica, and figurations of Renaissance melancholy in Ficino, Robert Burton, and Shakespeare, especially Hamlet, as they were discussed by Romantic writers, especially Coleridge in his influential lectures on the play.
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Nicholls, Angus. Goethe the Writer. Edited by Paul Hamilton. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.013.16.
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The late Goethe’s apparent total condemnations of what he calleddas Romantischehave often been used to argue that, although Goethe lived through and influenced the period known as German Romanticism, he, like his friend Friedrich Schiller,did not belong to it. The middle phase of Goethe’s life (roughly 1786–1805) came to be defined as Weimar Classicism, a reassertion of Classical aesthetic models that rejected all things redolent of mysticism and the Middle Ages, which in the early nineteenth century meant all things Romantic. But with even a cursory investigation of Goethe’s famous remark on aesthetic health and sickness this narrative begins to unravel: only a few lines later he claims that theNibelungenlied, that paragon of the mystical German Middle Ages, isklassischand therefore healthy, suggesting that the surface opposition between the Classical and the Romantic is more complicated than one might have first thought.
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Hunnekuhl, Philipp. Henry Crabb Robinson. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621785.001.0001.
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Henry Crabb Robinson (1775–1867) earned his place in literary history as a perceptive diarist from 1811 onwards. Drawing substantially on hitherto unpublished manuscript sources, Henry Crabb Robinson: Romantic Comparatist, 1790–1811 discusses his formal and informal engagement with a wide variety of English and European Romantic literature prior to this point. Robinson thus emerges as a pioneering literary critic whose unique philosophical erudition underpinned his activity as a cross-cultural disseminator of literature during the early Romantic period. A Dissenter barred from the English universities, he educated himself thoroughly during his teenage years, and began to publish in radical journals. Godwin’s philosophy subsequently inspired Robinson’s first theory of literature. When in Germany from 1800–05, Robinson became the leading British scholar of Kant’s critical philosophy, which informed his discussions of Goethe, Schiller, Lessing, August Wilhelm Schlegel, and other German literature. After his return to London, Robinson aided Hazlitt’s understanding of Kant and early career as a writer; this also laid the foundation for Robinson’s lifelong critical admiration of Hazlitt’s works. Robinson’s distinctive comparative criticism further enabled him to draw compelling parallels between Wordsworth, Blake, and Herder, and to discern ‘moral excellence’ in Christian Leberecht Heyne’s Amathonte. This excellence also prompted Robinson’s transmission of Friedrich Schlegel and Jean Paul to England in 1811, as well as a profound exchange of ideas with Coleridge. Robinson’s ingenious adaptation of Kantian aesthetic autonomy into a revolutionary theory of literature’s moral relevance, Philipp Hunnekuhl finds, anticipated the current ‘ethical turn’ in literary studies.
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Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. Subjectivities. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0024.
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The chapter continues to trace attention to emotions, begun in the context of Sentimentalism and further developed in the works of the pre-Romantic period. The discovery of the self-promoted active autobiographical writing practiced by men and women throughout the century. The masonic interest in the “inner man,” evident in diary writing early in the century, survived to manifest itself in Leo Tolstoy’s intense focus on self-analysis. The chapter presents Herzen’s formidable memoir My Past and Thoughts as a work crossing the boundary between the personal and historical. The chapter then moves to examining the presentation of the self in poetry, in elegy and love lyrics.
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Renker, Elizabeth. After Wings. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198808787.003.0004.
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This chapter focuses on selected poems that Sarah Piatt published between 1866 and the mid-seventies. This period was simultaneous to the evolving debates about reality categories traced in Chapter 2 but prior to the oft-construed advent or high point of realism in the eighties and nineties. Even at this relatively early stage of her career, Piatt articulated a consistent realist counterpoetics that challenged the conventions of romantic idealism from the inside—that is, from within the culture in which she was simultaneously pursuing her career. These poems reproduce conventions of genteel poetry in complex forms of reiteration that function as replication or indictment. This poetic practice is also one of the keys to Piatt’s realism.
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Maxwell, Catherine. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198701750.003.0001.
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The Introduction outlines the scope and range of this study of perfume in Victorian literary culture, defining its terms and explaining its specific links with aestheticism and decadence during 1860–1900, the period in which British perfumery developed, expanded, and gained an international reputation. It also explains the important links between perfume and literary language, surveys various kinds of modern writing about smell and perfume, and indicates the relatively small amount of critical writing on olfaction in Victorian literature. Finally, signalling the broadly chronological organization of this monograph, it provides detailed chapter summaries which trace an evolutionary movement from Romantic poetry and early and mid-Victorian fiction to aestheticism, decadence, and the literature of the fin de siècle, ending with Virginia Woolf and Compton Mackenzie, two early twentieth-century novelists whose works provide contrasting reactions to Victorian scented literature and perfumed decadence.
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Milnes, Tim. The Testimony of Sense. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198812739.001.0001.
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British intellectual culture witnessed a sharp reduction in the volume of epistemological debate between the mid-eighteenth and early nineteenth centuries. This change coincided with a relocation of philosophical discourse from the treatise to the informal writing of the essayist. This study argues that these two phenomena are related. Around the middle of the eighteenth century, the idea of intersubjectivity emerged as a counterdiscourse to scientific empiricism. Exemplified by Hume’s ‘easy’ philosophy, it sought to reground epistemological correspondence in social correspondence, in the circulation of trusting conversation. Contemporaneously, the rise of the essay, like the concern with trust, reveals the period’s preoccupation with the ways in which intellectual life was being shaped by economic change. The essay genre sought to effect a performative critique of instrumental reason which, while essentially nostalgic in its desire for unsystematic accomplishment, presented a pragmatic counterthrust to Enlightenment rationality. For David Hume and Samuel Johnson, the performance of virtue represents and enacts the social solidarity that either underpins norms or reflects moral truths. For later essayists, however, the fiction of familiarity was both more tenuous and more urgent. In the Romantic period, the essayist’s primary burden became one of establishing social and epistemological norms through the exercise of imaginative power. In the essays of Charles Lamb and William Hazlitt, the enactment of familiar conversation created an experience of singularity and enchantment that was linked to idealized and nostalgic forms of sociability. Thus, while the eighteenth-century essay consolidated ‘truth’, the Romantic essay produced it.
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Pratt, Lynda. Non-Publication. Edited by David Duff. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.013.32.
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Understanding of Romanticism is currently dominated and shaped by a belief in the primacy of print culture. This chapter explores a cultural phenomenon that coexisted with and ran counter to this familiar narrative: non-publication. In the late eighteenth and early nineteenth centuries, manuscript production massively outnumbered print publication. Manuscript culture was exuberant, wide-ranging, complex, and dominant. It also was symptomatic of a wider, more pervasive culture of non-publication. This encompassed the suppression of completed writings, bibliophobia (an aversion to publication and to print culture), and non-execution, including the refusal to write. Non-publication had a massive impact on writers and readers. It played a crucial, yet hitherto overlooked role in shaping both the Romantic period and our own sense of literary history.
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Taiz, Lincoln, and Lee Taiz. Flora Unveiled. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190490263.001.0001.
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Sex in animals has been known for at least ten thousand years, and this knowledge was exploited during animal domestication in the Neolithic period. In contrast, sex in plants wasn’t discovered until the late seventeenth century. Even after its discovery, the sexual “theory” continued to be hotly debated for another 150 years, pitting the “sexualists” against the “asexualists.” Why was the idea of sex in plants so contentious for so long? In answer, Flora Unveiled offers a deep history of perceptions concerning plant gender and sexuality, from the Paleolithic to the nineteenth century. Evidence suggests that an obstacle far beyond the mere facts of pollination mechanisms stymied the discovery of two sexes in plants, and then delayed its acceptance. This was a “plants-as-female” paradigm. Flora Unveiled explores the sources of this gender bias, beginning with women’s roles as gatherers, plant-textile makers, crop domesticators, and early horticulturists. In myths and religions of the Bronze and Iron Ages, goddesses were strongly identified with flowers, trees and agricultural abundance. During the Middle Ages and Renaissance, this tradition was assimilated to Christianity in the person of Mary. The one-sex model of plants continued into the Early Modern Period, and staged resurgences during the eighteenth century Enlightenment and in the Romantic movement. Not until the nineteenth century, when Wilhelm Hofmeister demonstrated the universality of sex in the plant kingdom, was the controversy over plant sex finally resolved. Flora Unveiled chronicles how persistently cultural biases can impede discovery and delay the acceptance of scientific advances.
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McClelland, Clive. and. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0011.
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The topical label ofSturm und Drang, which draws on parallels between certain movements of Haydn’s middle-period symphonies and the trend in German Romantic literature (Wyzewa 1909) was deemed misguided and no longer fit for purpose in the discipline of topic theory. In this chapter it is replaced bytempesta. This termacknowledges the origins of the topic not in Haydn’s symphonies, but in early opera, since the musical language clearly derives from depictions of storms and other devastations in the theater.Tempestais to be regarded as the counterpart ofombra, the menacing style of music associated with the supernatural. Both styles are often juxtaposed in infernal scenes, where the creeping terror ofombrais contrasted with the fast frenzy oftempesta. The aesthetic framework for these topics is Burke’s “sublime of terror” (1758) rather than the German literarySturm und Drang.
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Kahn, Andrew. Russian Literature between Classicism and Romanticism. Edited by Paul Hamilton. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.013.26.
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The joint discovery of sensibility and subjectivity is the hallmark of early Romanticism in Russia. In the 1780s and 1790s, younger writers—mostly amateur men of letters and the occasional noble woman—extended older debates about the elements of style and correct verse form. Writers were able to move between classical models and more experimental forms of subjectivity. Debate about the purpose of literature and its national cultural orientation and obligations intensified in the 1820s. At the end of the period covered in this chapter we see the breakdown of support for literature conceived as playful and gentlemanly. The advent of a full-blown Romantic movement, supported by the growth of the reading public, proliferation of literary journals, and the establishment of literary criticism as an institution, caused more writers to take entrenched positions and break with the past.
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Rosenmeyer, Patricia A. Modern Memnon. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190626310.003.0006.
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Chapter 6 starts with the accidental silencing of the statue in the early third century CE, and jumps ahead to its rediscovery in Europe. In the mid-eighteenth century, travelers reported seeing a huge statue with poems etched on its surface. Later, Napoleon’s surveyors brought back drawings scribbled down in their free time. The nineteenth century saw a craze for all things Egyptian: Hegel mentioned the colossus; Keats and Wordsworth turned Memnon into a Romantic hero. Memnon functioned as an alter ego for the poet himself, broken in body yet still striving to sing in the harsh environment of the real world. Just as he had in the imperial period, Memnon also represented something strange and inexplicable. The striking voice of Shelley’s “Ozymandias” is also heard only in the context of fragmentation and decay. The status of these statues as fragments, as colossal wrecks, allows for the magic of the voice.
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Gentry, Philip M. Singing Smoothly. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190299590.003.0002.
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The early R&B vocal group the Orioles are often credited with launching the musical style later known as doo-wop, especially with their 1949 hit “It’s Too Soon to Know” and their last charting number, “Crying in the Chapel” (1953). Their smooth romantic ballads became some of the first crossover hits of the postwar era, and were an alternative to more aggressive masculinities emerging out of the jump blues. This chapter illustrates this choreography of gender through live stage shows, recordings, interviews, and period reviews in the African American press. The short-lived periodical Tan Confessions adds particular nuance, featuring interviews with stars like Sonny Til alongside housewares advertisements targeted at African American women. This masculinity should be understood as a strategy linked with Cold War discourses of consensus and consumption, and the anxieties over masculinity expressed in Franklin Frasier’s Black Bourgeoisie in the historical moment of postwar desegregation.
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Hutcheon, Linda, and Michael Hutcheon. Adaptation and Opera. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.17.
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The tried and tested, not the new and original, became the norm early in the over-400-year history of opera, the Ur-adaptive art: because opera is a costly art form to produce, misjudging one’s audience can be disastrous. This may explain the persistence of a version of that familiar, limiting fidelity theory that has gone out of fashion in recent years in other areas. Since the Romantic period, opera’s tradition of Werktreue has demanded authenticity in realizing the operatic work authenticated by tradition. This has made the critical acceptance of adaptations of opera to film, for instance, a challenge. This essay theorizes not only adaptation into opera but also the adaptation of operas to both old and new media. The first, opera as adaptation, is especially complex, for it involves a series of stages: adapted text to libretto; libretto set to musical score; both libretto and score put on stage.
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Warren, Christopher N. Henry V, Anachronism, and the History of International Law. Edited by Lorna Hutson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199660889.013.41.
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Historians, literary scholars, and international lawyers interested in the early modern period have all grappled with the problem of anachronism, yet mostly independently of one another. This essay uses the question of war crime in Shakespeare’s Henry V to argue that early modernists interested in international law need not reject synchronic historicism for explicitly anachronistic or presentist approaches. Proposing as a new context for Shakespeare’s play a little-known humanist disputation by the civil lawyer Alberico Gentili, De amis Romanis (1599), it illuminates a juridical approach to the international past cultivated in the early modern period alongside the rise of international law—an approach closely linked with literary epistemologies.
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Swann, Karen. Lives of the Dead Poets. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823284184.001.0001.
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Biography has played an important role in the canonization of Keats, Shelley, and Coleridge. Each archive is saturated with stories of the life prematurely cut off or, in Coleridge’s case, of promise wasted in indolence; with reminiscences of contemporaries who describe subjects singularly unsuited to this world; and with stranger materials—death masks, bits of bone, locks of hair, a heart—preserved by circles and then sometimes circulating more widely, often in tandem with bits of the literary corpus. Especially when it centers on the early deaths of Keats and Shelley, biographical interest tends to be dismissed as a largely Victorian and sentimental phenomenon that we should by now have put behind us. And yet a line of verse by these poets can still, willy-nilly, trigger associations with biographical detail in a way that sparks pathos and produces intimations of prolepsis or fatality, even in readers suspicious of such effects. Biographical fascination—the untoward and involuntary clinging of attention to the biographical subject—is thus “posthumous” in Keats’s evocative sense of the term, its life equivocally sustained beyond its period. This book takes seriously the biographical fascination that has dogged the posthumous lives of the prematurely arrested figures of Keats, Shelley, and Coleridge. Arising in tandem with a sense of the threatened end of poetry’s allotted period, biographical fascination opens us to poetry’s modes of survival from the time of the romantic period, when it began to receive the first of its many death sentences, into our own present.
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Nicholls, Simon. The Notebooks of Alexander Skryabin. Translated by Michael Pushkin. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190863661.001.0001.
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Skryabin’s life spanned the tumultuous political events and artistic developments of the end of the nineteenth century and the early years of the twentieth but was cut short before the end of the First World War. In an era when the Russian musical scene was relatively conservative, he aligned himself with the poets, philosophers, and dramatists of the Silver Age. Possessed by an apocalyptic vision, aspects of which he shared with other Russian thinkers and artists of the period, Skryabin transformed his Romantic musical style into a far-reaching, radical instrument for the expression of his ideas. The core of the book is a full translation of the 1919 Moscow publication of Skryabin’s writings with the original introduction by Skryabin’s close friend Boris de Schloezer, brother of the composer’s life partner, Tat′yana. Schloezer’s introduction gives a vivid impression of the final years of Skryabin’s life. This text is supplemented by relevant letters and other writings. The commentary has been researched from original materials, drawing on accounts by the composer’s friends and associates. The roots of Skryabin’s thought in ancient Greek and German idealist philosophy, the writings of Nietzsche, Indian culture, Russian philosophy, and the Theosophical writings of H. P. Blavatsky are analysed, and accounts of the Poem of Ecstasy and Prometheus, the Poem of Fire show their relation to Skryabin’s world of ideas. A biographical section relates the development of the thought to the incidents of the composer’s life.
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Gray, Erik. Love and Poetry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198752974.003.0002.
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This chapter considers the relation between love and poetry by examining different theories of each. It begins with Horace’s Art of Poetry and Ovid’s Art of Love, which give very similar accounts of their respective subjects. Both phenomena are said to involve a counterpointing of contradictory forces: impulse and artistry, spontaneity and deliberate craft. The parallel persists in the work of thinkers across different periods. Thus the Romantics of the early nineteenth century describe a similar balance; both poetry and love, in their accounts, consist of a two-stage process in which momentary inspiration is followed and fulfilled by self-conscious reflection. These dualities find their ultimate model in Plato, who describes love as an effect of simultaneous recognition and disorientation. The same dichotomy is fundamental to poetry, notably through poetry’s use of meter, with its reliance on pattern and variation, and metaphor, with its emphasis on both similarity and difference.
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Esterhammer, Angela. Identity Crises. Edited by Paul Hamilton. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.013.39.
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This chapter addresses the European dimension of nineteenth-century celebrity culture, the extent to which it involves international media networks and figures who, in person and by reputation, crossed borders to engage with multiple publics. Fame on an international scale was facilitated by the reopening of the continent to travel and tourism after the Battle of Waterloo in 1815—but the post-Napoleonic era also altered the conditions of fame, and as the effects of celebrity culture made themselves felt, so did some ironic counter-currents. In the wake of the personality-driven poetry of Byron or the novels and essays of Mme de Staël, late Romantic literature manifests certain anti-celebrity impulses. All of this brings the issue of personal identity to the forefront in the literature and culture of the early nineteenth century, a moment when Romanticism’s recently awakened concern with unique subjectivity confronts the spectre of externalized, commodified, reproducible selves.
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Aleksandrova, Anna K., ed. Essays on the Political history of the Countries of Central and south-Eastern Europe. From the Late Twentieth to the Early Twenty-First Centuries. Nestor-Istoriia, 2020. http://dx.doi.org/10.31168/2712-8342.2020.1.
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This collective monograph is a comprehensive study of the causes, evolution and outcomes of complex processes in the contemporary history of the countries of Central and South-Eastern Europe, and aims in particular to identify common and special characteristics in their socio-economic and political development. The authors base their work on documentary evidence; both published and unpublished archival materials reveal the specifics of the development of the political landscapes in these countries. They highlight models combining both European and nationally oriented (and even nationalist) components of the political spheres of particular countries; identify markers which allow the stage of completion (or incompletion) of the establishment of a new political system to be estimated; and present analyses of the processes of internal political struggle, which has often taken on ruthless forms. The analysis of regional and country-specific documentary materials illustrates that the gap in the development of the region with “old Europe” in general has not yet been overcome: in the post-Socialist period, the situation of the region being “ownerless” and “abandoned”, characteristic of the period between the two world wars, is reoccurring. The authors conclude that during the period from the late twentieth to the early twenty-first centuries, the region was quite clearly divided into two parts: Central (the Visegrad Four) and South-Eastern (the Balkans) Europe. The authors explore the prevailing trends in the political development of Hungary and Poland related to the leadership of nationally and religiously oriented parties; in the Czech Republic and Slovakia the pendulum-like change in power of the left and right-wing parties; and in Bulgaria and Romania the domestic political processes permanently in crisis. The authors pay special attention to the contradictory nature of the political evolution of the states that emerged in the space of the former Yugoslavia. For the first time, Greece and Turkey are included in the context of a regional-wide study. The contributors present optimal or resembling transformational models, which can serve as a prototype for shaping the political landscape of other countries in the world. The monograph substantiates the urgency of the new approach needed to study the history and current state of the region and its countries, taking into account the challenges of the time, which require strengthening national and state identity. The research also offered prognostic characteristics of transformational changes in the region, the Visegrad Four, and the Balkans.
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Ameriks, Karl. Kantian Subjects. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198841852.001.0001.
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The first half of this book concerns issues directly related to a few key Kant texts and recent discussions of them. The Critical philosophy’s conception of subjectivity is the main focus, with special attention given to the features of freedom, autonomy, law, necessity, final ends, an overall human vocation, intentionality, and idealism. The second half contains essays on post-Kantian figures, with an emphasis on Hegel, Schelling, and Hölderlin and their role in introducing a fruitful ‘historical turn’ in philosophical methodology as well as a new conception of being a subject understanding itself as living a period of ‘late modernity.’ This period is still devoted to enlightenment ideals while recognizing limitations in the eighteenth century scientific and political developments that preoccupied Kant. Two major strands of post-Kantian philosophy along this line are distinguished: the more systematic approach of the classical works of German Idealism, and the mixed methodology of the Early Romantics, who also composed their main works in the context of Jena and the highly popular interpretation of Kant that was offered there by Reinhold. Highlights of the first part of the book include new close readings of Kant’s Groundwork and its relation to later thinkers such as Sartre, Murdoch, O’Neill, Prauss, and Brandom. The second part develops a post-Kantian philosophy of history, as outlined by Novalis and Schlegel, and connects this with a close reading of a number of texts by Hölderlin, who is argued to be the most Kantian and philosophically the most satisfying of the post-Kantians.
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Bailey, Doug. Breaking the Surface. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190611873.001.0001.
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This book is the first monograph-length attempt at a new way to engage the past: art/archaeology. Taking as its focus the excavation and interpretation of pit-houses in Neolithic Europe, the book critiques current thinking on these early architectural constructions and then provides an original and provocative exploration of the critical element that previous work has neglected: the actions and consequences of digging as defined as breaking the surface of the ground. The work of the book is performed by juxtaposing richly detailed discussions of archaeological sites (Etton and The Wilsford Shaft in the UK, and Măgura in Romania) with the work of three artists-who-cut (Ron Athey, Gordon Matta-Clark, Lucio Fontana), with deep and detailed examinations of the philosophy of holes, the perceptual psychology of shapes, and the linguistic anthropology of cutting and breaking words, as well as with the diversity of frames of spatial reference used by different communities and an understanding of a premodern ungrounded way of living. The book is as much a creative act on its own (seen in its layout, its mixture of work from many disparate periods and regions, and its use of text interruption), as it is an interpretive statement about prehistoric architecture (i.e., the pit-houses of prehistoric Europe and beyond).