Books: 'Maler der Romantik'

1

Gobert, Renata Klée. Victor Emil Janssen 1807-1845: Ein Hamburger Maler der Romantik. Hamburg: Christians, 1988.

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2

Kai, Wenzel, Winzeler Marius, Städtische Sammlungen für Geschichte und Kultur Görlitz. Freunden, and Kulturhistorisches Museum Barockhaus (Görlitz, Germany), eds. Zum Maler geboren: Franz Gareis (1775-1803) : Gemälde, Zeichnungen und Druckgrafik eines Wegbereiters der deutschen Romantik. Görlitz-Zittau: G. Oettel, 2003.

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3

Rieger, Angelica. Alter ego: Der Maler als Schatten des Schriftstellers in der französischen Erzählliteratur von der Romantik bis zum Fin de siècle. Köln: Böhlau, 2000.

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4

Rubi, Rudolf. Die Bergwelt des Berner Oberlandes: Werke von Schweizer Malern : Maler aus der Romandie, Ferdinand Hodler und seine Werke aus der Jungfrauregion. Grindelwald: E. Sutter-Lehmann, 1991.

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5

Male-Male Intimacy in Early America: Beyond Romantic Friendships. New York: Harrington Park Press, 2005.

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6

Romantic androgyny: The women within. University Park: Pennsylvania State University Press, 1990.

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7

Crider, Bill. A romantic way to die. Toronto, Ont: Worldwide, 2002.

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8

Daniels, Michael Chacko. That damn romantic fool. 2nd ed. Calcutta: A Writers Workshop publication, 2005.

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9

A romantic way to die: A Sheriff Dan Rhodes mystery. New York: Thomas Dunne Books, 2001.

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10

Feeding on infinity: Readings in the romantic rhetoric of internalization. Baltimore: John Hopkins University Press, 2000.

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11

Sexual power in British romantic poetry. Gainesville: University Press of Florida, 1996.

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12

Manly love: Romantic friendship in American fiction, 1850-1900. Chicago: The University of Chicago Press, 2009.

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13

Fischerová, Andrea. Romanticism gendered: Male writers as readers of women's writing in romantic correspondence. Newcastle: Cambridge Scholars, 2008.

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14

Romanticism gendered: Male writers as readers of women's writing in romantic correspondence. Newcastle: Cambridge Scholars, 2008.

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15

Stoica, Aurelia. Literatură, arte, idei în "Alma Mater"/"Dialog", 1969-1990: Indice bibliografic. Iași: Editura Universității "Alexandru Ioan Cuza", 2005.

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16

Romantic doubles: Sex and sympathy in British gothic literature, 1790-1830. New York: AMS Press, 2002.

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17

The perversity of poetry: Romantic ideology and the popular male poet of genius. Albany: State University of New York Press, 2005.

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18

Heyam, Kit. The Reputation of Edward II, 1305-1697. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463729338.

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During his lifetime and the four centuries following his death, King Edward II (1307-1327) acquired a reputation for having engaged in sexual and romantic relationships with his male favourites, and having been murdered by penetration with a red-hot spit. This book provides the first account of how this reputation developed, providing new insights into the processes and priorities that shaped narratives of sexual transgression in medieval and early modern England. In doing so, it analyses the changing vocabulary of sexual transgression in English, Latin and French; the conditions that created space for sympathetic depictions of same-sex love; and the use of medieval history in early modern political polemic. It also focuses, in particular, on the cultural impact of Christopher Marlowe’s Edward II (c.1591-92). Through such close readings of poetry and drama, alongside chronicle accounts and political pamphlets, it demonstrates that Edward’s medieval and early modern afterlife was significantly shaped by the influence of literary texts and techniques. A ‘literary transformation’ of historiographical methodology is, it argues, an apposite response to the factors that shaped medieval and early modern narratives of the past.

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19

In Search of the Dove: Peregrine Connection - 3. Don Mills, Canada: Harlequin Enterprises Limited, 1986.

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20

1946-, Sørensen Jens Erik, and Aarhus kunstmuseum, eds. Melankoli: Nordisk romantisk maleri. [Århus, Denmark]: Aarhus kunstmuseums forlag, 1991.

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21

After Mahler Britten Weill Henze And Romantic Redemption. Cambridge University Press, 2013.

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22

Benemann, William. Male-Male Intimacy in Early America: Beyond Romantic Friendships. Harrington Park Press, 2006.

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23

Benemann, William. Male-Male Intimacy in Early America: Beyond Romantic Friendships. Harrington Park Press, 2006.

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24

Ha, Thao, and Hanjoe Kim. The Paradox of Love in Adolescent Romantic Relationships. Edited by Thomas J. Dishion and James Snyder. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199324552.013.13.

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We investigate whether the amplification of positive affect during conflict discussions or “up regulation” between adolescent romantic partners functions to prevent or terminate interpersonal conflict. Unfortunately, this up regulation strategy may also result in unresolved relationship problems, and ultimately increase adolescent depressive symptoms. The concept of coercion is reviewed as it applies to conflict resolution and avoidance in a sample of 80 adolescent romantic relationships. Results from multilevel hazard models showed that longer durations of observed upregulation states predicted increases in depressive symptoms in both males and females over the course of 2 years. In addition, female depression predicted slower exits from coercive states, which in turn predicted higher levels of males’ depressive symptoms. Implications of these findings are discussed, as well as the possibility that positive affect can be negatively reinforced when it functions to avoid conflict in recently formed close relationships.

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25

Crider, Bill. A Romantic Way to Die. Worldwide Library, 2002.

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26

All The Fire. UK: Mills & Boon, 2014.

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27

Morris, Craig Eric, Melanie L. Beaussart, Chris Reiber, and Linda S. Krajewski. Intrasexual Mate Competition and Breakups. Edited by Maryanne L. Fisher. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199376377.013.19.

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Female competition for male attention is multifaceted. Typically psychological and relational in nature, this competition may be no less damaging than physical violence more commonly used between males. Research on female–female mate competition has examined short-term effects, yet how women cope with long-term effects of romantic relationship dissolution has been little explored. If negative emotions exist because they provide an evolutionary advantage (attuning physiological processes, thoughts, and behaviors to deal with situations that have frequently incurred high fitness costs), then emotions arising from the loss of a mate to a sexual rival may potentially motivate actions that could make one avoid this scenario in the future. This essay argues that there are consequences of female intrasexual mate competition that may be both evolutionarily adaptive and also beneficial in terms of personal growth and that may expand beyond mating and into other realms of personal development.

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28

Arnocky, Steven, and Tracy Vaillancourt. Sexual Competition among Women. Edited by Maryanne L. Fisher. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199376377.013.3.

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Darwin (1871) observed in his theory of evolution by means of sexual selection that “it is the males who fight together and sedulously display their charms before the female” (p. 272). Researchers examining intrasexual competition have since focused disproportionately on male competition for mates, with female competition receiving far less attention. In this chapter, we review evidence that women do indeed compete with one another to secure and maintain reproductive benefits. We begin with an overview of the evolutionary theory of competition among women, with a focus on biparental care and individual differences in men’s mate value. We discuss why competition among women is characteristically different from that of men and highlight evidence supporting women’s use of epigamic display of physical attractiveness characteristics and indirect aggression toward same-sex peers and opposite-sex romantic partners as sexually competitive tactics. Finally, individual differences in competition among women are discussed.

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29

Mellor, Anne K. Gender Boundaries. Edited by David Duff. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.013.13.

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The social construction of gender in Britain during the Romantic era—in which males were consigned to the public sphere and females to the private sphere under the laws of couverture—produced an all-important difference between the writings of men and women, what we might call masculine as opposed to feminine Romanticism. Male writers tended to celebrate the development of an autonomous self, the divinity of the creative imagination, a political revolution leading to democratic freedom, and the elevation of poetry as the highest genre. Female writers, in contrast, embraced an ideology grounded in family politics; the equality of the sexes and races; the value of rationality, prudence, and self-discipline; a relational self; and the genre of the novel as the form best suited to represent the gradual evolution of the community over time. The Gothic novel offers a compelling example of the difference that gender can make.

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30

Matthews, Samantha. Album Verses and Romantic Literary Culture. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857945.001.0001.

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‘Will you write in my album?’ Many Romantic poets were asked this question by women who collected contributions in their manuscript books. Those who obliged included Byron, Scott, Wordsworth, and Lamb, but also Felicia Hemans, Amelia Opie, and Sara Coleridge. Album Verses and Romantic Literary Culture presents the first critical and cultural history of this forgotten phenomenon. It asks a series of questions. Where did 1820s ‘albo-mania’ come from, and why was it satirized as a women’s ‘mania’? What was the relation between visitors’ books associated with great institutions and country houses, personal albums belonging to individuals, and the poetry written in both? What caused albums’ re-gendering from earlier friendship books kept by male students and gentlemen on the Grand Tour to a ‘feminized’ practice identified mainly with young women? When albums were central to women’s culture, why were so many published album poems by men? How did amateur and professional poets engage differently with albums? What does album culture’s privileging of ‘original poetry’ have to say about attitudes towards creativity, poetic practice, and the print marketplace? Album Verses recovers a distinctive subgenre of occasional poetry composed to be read in manuscript, with its own characteristic formal features, conventions, themes, and cultural significance. Unique albums examined include that kept at the Grande Chartreuse, those owned by Regency socialite Lady Sarah Jersey, and those kept by the Lake poets’ daughters. Album Verses and Romantic Literary Culture shows that album poetry reflects changing attitudes to identity, gender, class, politics, poetry, family dynamics, and social relations between 1780 and 1850.

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31

Duff, David, ed. The Oxford Handbook of British Romanticism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.001.0001.

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The Oxford Handbook of British Romanticism offers a comprehensive guide to the literature and thought of the Romantic period, and an overview of recent research. Written by a team of international experts, the Handbook analyses all aspects of the Romantic movement, pinpointing its different historical phases and analysing the intellectual and political currents which shaped them. It gives particular attention to devolutionary trends, exploring the English, Scottish, Welsh, and Irish strands in ‘British’ Romanticism and assessing the impact of the constitutional changes that brought into being the ‘United Kingdom’ at a time of political turbulence and international conflict. It also gives extensive coverage to the publishing and reception history of Romantic writing, highlighting the role of readers, reviewers, publishers, and institutions in shaping Romantic literary culture and transmitting its ideas and values. Divided into ten sections, the Handbook covers key themes and concepts in Romantic studies as well as less chartered topics such as freedom of speech, literature and drugs, Romantic oratory, and literary uses of dialect. All the major male and female Romantic authors are included, along with numerous less well-known names, the emphasis throughout being on the diversity of Romantic writing and the complexities and internal divisions of the culture that sustained it. The structure of the volume, and the titling of sections and chapters, strike a balance between familiarity and novelty so as to provide both an accessible guide to current thinking and a conceptual reorganization of this fast-moving field.

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32

Axel, Nissen, ed. The romantic friendship reader: Love stories between men in Victorian America. Boston: Northeastern University Press, 2003.

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33

Flitter, Derek. Personal Demons and the Spectre of Tradition in Spanish Romantic Drama. Edited by Paul Hamilton. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.013.25.

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One thing which emerges as a consistent feature of Spanish Romantic drama, from Larra to Rivas, from Hartzenbusch to Zorrilla, is the contestatory exposition, normally by the male lead, of a radical and challenging prescription for a new understanding of love, life, and the world which is then defeated by external forces or, more commonly, is mitigated by the mediating figure of the heroine. Parallels with prevalent trends in the narratives of Spanish historiography evince an alluring seduction by the wiles of Enlightenment France before a return to the traditional Spanish fold is an obvious suggestion, but there are others. Espronceda’s student of Salamanca and his demise at the hands of the spectre of the past (past love, past Calderonian play, and uncompromising theocentric history) would certainly fit into this.

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34

Mayer, Peta. Misreading Anita Brookner. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620597.001.0001.

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Anita Brookner was a best-selling women’s writer, Booker Prize winner and an historian of French Romantic art. However she is best known for writing boring, outdated books about lonely, single women. This book offers a queer rereading of Brookner by demonstrating the performative Romanticism of her novels to narrate multiple historical forms of homoerotic desire. It draws on diverse nineteenth-century intertexts from Charles Baudelaire to Henry James, Renée Vivien to Freud to establish a cross-historical and temporal methodology that emphasises figures of anachronism, the lesbian, the backwards turn and the woman writer. Delineating sets of narrative behaviours, tropes and rhetorical devices between Brookner’s Romantic predecessors and her own novels, the book produces a cast of Romantic personae comprising the military man, analysand, queer, aesthete, dandy, flâneur, degenerate and storyteller as hermeneutic figures for rereading Brookner. It then stages the performance of these personae along the specified narrative forms and back through six Brookner novels to reveal queer stories about their characters and plotlines. This new interpretation offers ways to think about Brookner’s contemporary female heroines as hybrid variations of (generally male) nineteenth-century artist archetypes. As a result it simultaneously critiques the heterosexual and temporal misreading that has characterised Brookner’s early reception.

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35

Romantic Friendship in Victorian Literature (The Nineteenth Century Series). Ashgate Pub Co, 2007.

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36

Felluga, Dino Franco. The Perversity of Poetry: Romantic Ideology And the Popular Male Poet of Genius. State University of New York Press, 2006.

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37

Lange, Barbara Rose. Ági Szalóki and Multiethnic Femininity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.003.0003.

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Chapter 2 details how female performers with Romani (Gypsy) and Magyar ancestry face constraints of mixed ethnicity and gender, discussing the career of singer Ági Szalóki. The chapter outlines how Magyar female performers singing music of all regional ethnicities contributed to the folk revival in Hungary from the 1970s to the present; the international star Márta Sebestyén gave inspiration to young minority performers such as Szalóki, who then oriented their solo careers toward the liberalized society and the middle class. The chapter details how Szalóki left a Balkan Romani-style band to pursue solo projects that blended folk song and jazz, resisting expectations that Romani and other folk music should sound rustic. The chapter argues that Szalóki’s projects got the best response in feminine spheres such as children’s music, even as her solo work challenged ideas around male leadership. It describes ways in which Szalóki spoke out against far-right nationalism.

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38

Kibler, M. Alison. Women at Play in Popular Culture. Edited by Ellen Hartigan-O'Connor and Lisa G. Materson. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190222628.013.24.

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The story of women’s participation in popular culture is more complex than the struggle to be included. Feminist activists have fought for legislation to end discrimination in leisure, sports, and popular culture. At the same time, advertisers have coopted feminism to sell a variety of products as symbols of emancipation for women, substituting purchasing power for political power. Gaining visibility in the media and as target audiences, and breaking into male spheres have not been the end of these feminist struggles; rather, women who gained opportunities in sport and leisure were often stereotyped as “mannish” or cast in reassuring feminine roles—beauty icons or heterosexual romantic heroines. It is important to trace women’s pathbreaking roles as spectators, fans, performers, and athletes as well as show how sport and popular culture are fundamentally gendered.

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39

Maxwell, Catherine. Top Notes. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198701750.003.0002.

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After a brief discussion of Eugene Rimmel and Septimus Piesse, two major manufacturers and promoters of Victorian perfume, this chapter provides an overview of fragrance use for the Victorians, and explores attitudes towards perfume in early and mid-Victorian fiction with special reference to the figure of the scented dandy. The second part of this chapter shows how Victorian poetry reflects the influential perfumed legacy of Romanticism and, in particular, Shelley, a key precursor for many aesthetic and decadent writers, with an illustrative reading of Edmund Gosse’s ‘Perfume’, a sonnet saturated with echoes from both Shelley and Keats. After a brief discussion of the ‘hothouse’ atmosphere of aestheticism, decadence, and the fin de siècle, the chapter concludes with reference to the aggressive reaction of male modernists, and in particular, T. S. Eliot, to a Romantic and Victorian culture seen as decadent, feminine, and perfumed.

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40

Ashes of Midnight. Dell, 2009.

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41

1945-, Killer Peter, and Stadthaus Olten (Olten Switzerland), eds. Näher kann man sich nicht ferner sein: Acht Maler und Zeichner aus der Romandie : Maya Andersson, André Chanson, Pierre Gattoni, Jean-Michel Jaquet, Christiane Lovay, Olivier Saudan, Francine Simonin und Laurent Veuve. [Olten: Vertrieb, Kunstmuseum Olten, 1987.

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42

Paszkiewicz, Katarzyna. Genre, Authorship and Contemporary Women Filmmakers. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474425261.001.0001.

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Genre, Authorship and Contemporary Women Filmmakers examines the significance of women’s contribution to genre cinema by highlighting the work of US filmmakers within and outside Hollywood – Kathryn Bigelow, Sofia Coppola, Nancy Meyers, Karyn Kusama and Kelly Reichardt, among others. Exploring genres as diverse as horror, the war movie, the Western, the costume biopic and the romantic comedy, Katarzyna Paszkiewicz interrogates questions of ‘genre’ authorship; the blurring of the borders between commercial and independent cinema and gendered discourses of (de)authorisation that operate within each sphere; ‘male’–‘female’ genre divisions; and the issue of authorial subversion in film and popular culture in a wider sense. With its focus on close analysis of the films themselves and the cultural and ideological meanings involved in the reception of genre texts authored by women, this book expands critical debates around women’s cinema and offers new perspectives on how contemporary filmmakers explore the aesthetic and imaginative power of genre.

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43

Helford, Elyce Rae. What Price Hollywood? University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813179292.001.0001.

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A prolific director of classic Hollywood cinema, George Cukor was known for his romantic comedies and dramas and his work with difficult leading ladies. For such work, he was labeled a “woman’s director.” He did build or enhance the careers of many strong, independent actresses, including Katharine Hepburn, Greta Garbo, Judy Holliday, Judy Garland, and Marilyn Monroe. However, the tag was also derogatory, referencing the fact of Cukor’s homosexuality. He was also called an “actor’s director,” for he emphasized his connections with his stars to draw out compelling performances even within his less effective films. Taking a queer feminist approach to these labels, the director, and his directing style, this volume explores issues of gender and sexuality within groups of Cukor pictures. Chapters reach across and among eras and genres to study small groups of films by theme, nuanced by ethnicity, class, and race. Topics covered include female friendships, the male alcoholic, domesticity and ethnic assimilation, gender performance, drag acts, and queer musical excess.

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44

Summerfield, Mark. The Earliness of Mahler’s Late Romanticism. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199316090.003.0003.

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The music of late Mahler recurrently features an elision of the traditional deceptive and perfect cadence progressions into a V–VI–I progression: a ‘deceptive perfect cadence.’ The way this progression is used in Mahler’s music can be related to Mahler’s descriptions of how musical works should be constructed, particularly his insistence on development, evolution, and the avoidance of clearly delineated boundaries. Schoenberg’s description of the use of the deceptive cadence to introduce a digression provides the basis for an alternative to descriptions of Mahler’s musical techniques, particularly those relating to closure or cadential practice, which concentrate on modernistic juxtapositions or the subversion of classical techniques. Instead, I will show how Mahler’s ‘digressive’ musical language relates to nineteenth-century conceptions of the organic fragment which reach back to the aesthetics of early romantics such as Wilhelm Friedrich Schlegel.

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45

Berrettini, Mark L. Efficiency, Estrangement, and Antirealism. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252035951.003.0001.

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This chapter presents a commentary on Hal Hartley's film career. It begins with a biographical sketch based on material included in interviews, reviews, and essays about Hartley's work, and an earlier version of his official website, possiblefilms.com. It then moves on to analyze seven feature films: The Unbelievable Truth (1989), Trust (1990), Simple Men (1992), Amateur (1994), Henry Fool, Fay Grim (2006), and The Book of Life (1998). These films show that efficiency, estrangement, and antirealism allow Hartley to chart the struggles of individuals against the ideological precepts that pertain to public and private behavior, responsible actions, “common sense,” and the cinematic conventions that support such ideologies. (e.g., romantic characters who will live “happily ever after”).These conflicts are often related to the restrictions posed by gender norms and are depicted as conflicts with authority figures. Hartley's male protagonists struggle to live up to popular ideals of heteronormative masculinity, control, and violent mastery of the world around them, while his central female characters break from heteronormative conceptions of women as mothers, caregivers, and/or sexual objects.

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46

Luo, Liang. The White Snake in Hong Kong Horror Cinema: from Horrific Tales to Crowd Pleasers. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0003.

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Considered one of the four legends in the Chinese oral tradition, the legend of the White Snake and its theatrical and popular cultural metamorphoses played an important role in the pre-cinematic origins of Hong Kong horror cinema. This chapter surveys the changing representation of gender and horror in a series of films based on the White Snake legend from the 1920s to the 1970s. Centred on a very horrific concept (a monstrous snake disguised as a beauty and married to a human male), these films nonetheless enrich or even challenge our understanding of the genre of horror cinema in their service to a wide range of other genres: operatic performance, romantic melodrama, fantasy adventure, slapstick comedy, and social and political commentary. In addition to challenging the very concept of horror, this cluster of White Snake films poses further challenges to the idea of “Hong Kong cinema,” as it ranges from a Tokyo production, a Shanghai production, a Hong Kong-Japan coproduction, to a production based in Hong Kong with South Asian distributors, and a Hong Kong-Taiwan coproduction with a Shaw Brothers director.

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47

Ellis, David. Love and Sex in D. H. Lawrence. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781942954026.001.0001.

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Although love and sex are central to Lawrence, critics have paid surprisingly little attention to the way these two topics are treated in his work. Reasons for this are suggested in the preface to this book which is written in the spirit of Wittgenstein’s claim that, when we are puzzled or challenged by a phenomenon, we should be less concerned with seeking new knowledge than putting into order what we already know. Yet those concerned by the present dip in Lawrence’s reputation (among academics, if not the general public) have to be worried by how strange and unexpected the results are when Lawrence’s dealings with love and sex are followed throughout his life and career. This is what this book undertakes to do, describing how the tortuous developments in his relationship with Jessie Chambers are reflected in his writing, his struggle against his undoubted leanings towards homosexuality, the war he declared on the concept of romantic love and how, after insisting on the idea of male dominance, he returned (although only in part) to a more humane vision of relations between the sexes in the various versions of Lady Chatterley’s Lover. Its aim is to suggest that although Lawrence is undoubtedly a major writer, his greatest achievements are not to be found where he is popularly thought to be at his most impressive and that the authority he assumes, in his last years, when he lectures the young on love and sex, ought to be regarded as suspect..

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Books on the topic 'Maler der Romantik'

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