Journal articles: 'Women in literature. Romanticism'

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Montwieler, K. "Fatal Women of Romanticism." Essays in Criticism 54, no. 2 (April 1, 2004): 188–96. http://dx.doi.org/10.1093/eic/54.2.188.

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Boutin, A. "Shakespeare, Women, and French Romanticism." Modern Language Quarterly 65, no. 4 (December 1, 2004): 505–29. http://dx.doi.org/10.1215/00267929-65-4-505.

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Lodge, Sara. "Adriana Craciun's Fatal Women of Romanticism." Romanticism 10, no. 1 (April 2004): 119–21. http://dx.doi.org/10.3366/rom.2004.10.1.119.

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Labbe, J. "Review: Fatal Women of Romanticism." Notes and Queries 51, no. 2 (June 1, 2004): 205–7. http://dx.doi.org/10.1093/nq/51.2.205.

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Labbe, Jacqueline. "Review: Fatal Women of Romanticism." Notes and Queries 51, no. 2 (June 1, 2004): 205–7. http://dx.doi.org/10.1093/nq/510205.

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Anderson, John M., Carol Shiner Wilson, and Joel Haefner. "Re-Visioning Romanticism: British Women Writers, 1776-1837." Studies in Romanticism 38, no. 1 (1999): 103. http://dx.doi.org/10.2307/25601375.

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Maniquis, R. M. "In the Theatre of Romanticism: Coleridge, Nationalism, Women." Modern Language Quarterly 57, no. 4 (January 1, 1996): 651–54. http://dx.doi.org/10.1215/00267929-57-4-651.

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WILLIAMS, A. "REVIEW OF ADRIANA CRACIUN, FATAL WOMEN OF ROMANTICISM." Nineteenth-Century Literature 58, no. 4 (March 1, 2004): 550–53. http://dx.doi.org/10.1525/ncl.2004.58.4.550.

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Diaby, Bakary. "Black Women and/in the Shadow of Romanticism." European Romantic Review 30, no. 3 (May 4, 2019): 249–54. http://dx.doi.org/10.1080/10509585.2019.1612568.

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Major, Emma. "Bluestockings: Women of Reason from Enlightenment to Romanticism." Women's Writing 18, no. 3 (July 22, 2011): 447–49. http://dx.doi.org/10.1080/09699082.2011.577306.

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E, Priya. "PORTRAYAL OF WOMEN AND NATURE IN KINGSOLVER'S NOVEL FLIGHT BEHAVIOUR." Kongunadu Research Journal 4, no. 1 (June 30, 2017): 27–28. http://dx.doi.org/10.26524/krj170.

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Literary eco -criticism is concerned with the ways that the relation between humans and nature are reflected in literary texts -the relationship of human beings with each other and with their environment. Literature has rich ecological heritage because literary history has many works on romanticism, naturalism, transcendentalism, literature of landscape and frontier literature. This paper aims to portray how Kingsolver used women and nature in her novel flight behaviour.

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Mary, Waldron. "Romanticism and Women Poets: opening the doors of reception." Women's Writing 7, no. 3 (October 1, 2000): 497–510. http://dx.doi.org/10.1080/09699080000200395.

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Fulford, Tim, and Julie A. Carlson. "In the Theatre of Romanticism: Coleridge, Nationalism, Women." Modern Language Review 90, no. 4 (October 1995): 985. http://dx.doi.org/10.2307/3733081.

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Schmid, Susanne. "Bluestockings: Women of Reason from Enlightenment to Romanticism. Elizabeth Eger." Wordsworth Circle 41, no. 4 (September 2010): 238–40. http://dx.doi.org/10.1086/twc24043662.

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Hoagwood, Terence Allan. "In the Theatre of Romanticism: Coleridge, Nationalism, Women. Julie A. Carlson." Wordsworth Circle 26, no. 4 (September 1995): 196–98. http://dx.doi.org/10.1086/twc24042717.

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Kohlenbach, Margarete. "Women and Artists: E. T. A. Hoffmann's Implicit Critique of Early Romanticism." Modern Language Review 89, no. 3 (July 1994): 659. http://dx.doi.org/10.2307/3735123.

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Mellor, A. K. "Were Women Writers "Romantics"?" Modern Language Quarterly 62, no. 4 (December 1, 2001): 393–406. http://dx.doi.org/10.1215/00267929-62-4-393.

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Dunn, James A. "Charlotte Dacre and the Feminization of Violence." Nineteenth-Century Literature 53, no. 3 (December 1, 1998): 307–27. http://dx.doi.org/10.2307/2903042.

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Charlotte Dacre's relatively neglected fictions create a unique space in the dialectic of violence that characterizes so much of British Romanticism. Her simultaneous attraction to and repulsion from violence is reflective of an era that apotheosized the sublime, which formed its imagination on the bloody Revolution in France and the increasingly visible brutalities of industrialism, and that made the Gothic its most popular literary commodity. But Dacre's peculiar contribution to this hermeneutic is to build through her four major novels a mythology by which violence emerges, most of all, from feminine libidinous drives. This essay, therefore, begins by contrasting Dacre's approach to feminine sexual desire with that of two other notable women writers of the period, Letitia Elizabeth Landon and Mary Tighe. The essay continues to explore Dacre's most purely Gothic expression, Zofloya (1806), particularly through the scene in which Victoria stalks, attacks, and murders a girl whom she perceives to be her sexual rival. And it concludes with an analysis of a lesser-known novel, The Passions (1811), and its vibrant anti-heroine, Appollonia Zulmer. Troped as noble hunter, ferocious goddess, social critic, and scorned woman, Appollonia is Dacre's most complex vision of the meaning of feminine violence. Still, Dacre's ultimate inclination is toward tragic irony: though she vigorously rewrites the conventional Gothic script (where women are the victims of demonic men), she does not envision anything like the comic release dreamed of, more than a century later, in Hélène Cixous's "The Laugh of the Medusa."

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Rosenthal, Debra J. "The White Blackbird: Miscegenation, Genre, and the Tragic Mulatta in Howells, Harper, and the "Babes of Romance"." Nineteenth-Century Literature 56, no. 4 (March 1, 2002): 495–517. http://dx.doi.org/10.1525/ncl.2002.56.4.495.

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In this essay I construct a literary genealogy that situates William Dean Howells in the middle of a call-and-response literary conversation with popular women writers about race, gender, and genre. Since Howells correlated racial questions with realism, his only novel that treats intermarriage, An Imperative Duty (1891), offered Howells an opportunity to deploy his presumably objective, scientific, realist knowledge about race in order to challenge women's romantic miscegenation plots found in Margret Holmes Bates's The Chamber over the Gate (1886) and Alice Morris Buckner's Towards the Gulf (1887), two novels that he had recently read and reviewed. Yet the tragic mulatta stereotype, a stock figure of romanticism and sentimentality that was resistant to scientific discourse, ruptures Howells's goal of representing the figure according to the tenets of realism. In Iola Leroy (1892), Frances Ellen Watkins Harper cunningly recasts the tragic mulatta stereotype both to critique Howells's project and to represent the potential of black womanhood. Knowledge of Bates and Buckner can change critical conversation about the influence of women writers on Howells, the understanding of the role of the racialized woman in his fiction, and his conception of the link between the romantic mulatta and realist representation. Likewise, Harper takes issue with Howells's supposed ironic sophistication about race, and in Iola Leroy she rewrites many of his views in order to show the ways that miscegenation is at once a novelistic and a national problem.

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Fitzer, Anna M. "Fashionable Connections: Alicia LeFanu and Writing from the Edge." Romanticism 24, no. 2 (July 2018): 179–90. http://dx.doi.org/10.3366/rom.2018.0371.

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This article focuses upon Alicia LeFanu (fl. 1809–36), author of several poems, six multi-volume novels, a critical biography of her grandmother, Frances Sheridan, and articles for the Court Magazine. Descended from an eminent literary family, and since misremembered as a mere ‘petticoat novelist’, LeFanu complicates ideas of the centre and the periphery in her writing. I explore how this interest is figured in LeFanu's use of the chapter epigraph, developing work I have undertaken as editor of LeFanu's early novel, Strathallan (1816). LeFanu's epigraphs persist across her fiction as a dimension in which she not only reflects upon literary legacies, but also contests the boundaries of her own print culture. Through its consideration of LeFanu, as author and reader, the article further reflects upon the significance of her example for a broader understanding of other women writers at the edges and borders of Romanticism, and of their literary networks.

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Friedman, Geraldine S. "Women’s Literary Networks and Romanticism: “A Tribe of Authoresses,” / Romantic Women Writers and Arthurian Legend: The Quest for Knowledge." European Romantic Review 30, no. 4 (July 4, 2019): 449–53. http://dx.doi.org/10.1080/10509585.2019.1638095.

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Chakraborty, Arijit. "Love and Spirituality in Anita Desai’s ‘Cry, the Peacock’ and Rabindranath Tagore’s ‘Breezy April’." SMART MOVES JOURNAL IJELLH 8, no. 2 (February 28, 2020): 12. http://dx.doi.org/10.24113/ijellh.v8i2.10408.

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Rabindranath Tagore (1861-1941) was the first non-European and the first Indian to win the Nobel Prize for Literature in 1913. He was awarded the prize for Gitanjali. Tagore was a multi-faceted personality who not only composed poems, verses, short stories, novels etc but also sketched and painted with equal brilliance. As a flag-bearer, he presented the best of India to the West and vice-versa. In Breezy April, Tagore combines romanticism with spiritualism. On the other hand, Anita Desai (born-1937) is the youngest among the women novelists of eminence in India. The spiritual aspect of human life is at the centre of attention in her works. Women protagonists of fragile exterior and strong interior take the lead in Anita Desai’s works of fiction. Spirituality is an integral part of most of her works. In her first novel Cry, the Peacock (1963), Desai minutely depicts both love as well as deep spiritual intricacies.

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KOSMANOWA, Bogumiła. "Muzy Józefa Ignacego Kraszewskiego i Henryka Sienkiewicza." Przegląd Politologiczny, no. 2 (November 2, 2018): 143–48. http://dx.doi.org/10.14746/pp.2011.16.2.14.

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The paper discusses two prominent figures in Polish literature, Józef Ignacy Kraszewski (1812–1887) and Henryk Sienkiewicz (1846–1916), and the role women played in their lives, influencing their works. In the beginning, the author devotes some attention to the role of ‘muses’ and their inspiration to artists from Antiquity to Romanticism. In the analytical part of her paper, she presents the differences between these two masters of the quill. Kraszewski let excessive emotions take the reins in his private life, as a consequence of which he frequently misplaced his affections, suffering considerable disappointments. Sienkiewicz, although highly susceptible to female charms, was more mature, as is well reflected in his works. His life experience influenced the artistic maturity of his female protagonists. Thus, towards the end of his life, he was able to conclude that love was the highest value. The ‘muses’ of this first Polish Nobel laureate in literature exerted a profound influence on the literary profile of the heroines of his greatest novels.

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Jasper, Alison. "Michèle Roberts: Female Genius and the Theology of an English Novelist." Text Matters, no. 1 (November 23, 2011): 61–75. http://dx.doi.org/10.2478/v10231-011-0005-8.

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Since Simone de Beauvoir published The Second Sex in 1949, feminist analysis has tended to assume that the conditions of male normativity—reducing woman to the merely excluded "Other" of man—holds true in the experience of all women, not the least, women in the context of Christian praxis and theology. Beauvoir's powerful analysis—showing us how problematic it is to establish a position outside patriarchy's dominance of our conceptual fields—has helped to explain the resilience of sexism and forms of male violence that continue to diminish and destroy women's lives because they cannot be seen as questionable. It has also, I would argue, had the unintended consequence of intensifying the sense of limitation, so that it becomes problematic to account for the work and lives of effective, innovative and responsible women in these contexts. In order to address this problematic issue, I use the life and work of novelist Michèle Roberts, as a case study in female genius within an interdisciplinary field, in order to acknowledge the conditions that have limited a singular woman's literary and theological aspirations but also to claim that she is able to give voice to something creative of her own. The key concept of female genius within this project draws on Julia Kristeva's notion of being a subject without implicitly excluding embodiment and female desire as in normative male theology, or in notions of genius derived from Romanticism. Roberts' work as a writer qualifies her as female genius in so far as it challenges aspects of traditional Christianity, bringing to birth new relationships between theological themes and scriptural narratives without excluding her singular female desires and pleasures as a writer. This paper—as part of a more inclusive, historical survey of the work of women writers crossing the disciplinary boundaries between literature and Christian theology over the last several centuries also asks whether, in order to do proper justice to the real and proven limitations imposed on countless women in these fields across global and historical contexts, we need, at the same time, to reduce the Christian tradition to something that is always antithetical or for which women can take absolutely no credit or bear no responsibility.

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Bihorac, Ahmet, and Kemal Dzemic. "THE MOTIVE OF MADNESS IN WORLD LITERATURE." Knowledge International Journal 29, no. 1 (February 28, 2019): 83–88. http://dx.doi.org/10.35120/kij2901083b.

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The paper is based on the hypothesis that the motive of madness is very common in literary works starting from the literature of the old age to modern and postmodern literary production. Many famous world writers have worked on this motive in various literary epochs, genera and species. In antique comedy, man's insanity was portrayed in a witty, playful and humorous way, and the same poetic, approach to the treatment of this motive is also of later comedical works. In tragedy, madness is often the cause of starvation, but also the ability to get to know essential knowledge, truth and ideas. Sometimes madness is considered obsessive, sick, or just punishment. In Renaissance literature, this state of the human spirit is seen through the theory of human wonders, attributing melancholy to educated young men, and hysteria to young women. It was caused by disappointment, suffering, unrequited love or sin. In the focus of our research were found some of the world's renowned literary creators, moral psychologists, who along with each psychological portrait also offer ethical values that characterize character. The theme of this paper is the motive of madness in some literary works. This paper is an attempt to address the complex issues of insanity in world literature through literary research supported by psychology. The aim of the paper is to examine the presence of the motif of madness, its understanding and interpretation from the ancient Greek drama, through the literature of the Middle Ages, Renaissance, Classicism, Romanticism, Realism, to modern and postmodern literary traditions. The image of madness is given through various manifestations of character behavior, that it is authentic or irradiated, and through the comments of other heroes, eyewitnesses and interpreters.

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Simpson, David. "Literature, Commerce, and the Spectacle of Modernity, 1750-1800; Women, Love, and Commodity Culture in British Romanticism; Romantic Sobriety: Sensation, Revolution, Commodification, History." European Romantic Review 24, no. 4 (August 2013): 453–58. http://dx.doi.org/10.1080/10509585.2013.807619.

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Lokke, Kari. "“Children of Liberty”: Idealist Historiography in Staël, Shelley, and Sand." PMLA/Publications of the Modern Language Association of America 118, no. 3 (May 2003): 502–20. http://dx.doi.org/10.1632/003081203x47796.

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This essay explores the contributions of a tradition of nineteenth-century Künstlerromane by Germaine de Staël, Mary Shelley, and George Sand to European idealist historiography as exemplified in Kant's writings on perfectibility. Corinne, Valperga, and Consuelo represent the historical agency of the intellectual and artist as communication with a spirit world inhabited by ghosts of the past so that their secrets and wisdom can be transmitted to the future. In canonical Romanticism, contact with these phantasms provokes crippling guilt over the failure of past projects of perfectibility like the French Revolution (doomed by violence and bloodshed), guilt that is figured in the interdependent tropes of the titanic hero and Romantic melancholy. The novels discussed here perform an explicit critique of masculinist individualism in the name of women and humanity as a whole, replacing melancholy with enthusiasm and deploying spirits aesthetically, as sublime signs of future historical potentiality.

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Milling, Jane. "In the Theatre of Romanticism: Coleridge, Nationalism, Women. By Julie A. Carlson. Cambridge: Cambridge University Press, 1994. Pp. xiv + 267. £30; $49.95." Theatre Research International 20, no. 2 (1995): 166. http://dx.doi.org/10.1017/s0307883300008439.

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Szyler, Bartosz. "„Istotne i całe”? — o postaciach kobiecych w twórczości Cypriana Norwida." Prace Literackie 56 (June 29, 2017): 71–82. http://dx.doi.org/10.19195/0079-4767.56.5.

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„Significant and complete”? — about Norwid’s female charactersThe following article is an attempt to analyze female characters of Cyprian Norwid’s literary output. As he criticizes the depiction of women in the works of Polish Romantics, Norwid calls for the introduction of important, businesslike and reliable female characters into literature. In his poetry and prose he creates two types of female characters: glorified ideal women and criticized society dolls, who are entangled in the social bonds of Norwid’s times. A woman that is utterly important for the following analysis is Maria, the main character of Pierścień Wielkiej Damy. The article concerns Norwid’s essayistic and epistolary work on femininity and woman’s social position as well.

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Fernandez, James D., and Susan Kirkpatrick. "Las Romanticas: Women Writers and Subjectivity in Spain, 1835-1850." Tulsa Studies in Women's Literature 9, no. 2 (1990): 321. http://dx.doi.org/10.2307/464230.

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Romanova, Alyona N. "Anna Gotovtseva, the interlocutor of poets." Literature at School, no. 2, 2020 (2020): 62–75. http://dx.doi.org/10.31862/0130-3414-2020-2-62-75.

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The article examines the history of the publication of some works by the little-known poetess of the first third of the 19th century Anna Gotovtseva, including her poem addressed to A.S. Pushkin, and poems by A.S. Pushkin and P.A. Vyazemsky, appealed to Gotovtseva. The author reveals some features of the historical and literary process, which influenced the poetic dialogue of writers, published in the “Northern Flowers” almanac, which marked the emergence of female professional poetry in the literature of the first third of the 19th century. A.I. Gotovtseva’s poems are analyzed in the context of the contemporary Russian poetry o that time, and the artistic originality of her works is revealed in comparison with the lyrics of poets of the elegiac romanticism. The author considers the influence of French writers such as Alphonse de Lamartin and Madame Janlis on the development of literary opinions and priorities of the provincial poetess, which predetermined the internal contradiction of the poetic dialogue between Pushkin and his admirer Anna Gotovtseva. The hypothesis about the indirect influence of “Note” by Janlis on the development of the controversy about women writers reflected both in the journalistic statements and in the artistic works by Pushkin and his contemporaries – men of letters – is tested in the article.

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Mandrell, James, and Susan Kirkpatrick. "Las Romanticas: Women Writers and Subjectivity in Spain, 1835-1850." MLN 105, no. 2 (March 1990): 395. http://dx.doi.org/10.2307/2905303.

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Dowling, John, and Susan Kirkpatrick. "Las Romanticas: Women Writers and Subjectivity in Spain, 1835-1850." Hispanic Review 58, no. 4 (1990): 541. http://dx.doi.org/10.2307/473674.

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Davey, E. R. "Reviews : English and General Studies Literature, Education and Romanticism: Reading as Social Practice 1780-1832. (Cambridge Studies in Romanticism 8.) By Alan Richardson. Cambridge University Press, 1994. Pp. xvii + 327. £35.00. Women Writing about Money: Women's Fiction in England 1790-1820. By Edward Copeland. (Cambridge Studies in Romanticism 9.) Cambridge University Press, 1995. Pp. xvii + 291. £35.00. Re-visioning Romanticism: British Women Writers, 1776-1837. Edited by Carol Shiner Wilson and Joel Haefner. Philadelphia: University of Pennsylvania Press, 1994. Pp. xi + 329. £15.95 (p/bk." Journal of European Studies 26, no. 1 (March 1996): 079–81. http://dx.doi.org/10.1177/004724419602600106.

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Gies, David Thatcher, and Susan Kirkpatrick. "Las Romanticas: Women Writers and Subjectivity in Spain 1835-1850." South Central Review 8, no. 2 (1991): 115. http://dx.doi.org/10.2307/3189205.

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Subekti, Mega, and Trisna Gumilar. "KONSTRUKSI LELAKI DALAM CHICKLIT “THE HOPELESS ROMANTIC’S HANDBOOK” DAN “CINTAPUCINNO”." SUAR BETANG 12, no. 1 (January 7, 2018): 93. http://dx.doi.org/10.26499/surbet.v12i1.19.

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In popular literature, chicklit is one of the genres that focuses on the women's issues. For some scholars chicklit has a simple formula. In cultural studies, chicklit enriches various discourses especially the discourse of feminism.In this paper, analyzed about the construction of men in "The Hopeless Romantic's Handbook" by Gemma Townley's (2008) and "Cintapucinno" by Icha Rahmanti (2007). The construction of identity (men/women) is an important object in study of feminist discourse. The results of the study show that heroines construct ideal men’s standards. In gender discourse, the construction of men’s physical appearance and their symbol are considered as an activity or value equivalent as well as men constructs the identity and stereotypes of women through their bodies

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Ruwe, Donelle. "Harriet Kramer Linkin and Stephen C. Behrendt, eds.,Romanticism and Women Poets: Opening the Doors of Reception. Lexington: UP of Kentucky, 1999. Pp. viii+294, 10 illustrations. ISBN 0-8131-2107-8 (HB)." Nineteenth-Century Contexts 24, no. 4 (December 2002): 439–41. http://dx.doi.org/10.1080/0890549022000026715.

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Vinitsky, Ilya. "The First Serbian Female Writer: From the History of Nineteenth-Century Women’s Literature." Slovene 9, no. 1 (2019): 284–327. http://dx.doi.org/10.31168/2305-6754.2019.8.1.11.

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At the end of the nineteenth century the Romantic image of Eustahija Arsić (1776–1843) was introduced to the Serbian national pantheon as the first Serbian woman writer and philosopher of the modern age. This image was based first and foremost on her book “Useful Thoughts on the Four Seasons” which appeared in Budim in 1816 under that author’s name. In the second half of the twentieth century several scholarly studies and a biography were devoted to Arsić. More recently this image has attracted the attention of scholars of women’s literature in South Slavic countries. These scholars note that her “Thoughts”, while influenced by Western pre-romantic (sentimentalist) literature, illuminate a wide range of fields, including philosophy, ethics, history, natural science, anatomy, physics, and religion, while at the same time they introduce the genre of the “feminist essay” into Serbian literature. The poems that are included in “Thoughts” appear in anthologies of Serbian literature as original poems by Arsić. The present essay shows that the ideas about the originality, European erudition, cosmopolitanism, personal tone, philosophical gifts and poetic talent are highly exaggerated, and that the image of this author is a cultural construct that was created at a certain stage of the formation of Serbian national literature and was reconceived at a later time. The essay establishes that Arsić’s “Useful Thoughts” is a compilation of essays, tracts, and poetry that appeared in Russian journals from the late 1780s to the early 1810s. These works (including some by Nikolai Karamzin) were transferred into her book with minor orthographic and grammatical changes (e.g. masculine noun endings are changed to feminine ones) and without any indication of the source. The work of the compiler of “Thoughts” consisted solely in taking the sentimental texts of Russian male authors and attributing them to a pious female author. The essay does not simply give the direct sources of this “Slavono-Russian” book of “the first Serbian woman writer” and describe the process of adaptation of the “foreign” as a stage of the national and literary self-affirmation of the “younger” Slavic culture, but it also offers material for a more general (philological and literary-critical) study of the “Slavono-Russian” period in the history of Serbian literature in particular and “pan-Slavic” pre-romanticism more generally. The case of Arsić is likewise interesting for a comparative analysis of the formation of national literary “pantheons” and for a gender history of Russian and other Slavic literatures.

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Ribbans, Geoffrey. "JOAN MARAGALL, AT THE EDGE OF MODERNITY (IN MEMORY OF ARTHUR TERRY)." Catalan Review 18, no. 1-2 (January 1, 2004): 97–105. http://dx.doi.org/10.3828/catr.18.1-2.6.

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In a tribute to the renowned scholar of Catalan literature, Arthur Terry, this paper offers a reassessment of certain aspects of the poet Joan Maragall. Maragall gives the appearance in his private and public life of being a typically patriarchal figure of the Barcelona bourgeoisie of the late nineteenth and early twentieth centuries. The impression is borne out in his article on “the Spanish woman” published in 1909 in The Englishwoman, in which, in a manner most conventional, the poet limits women’s activity to the home and the church. Yet Maragall also reveals les s conventional concerns that may be more properly considered as modern. Showing an unusual awareness of the complex nature of the violence that plagued Barcelona, he advocates—in both verse and prose—compassion rather than revenge. He also reaches out to Castilian writers like Unamuno and Giner de los Ríos. In his poetry, he seeks a distinctive spontaneity redolent of the more concentrated aspects of German romanticism and parallel in many ways to symbolism. At the same time he expresses an intense sense of temporality that leads him in his “Cant espiritual” to reconsider Faust’s pact with Mephistopheles.

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Meltzer, Françoise. "What is Wrong with National Literature Departments?" European Review 17, no. 1 (February 2009): 161–75. http://dx.doi.org/10.1017/s1062798709000635.

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This article asks what is wrong with national literature departments. Traditional literature departments, even with various politically conscious additions – women writers, authors of colour, postcolonial conditions, linguistic minorities, queer theory – assume by their very structure a romantic notion of the nation state, of borders and of linguistics as a major aspect of national identity and canonicity. The article considers the early German Romantics to see how they understood the twinning of nation and culture, and how this is baggage that Western universities still carry, even as they try to open themselves to other cultures. ‘Frühromantiker’ such as Friedrich Schlegel, A.W. Schlegel, Novalis and Fichte (along with Chateaubriand) idealize the Middle Ages as a time of great unity in Europe, and understand nationhood to have a divine aspect. Recently, the idea of the university and of national literature departments is being fundamentally rethought. Said, Bernheimer, Moebius, Reading, Foucault, Spivak, Bauman – to name just a few – have all worried about the place of literature in the light of globalisation, the dominance of Europe in literature departments, and the place of minority discourses. The article suggests that Comparative Literature may be the hope for the future in literary studies, because it is a field that by definition combines linguistic, cultural and political perspectives in its approach to texts. At the same time, however, comparative literature has traditionally been dominated by Eurocentrism, which has been the source of much criticism. Should the dominant languages of Europe be set aside to make room for the less known, less powerful ones? The article sees the European project of community as a source of hope, analogous to comparative literature, in facing both the challenge and cultural wealth of diversity.

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Kimber, Marian Wilson. "Victorian Fairies and Felix Mendelssohn's A Midsummer Night's Dream in England." Nineteenth-Century Music Review 4, no. 1 (June 2007): 53–79. http://dx.doi.org/10.1017/s1479409800000069.

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In art, literature, theatre and music, Victorians demonstrated increased interest in the supernatural and nostalgia for a lost mythic time, a response to rapid technological change and increased urbanization. Romanticism generated a new regard for Shakespeare, also fuelled by British nationalism. The immortal bard's plays began to receive theatrical performances that more accurately presented their original texts, partially remedying the mutilations of the previous century. The so-called ‘fairy’ plays, A Midsummer Night's Dream and The Tempest, were also popular subjects for fairy paintings, stemming from the establishment of the Boydell Shakespeare Gallery in 1789. In such a context, it is no wonder that Felix Mendelssohn's incidental music for A Midsummer Night's Dream was so overwhelmingly popular in England and that his style became closely associated with the idea of fairies. This article explores how the Victorians’ understanding of fairies and how the depiction of fairies in the theatre and visual arts of the period influenced the reception of Mendelssohn's music, contributing to its construction as ‘feminine’. Victorian fairies, from the nude supernatural creatures cavorting in fairy paintings to the diaphanously gowned dancers treading lightly on the boards of the stage, were typically women. In his study of Chopin reception, Jeffrey Kallberg has interpreted fairies as androgynous, but Victorian fairies were predominantly female, so much so that Lewis Spence's 1948 study, The Fairy Tradition in Britain, includes an entire section on fairy gender intended to refute the long-standing notion that there were no male fairies. Thus, for Mendelssohn to have composed the leading musical work that depicted fairies contributed to his increasingly feminized reputation over the course of the nineteenth century.

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BELAVINA, Ekaterina M. "MOTIFS TRANSFORMATION OF M. DESBORDES-VALMORE LYRICS IN THE WORKS OF MARINA TSVETAEVA." Tyumen State University Herald. Humanities Research. Humanitates 7, no. 1 (2021): 128–43. http://dx.doi.org/10.21684/2411-197x-2021-7-1-128-143.

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The influence of French culture on the poetry of M. Tsvetaeva was noted by her contemporaries (B. Pasternak, S. Bobrov), and also became the subject of scientific research (for example, N. Strelnikova). However, the relationship of her poetry with the French writer work of the romanticism era, M. Desbordes-Valmore (1786-1859), which is almost forgotten in our days, is analyzed for the first time, which seems relevant in light of the growing interest in the role of women in European culture. The article uses a biographical method, with the involvement of the poetics of the rhythm of H. Meshonnik. The article examines the mentions of M. Desbordes-Valmore in M. Tsvetaeva’s poetry and in correspondence with B. Pasternak, provides a brief comparison of biographies in terms of their influence on the formation of a poetic voice. Their tragic fates have a lot in common: both survived revolutions, as a consequence the ruin of the family nest, extreme poverty, the loss of loved ones. The main similarity between M. Tsvetaeva and M. Desbordes-Valmore lies in the auditory imagination, in intonational rhythmic expressiveness and in vivid metaphor. Both M. Desbordes-Valmore and M. Tsvetaeva left evidence of a moment preceding the moment of writing, “music” preceding verbal expression. They often rely on the song as a precedent text (O. Revzina), a precedent rhythm. The autobiographical nature of the lyrics and the musicality bring together so dissimilar authors at first glance. M. Tsvetaeva read M. Desbordes-Valmore in the original, probably having become acquainted with her work at the summer courses in the history of French literature at the Sorbonne. The analysis of the transformations of M. Desbordes-Valmore’s poems motifs in M. Tsvetaeva’s lyrics clearly show not only a deep knowledge and understanding of the French romantic tradition, but also the innovation of her own poetic language.

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Kadiyski, Evgеniy, and Zlatka Taneva. "VULGARITY AND BEAUTY IN THE EXPRESSION OF FEMALE SEXUALITY IN LITERATURE AT DIFFERENT TIMES." Knowledge International Journal 34, no. 6 (October 4, 2019): 1677–82. http://dx.doi.org/10.35120/kij34061677k.

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In most scientific papers, female sexuality is represented from the point of view of physiology. In "History of Sexuality", Michel Foucault introduces the term "superknowledge of sexuality," stating that this notion "is not developed at the level of the individual, but at the level of culture and society." According to Foucault, the knowledge of contemporary society of sexuality coexists with the inability to realize our own sexuality. Knowledge of sexuality is rather theoretical, philosophical, analytical, but not personal.We will explore the nuances of female sexuality in the works of classics, as well as in some modern works. Even in the biblical scripture of the creation of the woman and of the original sin, Eve is present, tempting and challenging. She provokes Adam to pick up the forbidden fruit. She is chosen to commit the Fall. She gives in to the temptation. She persuades Adam to taste the fruit of the tree.How does a woman express her sexuality, is she equal in dignity to a man, is only she subject to sin, is she submissive to the man, is not she stronger than him with her emotionality?We will look for answers to these questions in Otto Weinginger's "Gender and Character", who tragically interrupted his life at the age of 23. His different views on the character of the woman, the absolute superiority of the man, her role as a pimp, are later developed or refuted in various literary and scientific works.Female sexuality is expressed in a different way. A woman is fragile, timid, even innocent in the literary works of the Marquis de Sade, but her fate is fatal. Seduction through sincerity and repentance, through obedience and the power of emotions - all this leads to a fatalism so beautifully reproduced in the feminine images of the Marquis de Sade.In the originally forbidden novel "Lady Chatterley's Lover", D. Lawrence presents a new world of love and freedom. Here, female sexuality is in conflict with the irresistible desire to break the constraints of society at that time. Society is vulgar to the open expression of female sexuality and despises the woman's desire to devote herself entirely. In the novel, sexuality is not ostentatious but interwoven with romanticism and dedication. Lawrence sharpened the contrast between the cynicism of modern thinking and the spontaneity of love. The year is 1928, the novel is like a bang.In the fifties of the last century, appeared Vladimir Nabokov`s Lolita. The novel scandalizes with its sophisticated perversity, but that is only at first glance. Nabokov is fascinated by the idea of love, love as madness, as self-forgetting, as obsession. Sexuality is devastating, the little "nymphet" is charming, dangerously seductive and insidious. Sometimes Lolita in her newly awakened sexuality is even vulgar.At a later stage, P. Modiano envelops sexuality in mystery. The character of “Villa Triste” sinks into a mysterious veil, the memories come back, everything is like in a fog, like in a slow-motion. Yvonne is vulnerable and confused, delightful in her disdain for the others, only a few steps away from the audience, a slight smile, and the magic is here. No action is required from her, only a perfect gait, a casual head, a dreamy look, and all are captivated. Beauty and perfection. The woman conquers only with her presence. Sexuality consists in the challenging smile, in the dance of the golden-red hair. Discretion and mystery. Eroticism.We finish with the novel by P. Buvivalda "Bonita Avenue". Characters are bright, memorable, non-standard. We are entering the depths of sexuality, with its cynical manifestations, but described gently and intriguingly.

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Pedro, Dina. "USURPING THE VICTIM’S TRAUMA NARRATIVE: VICTIM-BLAMING AND SLUT-SHAMING ON SEASON 1 OF YOU." Revista de Estudios Norteamericanos, no. 24 (2020): 159–79. http://dx.doi.org/10.12795/ren.2020.i24.08.

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The American TV series You (2018-) has been the subject of a heated debate on both social media and Academia in regard to its ambiguous approach to feminism and gender violence, due to its prioritization of the perpetrator’s voice over the victim’s (Rajiva and Patrick 2019). In the present context of feminist activism, with movements such as #MeToo and Time’s Up fostering female solidarity and giving voice to survivors of sexual violence, the series appears to have an opposite, and even sexist, agenda. Drawing on the concept of ‘trauma narratives’ (Vickroy 2004; Kohlke and Gutleben 2010), I argue that the first season of the show fails to grant the female victim, Beck, a therapeutic space where she can share her traumatic experience with a sympathetic audience, prioritising the perpetrator’s POV, instead. This makes the audience align with him, blaming his female victims for their promiscuity and even falling for his romanticised view of violence against women.

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Lanser, Susan S., Carol Shiner Wilson, Joel Haefner, Paula R. Feldman, Theresa M. Kelley, Katherine R. Goodman, Edith Waldstein, et al. "Writing Women into Romanticism." Feminist Studies 23, no. 1 (1997): 167. http://dx.doi.org/10.2307/3178307.

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Pop Zarieva, Natalija. "THE ENDURANCE OF THE GOTHIC THE ROMANTICS’ CONTRIBUTION TO THE VAMPIRE MYTH." Knowledge International Journal 28, no. 7 (December 10, 2018): 2339–44. http://dx.doi.org/10.35120/kij28072339n.

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The end of the eighteenth century and the beginning of the nineteenth century, also known as the period of Romanticism, were marked with the interest of the authors in nature and emotions, but also in the supernatural, horrible and the exotic. Although it was the era of reason and the progress of sciences, critics have identified the significance of the Gothic influence on the works of most of the English Romantic figures, among which Lord Byron is known to have had the major influence on the creation and persistence of the vampire figure, as a Gothic trope, haunting the last and this century’s literature and film. This paper attempts to unravel the origins and nature of the mysterious cultural appeal to the literary vampire by tracing its origins from Eastern European folklore, the first poem titled “Der Vampir”(1743) by Heinrich Ossenfelder, to the German Sturm and Drang poets, such as Johann Wolfgang Goethe and Gottfried August Buerger and their respective poems “Die Braut von Korinth” (1789) and “Lenore” (1773). The role of British ballad writers Southey, Lewis and Scott and their ballad collections will be considered as a significant effort to “renew the spirit” of British poetry which according to Scott had reached “a remarkably low ebb in Britain” (as cited in Thomson, 2002, p.80). Another literary figure engaged in writing Gothic ballads following the tradition of Mathew Lewis, not so well-known during her time, was the Scottish writer Anne Bannerman. Her ballad “Dark Ladie” deserves special attention in this context, as it features a female character who is transformed from the previous ballad tradition: from a passive victim of male seduction, here she becomes a fatal woman who comes back from the undead to seek for revenge and initiates the line of female vampires such as Keats’s “Lamia” and Coleridge’s “Christabel”. Thus, this paper elaborates on the major contributors to the Gothic stream in poetry in the specific period, mainly ballads, and traces the presence and development of Gothic elements and vampiric features. The continuous appeal to the Gothic found its place in the works of several major English Romantics, even though they put great effort to differentiate their poetry from the popular literature of the day – Gothic novels. This paper will concentrate on Lord Byron’s Oriental tale The Giaour (1813) and Samuel Taylor Coleridge’s The Rime of the Ancient Mariner (1798). Both works incorporate Gothic themes, settings and characters, but there hasn’t been much literary focus with reference to the vampire theme they are based on. Although, critics have observed the contribution of the ambivalent vampire figure in Romantic literature, critical evaluation of the growth of this Gothic character in these two poems until now is incomplete. Hence, we will focus on Byron and Coleridge’s appropriation of the vampire figure and their contribution to the growth of this character. The various metaphoric usages of this character will also be explored and defined to determine their purpose.

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47

Pop Zarieva, Natalija. "THE ENDURANCE OF THE GOTHIC THE ROMANTICS’ CONTRIBUTION TO THE VAMPIRE MYTH." Knowledge International Journal 28, no. 7 (December 10, 2018): 2339–44. http://dx.doi.org/10.35120/kij29082339n.

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Abstract:

The end of the eighteenth century and the beginning of the nineteenth century, also known as the period of Romanticism, were marked with the interest of the authors in nature and emotions, but also in the supernatural, horrible and the exotic. Although it was the era of reason and the progress of sciences, critics have identified the significance of the Gothic influence on the works of most of the English Romantic figures, among which Lord Byron is known to have had the major influence on the creation and persistence of the vampire figure, as a Gothic trope, haunting the last and this century’s literature and film. This paper attempts to unravel the origins and nature of the mysterious cultural appeal to the literary vampire by tracing its origins from Eastern European folklore, the first poem titled “Der Vampir”(1743) by Heinrich Ossenfelder, to the German Sturm and Drang poets, such as Johann Wolfgang Goethe and Gottfried August Buerger and their respective poems “Die Braut von Korinth” (1789) and “Lenore” (1773). The role of British ballad writers Southey, Lewis and Scott and their ballad collections will be considered as a significant effort to “renew the spirit” of British poetry which according to Scott had reached “a remarkably low ebb in Britain” (as cited in Thomson, 2002, p.80). Another literary figure engaged in writing Gothic ballads following the tradition of Mathew Lewis, not so well-known during her time, was the Scottish writer Anne Bannerman. Her ballad “Dark Ladie” deserves special attention in this context, as it features a female character who is transformed from the previous ballad tradition: from a passive victim of male seduction, here she becomes a fatal woman who comes back from the undead to seek for revenge and initiates the line of female vampires such as Keats’s “Lamia” and Coleridge’s “Christabel”. Thus, this paper elaborates on the major contributors to the Gothic stream in poetry in the specific period, mainly ballads, and traces the presence and development of Gothic elements and vampiric features. The continuous appeal to the Gothic found its place in the works of several major English Romantics, even though they put great effort to differentiate their poetry from the popular literature of the day – Gothic novels. This paper will concentrate on Lord Byron’s Oriental tale The Giaour (1813) and Samuel Taylor Coleridge’s The Rime of the Ancient Mariner (1798). Both works incorporate Gothic themes, settings and characters, but there hasn’t been much literary focus with reference to the vampire theme they are based on. Although, critics have observed the contribution of the ambivalent vampire figure in Romantic literature, critical evaluation of the growth of this Gothic character in these two poems until now is incomplete. Hence, we will focus on Byron and Coleridge’s appropriation of the vampire figure and their contribution to the growth of this character. The various metaphoric usages of this character will also be explored and defined to determine their purpose.

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Cibarauskė, Virginija, and Paulius Jevsejevas. "Undiscovered, yet Necessary: Love in In the Shadow of Altars by Vincas Mykolaitis-Putinas." Semiotika 11 (December 18, 2015): 9–37. http://dx.doi.org/10.15388/semiotika.2015.16745.

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The article presents a semiotic inquiry into a particular rendering of the theme of love. The object of analysis is a novel by Vincas Mykolaitis-Putinas, In the Shadow of Altars (Altorių šešėly; 1933), one of the first and most prominent Lithuanian novels about love (it involves Liudas Vasaris, the protagonist, ‘breaking free’ from being first a seminary student and then a priest, to being a poet and a married man). Prior critique of the novel highlights the psychological-existential character and thematic autonomy of love therein. However, the outcome of the present analysis is quite the opposite: in the novel, love stories are actually organized according to fairytale principles of narrative structure, and developed on the basis of sociocultural stereotypes that do not imply any direct experience or an existential dimension.Our research employed a number of theoretic and methodological supports: R. Barthes’ notion of figure, presented in Fragments d’un discours amoureux; 1977, A. J. Greimas’ canonical narrative schema, developed on the basis of fairy-tale research, and Y. Lotman’s notion of worldview, presented in his works on individual selfperception and behavior patterns. These devices were applied according to the specific character and structural unity of the text.Structural analysis of sections devoted to love stories and of their relation with other sections reveals that love in this novel is not important per se, but as a means of becoming of a man-creator. The becoming of Liudas Vasaris as a creator – a utopian image of personal fulfillment in one’s own society – is made possible in the novel by the exploitation of a fairy-tale love narrative. Therefore, the novel presents a ‘love tale’ rather than a love story rendered by novelistic narration. This also determines the thematic treatment of love. In the Shadow of Altars love does not become an independent theme, problem or value; it is dissociated both from the novel’s historic-sociocultural framework and from any manifestations of subjectivity. Love situations are composed by reproducing sociocultural and literary stereotypes of behavior and perception, thus unconsciously propagating underlying patriarchal notions and rituals. Therefore, the results of this inquiry call for an adjustment of In the Shadow of Altars’ critical reception, a re-evaluation of the novel's character and of the possibilities for an adequate reading. This also encourages broader questions about love in Lithuanian literature, from the possibilities of its existence to its authenticity.Furthermore, recognizing the primacy of the story of becoming of a man-poet allows for an identification of the tensions and polemic between poetic currents in the Lithuanian literary field of the first three decades of the 20th century. The trajectory of becoming of Vasaris-poet begins with an orientation towards a ‘poetry of ideas’, continues into a stage of decadent neo-romanticism (an important element of the latter stage are decadent relations with decadent women), and ends its development with a program of hypothetical harmonious neo-romanticism (together with the discovery of ‘truthful’ love and way of life). In this sense, this analysis is a contribution to ongoing research of interaction between textual and non-textual structures, text and context, semiotics and cultural studies.

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Fanger, Donald. "Romanticism and Comparative Literature." Essays in Romanticism 5, no. 1 (January 1997): 55–69. http://dx.doi.org/10.3828/eir.5.1.4.

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Gordon, Paul. "Romanticism, figuration and comparative literature." Neohelicon 15, no. 2 (September 1988): 239–59. http://dx.doi.org/10.1007/bf02129086.

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Journal articles on the topic 'Women in literature. Romanticism'

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