Browsing by Subject "Romanticism"
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Item Open Access Akrasia and the Aesthetic: Human Agency and the Site of Literature, 1760-1820(2016) Manganaro, Thomas SalemThis study focuses on a series of foundational stylistic and formal innovations in eighteenth-century and Romantic literature, and argues that they can be cumulatively attributed to the distinct challenges authors faced in representing human action and the will. The study focuses in particular on cases of “acting against better judgment” or “failing to do what one knows one ought to do” – concepts originally theorized as “akrasia” and “weakness of the will” in ancient Greek and Scholastic thought. During the Enlightenment, philosophy increasingly conceives of human minds and bodies like systems and machines, and consequently fails to address such cases except as intractable or incoherent. Yet eighteenth-century and Romantic narratives and poetry consistently engage the paradoxes and ambiguities of action and volition in representations of akrasia. As a result, literature develops representational strategies that distinguish the epistemic capacities of literature as privileged over those of philosophy.
The study begins by centering on narratives of distempered selves from the 1760s. Jean-Jacques Rousseau’s Confessions and Laurence Sterne’s A Sentimental Journey narrate cases of knowingly and weakly acting against better judgment, and in so doing, reveal the limitations of the “philosophy of the passions” that famously informed sentimental literature at the time. These texts find that the interpretive difficulties of action demand a non-systematic and hermeneutic approach to interpreting a self through the genre of narrative. Rousseau’s narrative in particular informs William Godwin’s realist novels of distempered subjects. Departing from his mechanistic philosophy of mind and action, Godwin develops the technique of free indirect discourse in his third novel Fleetwood (1805) as a means of evoking the ironies and self-deceptions in how we talk about willing.
Romantic poetry employs the literary trope of weakness of will primarily through the problem of regretted inaction – a problem which I argue motivates the major poetic innovations of William Wordsworth and John Keats. While Samuel Taylor Coleridge sought to characterize his weakness of will in philosophical writing, Wordsworth turns to poetry with The Prelude (1805), revealing poetry itself to be a self-deceiving and disappointing form of procrastination. More explicitly than Wordsworth, John Keats identifies indolence as the prime symbol and basis of what he calls “negative capability.” In his letters and poems such as “On Seeing the Elgin Marbles” (1817) and “Ode on Indolence” (1819), Keats reveals how the irreducibly contradictory qualities of human agency speak to the particular privilege of “disinterested aesthetics” – a genre fitted for the modern era for its ability to disclose contradictions without seeking to resolve or explain them in terms of component parts.
Item Embargo Romantic Humility: Literature, Ethico-Politics, and Emotion, 1780-1820(2023) Lee, Catherine Ji WonWhat we now call “liberal individualism”—that is, the belief in the inalienable rights and freedom of the individual—first emerged in the Enlightenment and Romantic periods in Europe, and continues to be a defining feature of Western democracies. The liberal valorization of freedom as the sovereign moral concept was a consequence of Enlightenment philosophy, scientific progress, and secularization, which led to the view that human life is self-contained and without an externally defined purpose, and that human relations can be understood by considering society simply as an aggregate of individuals who are each driven by desire and self-interest. Values previously safeguarded by divine authority devolved into matters of choice by the individual will, and many observers have suggested that this change resulted in a moral lassitude that, paradoxically, made it more difficult to realize the Enlightenment ideals of universal liberty, rights, and justice. Arguments grounded in premises of natural freedom and rights often end up rationalizing absolute authoritarian power, as we see, for example, in the philosophy of Thomas Hobbes.
This dissertation examines how British writers of the Romantic period such as Olaudah Equiano, William Godwin, and Mary Shelley responded to this moral dilemma of liberal individualism by developing a new understanding of humility in their works. The meaning of humility in the West has been fundamentally shaped by the Jewish and Christian traditions that view humility as a spiritual quality that disposes an individual toward reverence for and submission to God. As a quality that goes against the Enlightenment emphasis on human reason and agency, humility underwent a steady devaluation in the eighteenth century and onward, perceived, for example, as a “monkish kind of virtue” by David Hume and a “slave morality” by Friedrich Nietzsche. This study argues that instead of returning to the religiously infused concept of humility, British Romantic authors developed a new form of humility for the secular age, one that not only preserves human agency but also emphasizes the need for human action for collective good. This humility does not focus on self-abasement but on a selfless mood, predicated on an immanent framework derived from Stoicism and the philosophy of Baruch Spinoza, which were influential in the eighteenth century. In three chapters, this study shows how Equiano, Godwin, and Shelley’s instantiations of Romantic humility respectively illuminate Romantic humility as it informs human relations, historical progress, and human-nonhuman relations. In so doing, this study shows that Romanticism cannot be viewed simply as an extension of Enlightenment individualism but also as an era of collectivist humility.
Item Open Access Suicidal Romanticism: Race, Gender, and the End(s) of Individualism(2015) Koretsky, Deanna PetraMoving beyond traditional conceptions of suicide in Romantic literature as indices of Romanticism's fascination with tragic or mad genius, this dissertation traces how Romantic-era writers also employed the trope of suicide as a political tool to argue for the rationality of individuals without rights, or with limited rights, such as slaves, women, and the poor. In both scholarly and post-Romantic artistic engagements with so-called Romantic suicide, suicide is typically interpreted as neither a critique of an unlivable society, nor even a mark of mental illness, but instead operates as a meta-critique of art itself, suggesting that the artist, by virtue of his creativity, is somehow beyond this world. But by showing how suicide also emerged, in the Romantic period, as a metaphor for challenging social structures associated with liberal individualism, Suicidal Romanticism posits that the emphasis on the link between creative and suicidal proclivities associated with Romanticism, which persists even in our contemporary imagination in spite of social scientific arguments to the contrary, troubles our capacity to talk either about the problem of mental illness or about the social injustices that would drive somebody to want not to live. The Romantic writers examined here--including Thomas Day and John Bicknell, Mary and Percy Shelley, and William Wordsworth--proposed an alternative conception of suicide, positing the need to open the social field to recognize all those who are considered "non-subjects." By using suicide as a metaphor to interrogate the roots of inequality within a social structure based on exclusive individualism, these writers suggest that acts of suicide represent responses not only to private phenomena, but also to social conditions, and that the two are not mutually exclusive. By thus reading Romantic-era discourses of suicide as radical interrogations of liberalism, Suicidal Romanticism also positions Romanticism itself as a response to political questions that first emerged in abolitionist and women's rights discourses of the long eighteenth century.
Item Open Access Writing Women Dance(2021) Nunn, Tessa AshlinThis project examines dance scenes in nineteenth-century French novels written by women to consider how grace—beauty in motion—defines women as social, moral, and artistic actors. Creating a constellation of dance scenes, I develop a concept called graceful inclinations, meaning experiences that move observers to contemplate space, time, or bodies differently. I use this concept to study representations of women’s sexuality and subjectivity in dances scenes written by Sophie Cottin, Germaine de Staël, Barbara von Krüdener, Claire de Duras, George Sand, and Marie d’Agoult. Because previous studies of dance in nineteenth-century French literature focus predominately on texts by canonical male authors, scholarship on literary descriptions of dance is limited to a masculine perspective. Moreover, studies of the philosophical and esthetic meanings of grace rarely cite primary sources written by women, although, since the eighteenth century, grace has been closely associated with Western understandings of femininity.This project focuses on four genres of dance: contradances, the waltz, presentational dances (the shawl dance, quadrille, and bolero), and the tarantella. Whereas descriptions of contradances propose ideal social relations or contest the idealization of disembodied femininity, waltz scenes create dystopian depictions of upper-class debauchery and masculine authority. Characters performing presentational dances become archetypal representations of their gender or race. The tarantella in Staël’s novel Corinne, ou l’Italie presents the ultimate dancer who is graceful and sensual. Analyzing representations of exoticism throughout this corpus, I use Srinivas Aravamudan’s theory of Enlightenment Orientalism to consider how exoticized bodies became a testing ground for thinking about female sexuality. I draw upon the theories of Adriana Cavarero, Michel Foucault, Simone de Beauvoir, Luce Irigaray, Genviève Fraisse, and Judith Lynne Hanna to study the sexual politics of dance scenes. In my study of the aesthetic and philosophical concept of grace, dance emerges as an art capable of moving its viewers but not yet capable of instigating social change. Creating both utopian or dystopian moments, dance scenes offer insight into the different worlds that writers wished to create or to avoid.