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Felicia Bonaparte - The Poetics of Poesis: The Making of Nineteenth-Century English Fiction. Reviewed by James Lello

Bonaparte, Felicia, The Poetics of Poesis: The Making of Nineteenth-Century English Fiction (University of Virginia Press, 2015). 336 pp. (Hdbk., $49.50; ISBN 9780813937328)

James Lello

St Catharine’s College, Cambridge

What is meant by the conspicuous proximity of the twin desiderata announced in the title of the book under review: “Poetics” and “Poesis”? How might they relate to nineteenth-century English fiction?

Roger Paulin - The Life of August Wilhelm Schlegel: Cosmopolitan of Art and Poetry. Reviewed by Nicholas Halmi

Paulin, Roger, The Life of August Wilhelm Schlegel: Cosmopolitan of Art and Poetry (Cambridge: Open Book Publishers, 2016), 662 pp. (Pbk. £29.95; ISBN 978-1-909254-95-4; PDF version free at www.openbookpublishers.com//download/book/452)

Nicholas Halmi

University of Oxford

Regina Akel - Benjamin Disraeli and John Murray: The Politician, the Publisher, and the Representative. Reviewed by Robert O'Kell

Akel, Emily, Benjamin Disraeli and John Murray: The Politician, the Publisher, and the Representative (Liverpool University Press, 2016). xiv + 206 pp. (Hdbk., £85.00).

Robert O’Kell

University of Manitoba

Teaching Romanticism with the Contemporary

Date published: 

April, 2017

This special issue explores the notion that many of the forms, ideas, and practices inaugurated or exemplified in the Romantic period continue to shape and drive our contemporary discourses. Literary critics, cultural and political theorists, and, indeed, our students continue to encounter new permutations—if not the continued presence—of something that might be called the romantic. But how is the (neo-)romantic expressed in contemporary culture? And how might we best prepare students to listen for and hear its repetitions? How might we teach the romantic alongside the contemporary without either reducing one to the other or eliding important historical, cultural, and social contexts? In response to these questions, the nine essays and three interviews that comprise this volume address the repetitions and reverberations of the romantic as it recurs across genre, period, and media boundaries in popular culture, contemporary political situations, changing classroom dynamics, and the constantly shifting domains of literary and pedagogical practice and production.

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Against Utilitarianism: Two Hundred Years of “Useful Knowledge”

This essay challenges students to think about how we might make the case for the public value of the humanities by grounding our own debates about these issues in a close reading of Percy Shelley’s “Defence of Poetry.” It argues that Shelley’s argument against the primacy of utilitarian pragmatism is not, despite its apparent rhetoric, a lofty and off-putting retreat into elitist claims for the arts, but quite the contrary, a radical and politically engaged account of why the arts ultimately matter more than applied forms of “useful knowledge,” even within the context of social reform.

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Constellations, Contemporaneity, and Coltrane: A Conversation with Tres Pyle

In his latest book Art’s Undoing: In the Wake of a Radical Aestheticism (Fordham University Press, 2013), Forest (Tres) Pyle asserts that certain poetic texts “produce a radical engagement with the very processes by which we conceive of the aesthetic, those processes by which the world is not merely known, but felt—and felt as an effect of representation” (5). This model for a poetics of history draws on a rich web of sources, from Shelley, Benjamin, and de Man to John Coltrane, Todd Haynes, and Cy Twombly, in which constellations of aesthetic experience, not unlike signs and flowers, are self-originating. They “flash up” like flares in a night sky whose apprehension, always possible but never determined, is felt with something of a shiver. In this conversation, Tres and I discuss the poetry, music, painting, cinema, and scholarship that make him shiver, focusing on how this constellation of art, artists, philosophy, and criticism, which spans two centuries, has shaped his approach to understanding and teaching Romanticism. That which makes the Romantic poem particular, Tres says, those characteristics around which we have organized a canon and a name, are precisely what challenge periodization in the first place. If Ian Curtis exhibits a sense of possession that summons up Coleridge, then how are we to reconcile historical specificity with aesthetic continuity? What are the “strange subterranean force[s]” that exert themselves in “adventurous poetic forms, musical examples, cinematic forms, or the visual arts?” Since this conversation, Tres and co-editor Jacques Khalip have assembled a collection of essays that addresses these questions. With essays by Ian Balfour, Sara Guyer, and Gayatri Spivak, among many notable others, Constellations of a Contemporary Romanticism (Fordham University Press, 2016) inquires into the implications of Agamben’s notion of contemporaneity, as an adherence to one’s own time through disjunction and anachronism, for studies of Romanticism. As a constellation itself, the book not only illuminates certain shadows, or future anteriors, of Romanticism as they irrupt in Benjaminian now-time, but it also postulates Romanticism itself as a trope that dramatizes—or “detonates”—such now-time by forcing an experience precisely with that which has been passively deposited into the archives of historical time. It is this sense of Romanticism “with its tentacles extended into the future” that drives our conversation.

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