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William Blake
William Blake: Modernity and Disaster explores the work of the Romantic writer, artist, and visionary William Blake as a profoundly creative response to cultural, scientific, and political revolution. In the wake of such anxieties of discovery, including the revolution in the life sciences, Blake’s imagination – often prophetic, apocalyptic, and deconstructive – offers an inside view of such tumultuous and catastrophic change.
A hybrid of text and image, Blake’s writings and illuminations offer a disturbing and productive exception to accepted aesthetic, social, and political norms. Accordingly, the essays in this volume, reflecting Blake’s unorthodox perspective, challenge past and present critical approaches in order to explore his oeuvre from multiple perspectives: literary studies, critical theory, intellectual history, science, art history, philosophy, visual culture, and psychoanalysis. Covering the full range of Blake’s output from the shorter prophecies to his final poems, the essays in William Blake: Modernity and Disaster predict the discontents of modernity by reading Blake as a prophetic figure alert to the ends of history. His legacy thus provides a lesson in thinking and living through the present in order to ask what it might mean to envision a different future, or any future at all.
eBook
Revelation and knowledge : romanticism and religious faith
\"Ross Woodman's Sanity, Madness, Transformation was an adventurous exploration of the links between madness in Romantic writing and modern literary and psychoanalytic theory. Revelation and Knowledge picks up where his previous work left off by tracing the profound connections and gaps between religious and poetic faith in the works of the British Romantic poets. Woodman and Joel Faflak focus on the clash in these authors' works between depth psychology and mysticism in the context of post-Enlightenment crises of belief. They also delve into the treatment of revelation in Romantic poetry, expanding on the concept through nuanced examinations of specific Eastern and Western religious traditions. Revelation and Knowledge showcases Woodman's trademark ability to combine literary criticism with autobiography, resulting in a surprising work that is also uniquely daring.\"--Dust jacket.
Book
American gothic culture : an Edinburgh companion
A new critical companion to the Gothic traditions of American CultureThis new Companion surveys the traditions and conventions of the dark side of American culture - its repressed memories, its anxieties and panics, its fears and horrors, its obsessions and paranoias. Featuring new critical essays by established and emerging academics from a range of national backgrounds, this collection offers new discussions and analyses of canonical and lesser-known texts in literature and film, television, photography, and video games. Its scope ranges from the earliest manifestations of American Gothic traditions in frontier narratives and colonial myths, to its recent responses to contemporary global events. Key Features Features original critical writing by established and emerging scholarsSurveys the full range of American Gothic, from its earliest texts to 21st Century worksIncludes critical analyses of American Gothic in new media and technologiesWill establish new benchmarks for the critical understanding of American Gothic traditions
eBook
BLAKE’S MILTON AND THE NONLIFE OF AFFECT
Faflak critiques the epic poem Milton: A Poem in Two Books by William Blake which was written and illuminated between 1804 and 1810. The book is one of the most challenging accounts of feeling produced by Romanticism. The affective labor of Blake's verse asks its readers to think after the finitude of correlation and thus materializes a \"world devoid of humanity\", feeling as the \"feeling of being on foreign territory.\" Feeling constitutes what Timothy Morton, partly responding to Meillassoux but in the vein of object-oriented ontology, an offshoot of speculative realism, calls a \"hyperobject,\" a thing, such as climate, that is \"massively distributed in time and -space relative to humans.\"
Journal Article
Nervous Reactions
Nervous Reactions considers Victorian responses to Romanticism, particularly the way in which the Romantic period was frequently constructed in Victorian-era texts as a time of nervous or excitable authors (and readers) at odds with Victorian values of self-restraint, moderation, and stolidity. Represented in various ways—as a threat to social order, as a desirable freedom of feeling, as a pathological weakness that must be cured—this nervousness, both about and of the Romantics, is an important though as yet unaddressed concern in Victorian responses to Romantic texts. By attending to this nervousness, the essays in this volume offer a new consideration not only of the relationship between the Victorian and Romantic periods, but also of the ways in which our own responses to Romanticism have been mediated by this Victorian attention to Romantic excitability.
Considering editions and biographies as well as literary and critical responses to Romantic writers, the volume addresses a variety of discursive modes and genres, and brings to light a number of authors not normally included in the longstanding category of \"Victorian Romanticism\": on the Romantic side, not just Wordsworth, Keats, and P. B. Shelley but also Byron, S. T. Coleridge, Thomas De Quincey, Mary Shelley, and Mary Wollstonecraft; and on the Victorian side, not just Thomas Carlyle and the Brownings but also Sara Coleridge, George Eliot, Elizabeth Gaskell, Archibald Lampman, and J. S. Mill.
Contributors include D. M. R. Bentley, Kristen Guest, Joel Faflak, Grace Kehler, Donelle Ruwe, Alan Vardy, Lisa Vargo, Timothy J. Wandling, Joanne Wilkes, and Julia M. Wright.
eBook
Blake’s Milton and the Disaster of Psychoanalysis
The day before I was to deliver a graduate seminar on Milton in 1992, I phoned my PhD second reader, Ross Woodman, to say: “This poem is driving me mad.” Sensing the urgency of finding the “Divine Revelation” in my “Litteral expression” (42[49]:14; E143), he referred me to the poet who saved John Stuart Mill’s sanity. In The Prelude, Wordsworth, having sympathized with the revolutionary cause, is sitting among an Anglican congregation praying for England’s victory against France. Finding himself “an uninvited guest / Whom no one owned,” as if to hide the madness of his true feelings, he feels
Book Chapter
Dancing in the Dark with Shelley
This chapter entertains film musicals as what Jacques Khalip calls “the romantic remains of a modernity that defines itself in the claims it cannot reflect, and which it cannot also bury.”² John Ridpath wonders, “If films were once likened to the theatre, perhaps the modern movie is closer to the musical.” Video and digital media have turned cinema’s “immobile, attentive, disciplined, receptive” public into a “distracted audience” engaged in “boundless activity.” This shift transforms cinema’s private catharsis into democratic exchange at the same time that it broadcasts desire as pleasure’s same dull round. For J. Hoberman, this “‘cyborg cinema’” turns
Book Chapter