Christopher R. Clason – författare

Memory in German Romanticism treats memory as a core element in the production and reception of German art and literature of the Romantic era. The contributors explore the artistic expression of memory under the categories of imagination, image, and reception. Romantic literary aesthetics raises the subjective imagination to a level of primary importance for the creation of art. It goes beyond challenging reason and objectivity, two leading intellectual faculties of eighteenth-century Enlightenment, and instead elevates subjective invention to form and sustain memory and imagination. Indeed, memory and imagination, both cognitive functions, seek to assemble the elements of one’s own experience, either directed toward the past (memory) or toward the future (imagination), coherently into a narrative. And like memories, images hold the potential to elicit charged emotional responses; those responses live on through time, becoming part of the spatial and temporal reception of the artist and their work. While imagination generates and images trigger and capture memories, reception creates a temporal-spatial context for art, organizing it and rendering it "memorable," both for good and for bad. Thus, through the categories of imagination, image, and reception, this volume explores the phenomenon of German Romantic memory from different perspectives and in new contexts.

Memory in German Romanticism treats memory as a core element in the production and reception of German art and literature of the Romantic era. The contributors explore the artistic expression of memory under the categories of imagination, image, and reception. Romantic literary aesthetics raises the subjective imagination to a level of primary importance for the creation of art. It goes beyond challenging reason and objectivity, two leading intellectual faculties of eighteenth-century Enlightenment, and instead elevates subjective invention to form and sustain memory and imagination. Indeed, memory and imagination, both cognitive functions, seek to assemble the elements of one’s own experience, either directed toward the past (memory) or toward the future (imagination), coherently into a narrative. And like memories, images hold the potential to elicit charged emotional responses; those responses live on through time, becoming part of the spatial and temporal reception of the artist and their work. While imagination generates and images trigger and capture memories, reception creates a temporal-spatial context for art, organizing it and rendering it "memorable," both for good and for bad. Thus, through the categories of imagination, image, and reception, this volume explores the phenomenon of German Romantic memory from different perspectives and in new contexts.

New essays offering fresh glimpses of Romanticism as interdisciplinary and cross-linguistic, illuminating the discursive features and the pan-European nature of the movement.Romanticism bubbled up as lava from such historical eruptions as the Napoleonic Wars. The power of its flow across disciplines and linguistic borders reminds us that the use of the term in a context limited to one linguistic, national, or political tradition, or to one discipline or area of human development, shows an essential ignorance of the ideational configurations elaborated and lived out by the movement. Among its consistent norms are the notion ofreality as a transcendent self-unfolding Geist, everything existing in a dialectical relationship with all else; the position that art reveals mythic understructures of reality; and that all kinds of kinship are more normalthan isolation. This book brings together essays that highlight the inclusivity of Romanticism. A team of eleven scholars offers fresh glimpses of Romanticism as it manifests itself in a number of disciplines, including most prominently literature, but also music, painting, and the sciences. In so doing, the contributors treat Romanticism as interdisciplinary and cross-linguistic, providing data and interpretive viewpoints that illuminate the discursive features and the pan-European nature of the movement.Contributors: Lloyd Davies, Ellis Dye, Stacey Hahn, Hollie Markland Harder, Jennifer Law-Sullivan, Sarah Lippert, Marjean D. Purinton, Ashley Shams, Kaitlin Gowan Southerly.Larry H. Peer is Professor of Comparative Literature at Brigham Young University. Christopher R. Clason is Professor of German at Oakland University.

Alexander von Humboldt: Perceiving the World provides an interdisciplinary exploration into Humboldt's approach to seeing and describing the many subjects he pursued. Though remembered primarily as an environmental thinker, Humboldt's interests were vast and documented not just in his published works, but also in his extensive correspondence with scientists, artists, poets, and philosophers internationally. Perceiving the World covers Humboldt's perceptions during intercontinental travels and scientific discoveries, as well as how he visualized nature, geography, environments, and diverse cultures, including Indigenous Peoples.This collection draws heavily on the English translations of Humboldt's work housed in the Purdue University Archives, which were collected by John Purdue. The book is divided into three parts: Humboldt's contributions to science since the nineteenth century; his work on nature, climates, environments, and the cosmos; and his lasting cultural impact, including his imaging techniques, modes of visual presentation, and contributions to the arts. Humboldt's intricate approach to perception still resonates today, as his nuanced and unique way of seeing the world was just as important as what he wrote.

Alexander von Humboldt: Perceiving the World provides an interdisciplinary exploration into Humboldt's approach to seeing and describing the many subjects he pursued. Though remembered primarily as an environmental thinker, Humboldt's interests were vast and documented not just in his published works, but also in his extensive correspondence with scientists, artists, poets, and philosophers internationally. Perceiving the World covers Humboldt's perceptions during intercontinental travels and scientific discoveries, as well as how he visualized nature, geography, environments, and diverse cultures, including Indigenous Peoples.This collection draws heavily on the English translations of Humboldt's work housed in the Purdue University Archives, which were collected by John Purdue. The book is divided into three parts: Humboldt's contributions to science since the nineteenth century; his work on nature, climates, environments, and the cosmos; and his lasting cultural impact, including his imaging techniques, modes of visual presentation, and contributions to the arts. Humboldt's intricate approach to perception still resonates today, as his nuanced and unique way of seeing the world was just as important as what he wrote.

For most of the eighteenth century, automata were deemed a celebration of human ingenuity, feats of science and reason. Among the Romantics, however, they prompted a contradictory apprehension about mechanization and contrivance: such science and engineering threatened the spiritual nature of life, the source of compassion in human society. A deep dread of puppets and the machinery that propels them consequently surfaced in late eighteenth and early nineteenth century literature. Romantic Automata is a collection of essays examining the rise of this cultural suspicion of mechanical imitations of life. Recent scholarship in post-humanism, post-colonialism, disability studies, post-modern feminism, eco-criticism, and radical Orientalism has significantly affected the critical discourse on this topic. In engaging with the work and thought of Coleridge, Poe, Hoffmann, Mary Shelley, and other Romantic luminaries, the contributors to this collection open new methodological approaches to understanding human interaction with technology that strives to simulate, supplement, or supplant organic life. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

For most of the eighteenth century, automata were deemed a celebration of human ingenuity, feats of science and reason. Among the Romantics, however, they prompted a contradictory apprehension about mechanization and contrivance: such science and engineering threatened the spiritual nature of life, the source of compassion in human society. A deep dread of puppets and the machinery that propels them consequently surfaced in late eighteenth and early nineteenth century literature. Romantic Automata is a collection of essays examining the rise of this cultural suspicion of mechanical imitations of life. Recent scholarship in post-humanism, post-colonialism, disability studies, post-modern feminism, eco-criticism, and radical Orientalism has significantly affected the critical discourse on this topic. In engaging with the work and thought of Coleridge, Poe, Hoffmann, Mary Shelley, and other Romantic luminaries, the contributors to this collection open new methodological approaches to understanding human interaction with technology that strives to simulate, supplement, or supplant organic life. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

By staging human-animal encounters, Romantic literature and art repeatedly questioned how "human" animals could be and how "animal" humans in fact are. Romantic-era authors and artists often depicted perplexing animal intrusions upon humans. Sometimes the intruders were mystifying or terrifying, like Coleridge’s albatross or Poe’s raven; sometimes they were mundane, as in “The Swallow” by Smith or “To a Mouse” by Burns-regardless, encounters with animal-others occasioned Romantic musings. This collection builds on existing scholarship while deploying new methodological approaches from gender studies, posthumanism, postcolonialism, disability studies, and digital studies to deepen our understanding of why animal-human encounters were so prevalent in the creative work and cultural discourse of the Romantic period, including the rhetoric of social movements like transatlantic abolitionism. Taken together, the chapters demonstrate the range and complexity of Romantic representations of human-animal interactions and conceptualizations of animality, nonhuman life, and not-wholly-human life.  Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

By staging human-animal encounters, Romantic literature and art repeatedly questioned how "human" animals could be and how "animal" humans in fact are. Romantic-era authors and artists often depicted perplexing animal intrusions upon humans. Sometimes the intruders were mystifying or terrifying, like Coleridge’s albatross or Poe’s raven; sometimes they were mundane, as in “The Swallow” by Smith or “To a Mouse” by Burns-regardless, encounters with animal-others occasioned Romantic musings. This collection builds on existing scholarship while deploying new methodological approaches from gender studies, posthumanism, postcolonialism, disability studies, and digital studies to deepen our understanding of why animal-human encounters were so prevalent in the creative work and cultural discourse of the Romantic period, including the rhetoric of social movements like transatlantic abolitionism. Taken together, the chapters demonstrate the range and complexity of Romantic representations of human-animal interactions and conceptualizations of animality, nonhuman life, and not-wholly-human life.  Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

This collection of essays addresses a very broad range of E. T. A. Hoffmann’s most significant works, examining them through the lens of “transgression.” Transgression bears relevance to Hoffmann’s life and professions in three ways. First, his official career path was that of jurisprudence; he was active as a lawyer, a judge and eventually as one of the most important magistrates in Berlin. Second, his personal life was marked by numerous conflicts with political and social authorities. Seemingly no matter where he went, he experienced much chaos, grief and impoverishment in leading his always precarious existence. Third, his works explore characters and concepts beyond the boundaries of what was considered aesthetically acceptable. “Normal” bourgeois existence was often juxtaposed to the lives of criminals, sinners, and other deviants, both within the spaces of the known world as well as in supernatural realms. He, perhaps more than any other author of the German Romantic movement, regularly portrayed the dark side of existence in his works, including unconscious psychological phenomena, nightmares, somnambulism, vampirism, mesmerism, Doppelgänger, and other forms of transgressive behavior. It is the intention of this volume to provide a new look at Hoffmann’s very diverse body of work from numerous perspectives, stimulating interest in Hoffmann in English language audiences.

This collection of essays addresses a very broad range of E. T. A. Hoffmann’s most significant works, examining them through the lens of “transgression.” Transgression bears relevance to Hoffmann’s life and professions in three ways. First, his official career path was that of jurisprudence; he was active as a lawyer, a judge and eventually as one of the most important magistrates in Berlin. Second, his personal life was marked by numerous conflicts with political and social authorities. Seemingly no matter where he went, he experienced much chaos, grief and impoverishment in leading his always precarious existence. Third, his works explore characters and concepts beyond the boundaries of what was considered aesthetically acceptable. “Normal” bourgeois existence was often juxtaposed to the lives of criminals, sinners, and other deviants, both within the spaces of the known world as well as in supernatural realms. He, perhaps more than any other author of the German Romantic movement, regularly portrayed the dark side of existence in his works, including unconscious psychological phenomena, nightmares, somnambulism, vampirism, mesmerism, Doppelgänger, and other forms of transgressive behavior. It is the intention of this volume to provide a new look at Hoffmann’s very diverse body of work from numerous perspectives, stimulating interest in Hoffmann in English language audiences.

This collection of essays turns on a shift in Romantic studies from viewing wholeness as an absolute value to critiquing it as a limiting construction. Wholeness and its concomitant sense of harmony, rather than a natural given, is a construct that was assembled and disassembled, theorized and criticized, by diverse authors and artists in a wide variety of disciplines and socio-historical contexts, and instrumentalized for diverse purposes. The plurality of these constructions – that Goethe’s Urpflanze, for example, is not synonymous with Friedrich Schlegel’s universal progressive poetry – is but one manifestation of how “assembly” strives but fails to be absolute. The “other” of assembly referenced in the title suggests two divergent but inseparable tendencies: firstly, how a construction can take on the appearance of a natural given; and secondly, how assemblages of wholeness harbor within themselves their own principle of disarticulation. These two tendencies underlie the “inexhaustible” character of Romantic “gatherings”. As a construction passes itself off as nature, the natural fails to account for itself as a whole. The scope of this volume encompasses the establishment, mapping, and interrogation of assembly and its other in German Romanticism through interdisciplinary studies on literature, aesthetics, philosophy, drama, music, synaesthesia, mathematics, science, and exploration.List of contributors: Beate Allert, Frederick Burwick, Alexis B. Smith, Margaret Strair, Christina Weiler, Joshua Wilner.