Titlebook: Romanticism and the City; Larry H. Peer (Professor of Comparative Literature Book 2011 Larry H. Peer 2011 English literature.Romanticism.W

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Nerve Theory, Sensibility, and Romantic Metrosexualsand Fibres: Towards Defining the Origins of Sensibility,” a few commonly accepted notions appear in criticism about Romantic-era literature and nerve theory, for example, that the nervous illness of hysteria and hypochondria afflicts city dwellers most violently, as both George Grinnell and Martin W

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Wordsworth’s Double-Takeo because my interest, following the poet’s own intuition, is with the “ordinary… but”—with the ordinary as something more or extra—rather than with the sublime interiority or “visionary dreariness” to which Wordsworth immediately assigns the sight in a characteristic, if possibly erroneous, move. M

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John Galt, Happy Colonialist: The Case of “The Apostate; or, Atlantis Destroyed” British expansion into the New World. Sarah Irving argues that Bacon’s Utopian fantasy actually reveals colonial anxieties about the dispossession of indigenous peoples, the moral dimensions of colonial occupation, and the legitimacy and reliability of the scientific knowledge produced in colonial

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The Gothic Chapbook and the Urban Readeras well as their lack of artistic sophistication, depth, or significance.. Montague Summers claims that they were the reading material of “schoolboys, prentices, servant-girls, by the whole of that vast population which longed to be in the fashion, to steep themselves in the Gothic Romance.” They ar

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Romantic Science and the Cityn to the public, some educational, social, and even some performance art. There are no distinctions among the sciences, the real and pseudo, the life and earth sciences, the observational, theoretical, experimental, recreational, narrative, visual, field or laboratory, or even between science and te

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Phenomenal Beauty: Rousseau in Veniceethics. Of course, I do not refer to an actual encounter (the two thinkers did not, in fact, ever meet), nor even to contrasting views of the same place (Kant, notoriously, did not travel), but rather to a conceptual space, which brings typically Rousseauvian anxieties about the transparency of othe

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E. T. A. Hoffmann’s Marketplace Vision of Berlin incongruous abandoned house on the luxurious avenue . becomes an object of dangerous obsession, brides show their faces from the tower of the old town hall at midnight on summer solstice, revenants and sorcerers mingle with petty Prussian bureaucrats, frequent local wine cellars and cake shops, and

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Renzo in Milanenth century (three editions appeared between 1821 and 1840), the novel is the only one Manzoni ever wrote and, more importantly perhaps, one of the first novels, if not the first, that places a peasant as the hero of the entire work. To be sure, as the title of the first edition (.) suggests, the h

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