This Is Not an Improvisation: Letitia Landon and the Slipperiness of Taxonomy

ABSTRACT

Writing in 2007, in The Wordsworth Circle, Jeffrey Robinson remarked on the “ephemerality” of improvisational poetry, its fundamental resistance to being “preserved.” Printed poetry is typically regarded as “fixed” and static: what any poem represents as improvisation is, at best, only a record, executed in a fixed medium, of a performance whose infinite variability is inherent in the nature of improvisation itself. Partly an homage to Rene Magritte’s This is Not a Pipe (1928–29) and to Michel Foucault’s 1973 essay on that painting, and using as a test case The Improvisatrice (1825), the long poem by Letitia Elizabeth Landon, herself a devotee of interdisciplinary and multimedia performance, this essay considers the physical, structural, and methodological challenges and limitations posed to printed “word art” by works that purport to be, or aspire to the condition of, “improvisations.” The improvisatrice who is the poem’s narrator claims to be both a painter and a songstress, but her “speech,” captured and rendered in printed words by Landon (who ventriloquizes that speech), can neither “be” nor even “represent” a work produced (“performed”) in visual art or vocal song. In her long poem Landon effectively creates a literary trompe l’oeil, an illusion that depends for its “completion” upon the reader’s implied participation in that performative act of completion. In the process, Landon’s poem reveals the fundamental incompatibility of improvisational literary production with the performative nature of improvisation.     

Bishops and Professionalization in Sweden,c. 1780–1880

This article investigates the concept of professionalization in terms of the bishops' role in the 19th-century Church of Sweden. Previous research has generally claimed that from the late 18th century until the mid-19th century, before the abolition of the Diet of Estates, the Swedish bishops amounted to secularized, conservative state officials who lacked the ability to effect religious reform. In this article, however, it will be argued that in the early 19th century, several decades earlier than previously assumed, the Swedish episcopate had begun to undergo a slow transformation that is best described as professionalization. It is posited that the bishops, inspired by Evangelical revival and Romanticism, became increasingly specialized in religion and theology in their education, thinking and practice. The episcopal profile also changed as the middle classes gained more influence from the early 19th century onwards, and this, in turn, prompted a higher standard of role performance.     

The Reception of Romanticism in Italy and Spain: Parallels and Contrasts

Summary

Liberalism arose alongside Romanticism but the two were qualitatively different. Romantic Liberalism in Italy and Spain, with roots in the Enlightenment, looked for the reasons why supposed past liberties had been lost and for methods to regain them. The constitutional issue, however, exposed the differences between the two countries, due principally to continued foreign rule in Italy, lack of political unity and the absence of an accepted common language. In both countries, however, the conjunction of Liberalism and Romanticism assisted the elaboration of national myths. Literature in both countries responded to the overriding issues but with different emphases. Spain Romanticism produced no writer of Alessandro Manzoni's stature.     

Lebensaltertheorien in der Anthropologie der Romantik

Theories of stages of life within the anthropology of romanticism. – The essay discusses the importance and prominence of theories about different stages of life in the anthropological and medical discourse of romanticism. This discourse has clearly a stabilising and restaurative function, favouring the age of moderate manhood. The political and social regulative implications of these theories demand a restaurative roll‐back. The essay is based on a concept of sociology of knowledge formation.     

Cernuda,poeta de un sur imposible

This article examines the poetics that Luis Cernuda developed throughout his life in connection with its sublime illusion of a genuine Spanish south through the romantic recreation he made of his native Seville, in several texts written from exile: they are various poems of The Reality and Desire and the essays Digressions on Romantic Andalusia and History of a Book, and, above all, the autobiographical prints from Ocnos, in which Albanio's sensitive experiences reflect both the meditative elegance of Cernuda's childhood and adolescence and the utopian promise of a true relationship with the world beyond the social hypocrisy of bourgeois capitalism and the coercion of Franco's dictatorship. My intention in this article is to weave innovatively, in a consistent and documented way, the biographical events with the artistic intentions of the poet, to reveal original interpretive links between desolate reality and the desire for transcendence in his strange lyrics.     

The Episode of the Foundry Workers’ Strike in Hector Berlioz's Opera Benvenuto Cellini

Auguste Barbier and Léon de Wailly's libretto for Hector Berlioz's 1838 opera Benvenuto Cellini contains a work stoppage by the foundry workers who are casting the Italian Renaissance artist's sculpture of Perseus and the slain Medusa. While Cellini describes no such event in his autobiographical Vita, he does recount another story that may have suggested to the librettists their invention of the workers’ strike episode. Contemporary Romantic writers, including Alfred de Vigny and Victor Hugo, in their theater and verse, treated the themes of the suffering of industrial workers and the insensitivity of industrialists. Barbier published, also in 1838, Lazare, a collection of satiric poems that analyzed the social problems caused by the Industrial Revolution in Britain, above all the exploitation and suffering of the working class. The France of the 1830s saw a notable increase in the pace of industrialization, the formation of the proletariat and the manufacturing capitalist class, and the first laborers’ strikes. It is in this historical and literary context that one can best understand the incorporation of the apocryphal and anachronistic work stoppage episode into the opera libretto.     

A People for the Patricians: Cuadros De Costumbres and State-Making on the Frontier in Colombia and Venezuela

This essay argues that the individual nature of the sketch of manners (cuadros de costumbres) imagined, in the midst of post-war politicisation of the popular classes, a dismantling of alliances of class and race to privilege a single possible image of community: the nation. By reconstructing the discourses – in particular of José María Vergara y Vergara and Ramón Páez – that facilitated the production of the llanero type in Venezuela and the Indian (indio) type in Colombia, this essay posits the sketcher as embodying a ‘patrician mindset’. As a product of it, the sketchers project their own personal histories onto their representations of the people and, in so doing, erases the frontier histories of these populations. By confounding the history of the nation with their own histories, Vergara y Vergara and Páez equated ‘patria’ with patrimony, producing peaceful populations as ‘pueblo’ (national people). Paradoxically, these idyllic portraits of the ‘pueblo’ belie an all but peaceful principle of authority that these post-independence patricians used to legitimise themselves.     

Fédération et/ou confédération

A concern to pin ideological labels on Morris has obscured the continuing importance of romanticism and Protestantism for his socialist politics. Romanticism led him to seek self-realisation in an art based on naturalness and harmony, and Protestantism led him to do so in the everyday worlds of work and domestic life. From Ruskin, he took a sociology linking the quality of art to the extent of such self-realisation in daily life. Even after he turned to Marxism, he still defined his socialist vision in terms of good art produced and enjoyed within daily life. Moreover, his over-riding concern to promote a new spirit of art, not his dislike of Hyndman, led him to a purist politics, that is, to look with suspicion on almost all forms of political action.     

L'europe sans illusions

In his doctoral dissertation—The Concept of Criticism in German Romanticism, finished in 1919 and published as a book in 1920—Walter Benjamin explores the epistemological and aesthetic foundations of the concept of criticism expounded by the early German Romantics Friedrich Schlegel and Novalis. Many of the themes in the dissertation recur in his later work, which has led scholars to believe that much of Benjamin's thought is directly influenced by the Romantics. However, a detailed investigation of the origins and development of the dissertation reveals that the picture is much more complicated. Reading the dissertation alongside the biographical material now available, this article argues that the major themes which preoccupy Benjamin in The Concept of Criticism in German Romanticism, including his theories of language and knowledge as well as his messianic philosophy of history, in fact predate his study of the Romantics. As well as being a potential entry ticket to an academic career, the dissertation constitutes Benjamin's first sustained attempt to develop and consolidate his own epistemology and aesthetics in a more or less systematic way. He does so through a series of ‘judicious interpretations’ of the Romantics, whose work he reads selectively, anachronistically and creatively to provide a vehicle for his own thought.