‘Realpoetik’: Revolution by Other Means in European Romantic Restoration Thought

Summary

This essay speculates about the degree to which a counter-image of Europe imagined by Romantic period writers showed them to be transforming an inherited idea of the republic of letters for political purposes. While Anglophone romanticists recognise that the French Revolution is an indisputable agent in shaping the contemporary English literary imagination, they then usually ignore the role played by the Restoration which followed. Romantic criticism can perhaps learn an appropriate sensitivity here from the work of critics of English Restoration writing of the seventeenth century. That epochal uncertainty, when the regicides beheaded the King and then wondered what to do politically, was succeeded in the Restoration by a kind of Dissenting determination to continue under or memorialise that uncertainty, not as a dilemma but as the experience of political opportunity. A similar pattern of pursuing revolution by other means is visible in the political revisionism and literary experimentation of post-Revolutionary Romantic radicals. In my picture, then, the Romantic transformation of the republic of letters recovers an older literary republicanism. In what is here dubbed Realpoetik the battle for what is to be political reality is fought on a rhetorical field whose free speech is exemplary of what politics should be like.     

Poetry as Thought and Action: Mazzini's Reflections on Byron

Summary

This article opens with a brief introduction to Giuseppe Mazzini, with particular reference to his commitment to republicanism, an ideal that would be fulfilled in Italy only after considerable time and with great difficulty. It then focuses on Mazzini's critical reception of Byron. Although Giuseppe Mazzini and Percy Bysshe Shelley would have allowed a more obvious comparison, it was Byron who really attracted Mazzini's attention and criticism. Mazzini uses Byron, on the one hand, as a means to demonstrate that Italians could discuss European poetry without putting at risk their national identity, or, as the classicists maintained, that fragile and fragmented profile of a nation that contemporary Italy offered to the minds and hearts of thousands of young people. On the other hand, however, Mazzini questions Byron's authority by subverting and converting his value, in a very personal way: he gradually substitutes Byron's with a different authority and credits him with new values. Mazzini could not accept Byron as the emblem of elitism and isolation: Byron's solipsism needed to be purified, and his renowned cynical attitude tempered; eventually Byron's myth needed to be connected to the destiny of peoples and nations.     

Ideologies of artistic vocation – implicitly gendered cultural policies?

This paper argues that notions of artistic vocation – the idea that artists receive a metaphysical calling to follow their path – can be understood as implicit cultural policies, among other functions deepening the connection between art and spirituality, as well as regulating gender access to creative production. The matter is addressed generally and with reference to two specific case-studies: the musical era of German Romanticism and contemporary Mexican indigenous groups of the Huasteca, both of which display reliance on narratives of vocation. Also, both cases – one historically remote, and the other removed from Western main-stream musical practices – are to act as mirrors to invite future discussions concerning the continuing cultural currency of ideas of vocation and their complex and subtle complicity in the perpetuation of arguably desirable (such as the promotion of creativity) and oppressive practices within the art world.     

The Primacy of Science in Modernity,of Technology in Postmodernity,and of Ideology in the History of Technology

The abrupt reversal of culturally ascribed primacy in the science–technology relationship—namely, from the primacy of science relative to technology prior to circa 1980, to the primacy of technology relative to science since about that date—is proposed as a demarcator of postmodernity from modernity: modernity is when ‘science’ could, and often did, denote technology too; postmodernity is when science is subsumed under technology. In support of that demarcation criterion, I evidence the breadth and strength of modernity’s presupposition of the primacy of science to and for technology by showing its preposterous hold upon social theorists—Marx, Veblen, Dewey—whose principles logically required the reverse, viz. the primacy of practice; upon 19th and 20th century engineers and industrialists, social actors whose practical interests likewise required the reverse; and upon the principal theorizers in the 1970s of the role of science in late 20th century technology and society. The reversal in primacy between science and technology ca 1980 came too unexpectedly, too quickly, and, above all, too unreflectively to have resulted from the weight of evidence or the force of logic. Rather, it was a concomitant of the onset of postmodernity. Oddly, historians of technology have remained almost wholly unacknowledging of postmodernity’s epochal elevation of the cultural standing of the subject of their studies, and, specifically, have ignored technology’s elevation relative to science. This I attribute to the ideological character of that discipline, and, specifically, to its strategy of ignoration of science.     

Prologus/epilogus est,non legitur

Donald Shaw and Monroe Z. Hafter have argued that in writing Ramiro, conde de Lucena Rafael Húmara y Salamanca was attempting to reconcile the tension between conflicting political and worldviews that was prevalent in early nineteenth-century Spanish discourse. In this article, I argue that one way in which Húmara explores and contains the tension between the traditional Catholic and the emerging Romantic worldviews, as well as between the conservative and liberal views of the Spanish nation, is through his depiction of Muslim Spain. Throughout the novel, Húmara presents Muslim Spain as a place of unrestrained passion and anarchy that should be avoided because it presents a threat to Christian virtues. Simultaneously, however, Muslim Spain provides a respite from the repressiveness of the Christian world and provides a space where man is governed by an arbitrary destiny instead of a benevolent God, and human love, whatever its consequences, has been elevated to an absolute value. As I hope to demonstrate, although Húmara attempts to draw distinctions between Muslim and Christian Spain, and, in turn, the Romantic and Enlightenment worldview, these distinctions become less clear as the novel progresses.     

Romanticism,music, nationalism

In manifold ways, the stylistic and performative features and evolving genre conventions of nineteenth‐century ‘classical’ music reflect the increasing grip of nationalism on cultural attitudes in Europe. Conversely, music could become an important medium for the expression and dissemination of nationalist ideals. A cross‐national, European‐wide survey of this interpenetration between musical and ideological developments is applied towards a tentative typological outline of ‘musical nationalism’.     

“Celticism,ballad transmission,and the schizoid voice: Ossianic fragments in Owenson,Yeats, Joyce,and Beckett”

ABSTRACT

This essay surveys responses to Macpherson’s Ossian in Irish literature, alongside analysis of the development of literary Celticism. Despite being a key text behind the development of Celticism in Irish writing, Ossian is consciously rejected in Irish Romanticism and in the Celtic Revival. However, Ossian becomes a symbol of literary recycling and mental fragmentation in Irish Modernism. Texts studied in this essay include Owenson’s The Wild Irish Girl, Joyce’s Finnegans Wake, and Beckett’s Murphy.