This volume assembles for the first time material written by Paul de Man between 1954 and 1981, including his previously unpublished Gauss Seminar lectures delivered at Princeton in 1967, three papers on romantic and postromantic issues, a commissioned essay on Roland Barthes, and two substantial responses to papers by Frank Kermode and Murray Krieger. Romanticism and Contemporary Criticism represents de Man's reflections on some of the major texts of English, German, and French Romanticism and their reception in twentieth-century literary criticism and theory. The Gauss Seminar lectures in particular convey de Man's consideration of Romanticism as a distinct form of historical consciousness, and illuminate his conviction that this romantic historical consciousness had been a powerful influence on our own development of a historical identity. De Man had planned to use the Gauss lectures as a basis for a major historical study of Romanticism, but the volume was never completed and de Man eventually abandoned the project. Drawn from four decades of de Man's career, these essays reflect the transition in the critic's work from the thematics and vocabulary of "consciousness" and "temporality" characteristic of his work in the 1960s, to the language-oriented concerns and terminology of his later writings.

The core of this book is made up of five essays, by distinguished scholars of international reputation, that treat the relation between current literary theory and Romanticism. The book originated in a series of lectures presented at the University of New Mexico in 1983. All but one of the essays are published here for the first time. The contributors are Northrop Frye, W. J. T. Mitchell, J. Hillis Miller, M. H. Abrams, and Stanley Cavell. Frye's essay is a major statement on the backgrounds of Romanticism. W. J. T. Mitchell's contribution takes up, through the composite arts of William Blake, the relation of poetry and painting, writing and printing, criticism and politics. The controversy over deconstruction is the occasion for a matched pair of essays by J. Hillis Miller and M. H. Abrams, advocate and antagonist respectively. In his essay, Abrams makes a definitive statement on his view of deconstruction and its intellectual heritage. The fifth piece, by Stanley Cavell, is the first extended discussion of English and American Romanticism by this major contemporary philosopher. Following each essay is an edited transcript of a question-and-answer session in which the contributor-critic ranges widely and freely over today's critical scene. The sessions make fascinating reading. This book should be of compelJing interest to students of Romanticism as well as to students and scholars interested in the uses and implications of poststructuralist theory.

Using Phillipe Lacoue-Labarthe and Jean-Luc Nancy's groundbreaking study of the persistence of German Idealist philosophy as his starting point, Justin Clemens presents a valuable study of the links between Romanticism and contemporary theory. The central contention of this book is that contemporary theory is still essentially Romantic - despite all its declarations to the contrary, and despite all its attempts to elude or exceed the limits bequeathed it by Romantic thought. The argument focuses on the ruses of 'Romanticism's indefinable character' under two main rubrics, 'Contexts' and 'Interventions'. The first three chapters investigate 'Contexts', examining some of the broad trends in the historical and institutional development of Romantic criticism; the second section, 'Interventions', comprises close readings of the work of Jacques Lacan, Gilles Deleuze and Félix Guattari, Eve Kosofsky Sedgwick, Ian Hunter and Alain Badiou. In the first chapter Clemens identifies and traces the development of two interlocking recurrent themes in Romantic criticism: the Romantic desire to escape Romanticism, and the problem posed to aesthetico-philosophical thought by the modern domiciliation of philosophy in the university. He develops these themes in the second chapter by examining the link forged between aesthetics and the subject in the work of Immanuel Kant. In the third chapter, Clemens shows how the Romantic problems of the academic institution and aesthetics were effectively bound together by the philosophical diagnosis of nihilism. Chapter Four focuses on two key moments in the work of Jacques Lacan - his theory of the 'mirror stage' and his 'formulas of sexuation' - and demonstrates how Lacan returns to the grounding claims of Kantian aesthetics in such a way as to render him complicit with the Romantic thought he often seems to contest. In the following chapter, taking Deleuze and Guattari's notion of 'multiplicity' as a guiding thread, Clemens links their account to their professed 'anti-Platonism', showing how they find themselves forced back onto emblematically Romantic arguments. Chapter Six provides a close reading of Sedgwick's most influential text, Epistemology of the Closet. Clemens' reading localizes her practice both in the newly consolidated academic field of 'Queer Theory' and in a conceptual genealogy whose roots can be traced back to a particular anti-Enlightenment strain of Romanticism. Clemens next turns to the professedly anti-Romantic arguments of Ian Hunter, a major figure in the ongoing re-writing of modern histories of education. In the final chapter he examines the work of the contemporary French philosopher Alain Badiou. Clemens argues that, if Badiou's hostility to the diagnosis of nihilism, his return to Plato and mathematics, and his expulsion of poetry from philosophical method, all place him at a genuine distance from dominant Romantic trends, even this attempt admits ciphered Romantic elements. This study will be of interest to literary theorists, philosophers, political theorists, and cultural studies scholars.

Claiming that the scholarship and criticism of Romanticism and its works have for too long been dominated by a Romantic ideology—by an uncritical absorption in Romanticism's own self-representations—Jerome J. McGann presents a new, critical view of the subject that calls for a radically revisionary reading of Romanticism. In the course of his study, McGann analyzes both the predominant theories of Romanticism (those deriving from Coleridge, Hegel, and Heine) and the products of its major English practitioners. Words worth, Coleridge, Shelley, and Byron are considered in greatest depth, but the entire movement is subjected to a searching critique. Arguing that poetry is produced and reproduced within concrete historical contexts and that criticism must take these contexts into account, McGann shows how the ideologies embodied in Romantic poetry and theory have shaped and distorted contemporary critical activities.

The Romantic period coincided with revolutionary transformations of traditional political and human rights discourses, as well as witnessing rapid advances in technology and a primitivist return to nature. As a broad global movement, Romanticism strongly impacted on the literature and arts of the late eighteenth and early nineteenth centuries in ways that are still being debated and negotiated today. Examining the poetry, fiction, non-fiction, drama, and the arts of the period, this book considers: Important propositions and landmark ideas in the Romantic period; Key debates and critical approaches to Romantic studies; New and revisionary approaches to Romantic literature and art; The ways in which Romantic writing interacts with broader trends in history, politics, and aesthetics; European and Global Romanticism; The legacies of Romanticism in the twentieth and twenty-first centuries. Containing useful, reader-friendly features such as explanatory case studies, chapter summaries, and suggestions for further reading, this clear and engaging book is an invaluable resource for anyone who intends to study and research the complexity and diversity of the Romantic period, as well as the historical conditions which produced it.

This book offers a history of literary criticism from Plato to the present, arguing that this history can best be seen as a dialogue among three traditions - the Platonic, Neoplatonic, and the humanistic, originated by Aristotle. There are many histories of literary criticism, but this is the first to clarify our understanding of the many seemingly incommensurable approaches employed over the centuries by reference to the three traditions. Making its case by careful analyses of individual critics, the book argues for the relevance of the humanistic tradition in the twenty-first century and beyond.

Richard C. Sha’s revealing study considers how science shaped notions of sexuality, reproduction, and gender in the Romantic period. Through careful and imaginative readings of various scientific texts, the philosophy of Immanuel Kant and Longinus, and the works of such writers as William Blake, Percy Bysshe Shelley, Mary Wollstonecraft, and Lord Byron, Sha explores the influence of contemporary aesthetics and biology on literary Romanticism. Revealing that ideas of sexuality during the Romantic era were much more fluid and undecided than they are often characterized in the existing scholarship, Sha’s innovative study complicates received claims concerning the shift from perversity to perversion in the nineteenth century. He observes that the questions of perversity—or purposelessness—became simultaneously critical in Kantian aesthetics, biological functionalism, and Romantic ideas of private and public sexuality. The Romantics, then, sought to reconceptualize sexual pleasure as deriving from mutuality rather than from the biological purpose of reproduction. At the nexus of Kantian aesthetics, literary analysis, and the history of medicine, Perverse Romanticism makes an important contribution to the study of sexuality in the long eighteenth century.