Romantic Irony

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ISBN 9789630548441 | EUR 145.00 | USD 218.00
 
e-Book
ISBN 9789027286161 | EUR 145.00 | USD 218.00
 
This is the first collaborative international reading of irony as a major phenomenon in Romantic art and thought. The volume identifies key predecessor moments that excited Romantic authors and the emergence of a distinctly Romantic theory and practice of irony spreading to all literary genres. Not only the influential pioneer German, British, and French varieties, but also manifestations in northern, eastern, and southern parts of Europe as well as in North America, are considered. A set of concluding “syntheses” treat the shaping power of Romantic irony in narrative modes, music, the fine arts, and theater – innovations that will deeply influence Modernism. Thus the cross-cultural and interdisciplinary approach elaborated in the twenty chapters of Romantic Irony, as lead volume in the five-volume Romanticism series, establishes a significant new range for comparative literature studies in dealing with a complex literary movement.

SPECIAL OFFER: 30% discount for a complete set order (5 vols.).The Romanticism series in the Comparative History of Literatures in European Languages is the result of a remarkable international collaboration. The editorial team coordinated the efforts of over 100 experts from more than two dozen countries to produce five independently conceived, yet interrelated volumes that show not only how Romanticism developed and spread in its principal European homelands and throughout the New World, but also the ways in which the affected literatures in reaction to Romanticism have redefined themselves on into Modernism. A glance at the index of each volume quickly reveals the extraordinary richness of the series’ total contents. Romantic Irony sets the broader experimental parameters of comparison by concentrating on the myriad expressions of “irony” as one of the major impulses in the Romantic philosophical and artistic revolution, and by combining cross-cultural and interdisciplinary studies with special attention also to literatures in less widely diffused language streams. Romantic Drama traces creative innovations that deeply altered the understanding of genre at large, fed popular imagination through vehicles like the opera, and laid the foundations for a modernist theater of the absurd. Romantic Poetry demonstrates deep patterns and a sharing of crucial themes of the revolutionary age which underlie the lyrical expression that flourished in so many languages and environments. Nonfictional Romantic Prose assists us in coping with the vast array of writings from the personal and intimate sphere to modes of public discourse, including Romanticism’s own self-commentary in theoretical statements on the arts, society, life, the sciences, and more. Nor are the discursive dimensions of imaginative literature neglected in the closing volume, Romantic Prose Fiction, where the basic Romantic themes and story types (the romance, novel, novella, short story, and other narrative forms) are considered throughout Europe and the New World. This enormous realm is seen not just in terms of Romantic theorizing, but in the light of the impact of Romantic ideas and narration on later generations. As an aid to readers, the introduction to Romantic Prose Fiction explains the relationships among the volumes in the series and carries a listing of their tables of contents in an appendix. No other series exists comparable to these volumes which treat the entirety of Romanticism as a cultural happening across the whole breadth of the “Old” and “New” Worlds and thus render a complex picture of European spiritual strivings in the late eighteenth and the nineteenth centuries, a heritage still very close to our age.

Publishing status: Available | Original publisher: Akadémiai Kiadó
Table of Contents
General Preface
Henry H.H. Remak
5
Editor's Perface
Frederick Garber
7
Tradition and Background
Romantic Irony and Cervantes
Reviewed by Lowry Nelson Jr.
15
Sterne: Arabesques and Fictionality
Reviewed by Frederick Garber
33
National Manifestations
The Theory of Irony in German Romanticism
Ernst Behler
43
The Practice of Irony in Early German Romanticism
Reviewed by Raymond Immerwahr
82
Modes of Romantic Irony in Nineteenth-Century France
Reviewed by René Bourgeois
97
The Ironic Recit in Portuguese Romanticism
Reviewed by Maria de Lourdes A. Ferraz and Jacinto Prado-Coelho
121
Imagination and Irony in English Romantic Poetry
Reviewed by Anthony Thorlby
131
Thorbecke and the Resistance to Irony in the Netherlands
Reviewed by Wim Van den Berg and Joost J. Kloek
156
Romantic Irony in Scandinavinan Literature
Reviewed by George Bisztray
178
Irony and World-Creation in the Work of Mihai Eminescu
Reviewed by Vera Calin
188
Romantic Irony in Nineteenth-Century Hungarian Literature
Reviewed by Mihály Szegedy-Maszák
202
Romantic Irony in Polish Literature and Criticism
Reviewed by Edward Mozejko and Milan V. Dimić
225
Pushkin, Lermontov, Gogol: Ironic Modes in Russian Romanticism
Reviewed by Roman S. Struc
241
Romantic Irony and the Southern Slavs
Reviewed by Milan V. Dimić
250
The Development of Romantic Irony in the United States
Reviewed by G.R. Thompson
267
Syntheses
Romantic Irony and Narrative Stance
Reviewed by Lilian Frust
293
Musical Forms of Romantic Irony
Reviewed by Jean-Pierre Barricelli
310
Romantic Irony and the Grotesque
Reviewed by Gerald Gillespie
322
Romantic Irony in Modern Anti-Theater
Reviewed by Gerald Gillespie
343
Coda: Ironies, Domestic and Cosmopolitan
Reviewed by Frederick Garber
358
Bibliography
383
Index
385
Subjects

Literature & Literary Studies

Comparative literature & literary studies
BIC Subject: DSB – Literary studies: general
BISAC Subject: LIT000000 – LITERARY CRITICISM / General
U.S. Library of Congress Control Number:  89192100
Cited by

Cited by other publications

No author info given
2014.  In Romanticism,  pp. 234 ff. https://doi.org/10.1002/9781118893074.ch14
No author info given
2017.  In The Romantic Poetry Handbook,  pp. 325 ff. https://doi.org/10.1002/9781118308745.part5
Cheeke, Stephen
2003.  In Byron and Place,  pp. 1 ff. https://doi.org/10.1057/9780230597884_1
Cheeke, Stephen
2003.  In Byron and Place,  pp. 15 ff. https://doi.org/10.1057/9780230597884_2
Curtis, Paul M.
2007.  In Palgrave Advances in Byron Studies,  pp. 60 ff. https://doi.org/10.1057/9780230206106_4
Curtis, Paul M.
2007.  In Romanticism and Form,  pp. 1 ff. https://doi.org/10.1057/9780230206144_1
Hubbell, J. A.
2018.  In Byron's Nature,  pp. 105 ff. https://doi.org/10.1007/978-3-319-54238-6_4
Hubbell, J. Andrew
2018.  In Byron's Nature,  pp. 203 ff. https://doi.org/10.1007/978-3-319-54238-6_6
Kurzová, Irena
2015. Byron, Pulci, and Ariosto: Technique of Romantic Irony. Neophilologus 99:1  pp. 1 ff. https://doi.org/10.1007/s11061-014-9402-8
Stauffer, Andrew M.
2012.  In The Encyclopedia of Romantic Literature, https://doi.org/10.1002/9781118300916.wberlb031

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