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\u00abRomanticism and the Tyrannies of Distance\u00bb: Romantic Studies Association of Australasia Inaugural Conference<\/li>\n
\u00abLOCATING REVOLUTION: Place, Voice, Community, 1780-1820\u00bb<\/li>\n
\u00abEnlightenment, Romanticism, Nation\u00bb: British Association for Romantic Studies 2011<\/li>\n
Biennial Conference Forthcoming Conferences<\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div>
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<\/div><\/div><\/div>
DIRETTORE <\/strong><\/p>\n
Lilla Maria Crisafulli<\/p>\n
CONDIRETTORI <\/strong><\/p>\n
Annalisa Goldoni, Romolo Runcini<\/p>\n
DIRETTORE RESPONSABILE <\/strong><\/p>\n
Gigliola Nocera<\/p>\n
RESPONSABILE SEGRETERIA DI REDAZIONE <\/strong><\/p>\n
Gabriella Imposti<\/p>\n
SEGRETERIA DI REDAZIONE <\/strong><\/p>\n
Gioia Angeletti, Serena Baiesi, Andrea Birk, Luigi Contadini, Carlotta Farese, Fabio Liberto, Anna Mandich, Lara Michelacci, Laura Russo, Adriana Sfragaro<\/p>\n
COMITATO DI REDAZIONE <\/strong><\/p>\n
Gian Mario Anselmi, Laura Bandiera, Beatrice Battaglia, Cristina Fiallega, Paola Maria Filippi, Angelo Mangini, Piero Menarini, Cecilia Pietropoli, Maggie Rose, Elena Spandri, Annamaria Sportelli, Virginia Verrienti, Margherita Versari, Maria Luisa Wandruszka<\/p>\n
COMITATO SCIENTIFICO <\/strong><\/p>\n
Andrea Battistini, Drummond Bone, Marilyn Butler, Stuart Curran, Alfredo De Paz, B\u00e9atrice Didier, Keir Elam, Stuart Gillespie, Sergio Givone, Ekaterini Douka Kabitoglou, William Keach, Paul Gerhard Klussmann, Franco Marenco, St\u00e9phane Michaud, Annarosa Poli, David Punter, Jeffrey C. Robinson, Viola Sachs, Jean Starobinski, Raymond Trousson, Peter Vassallo, Timothy Webb<\/p>\n<\/div>
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Both John Keats and Percy Bysshe Shelley are famous for odes addressed to birds: \u00abOde to a Nightingale\u00bb (1819) and \u00abTo a Skylark\u00bb (1820). If the reader looks more closely at the poems and tries to decode their sub-texts, he\/she becomes aware of the fact that the poems are intriguing not so much for ornithological reasons as for their typically Romantic views of corporeality. In accordance with neo-Platonic approaches to the body, the birds are elusive, charac\u00adterised by a lack of materiality and an absence of flesh and blood. Conceived of as mediators between heaven and earth, the birds are elevated to the status of ideas, to spiritual beings that can only be expressed by vague analogies and comparisons such as \u00ab[l]ike an unbodied<\/i> joy whose race is just begun\u00bb. Competing with the soaring bird as he had done with the eponymous west wind, Shelley is sorely disappointed by the fact that his body prevents him from joining the bird and the wind, and that a \u00abheavy weight of hours\u00bb has chained him to the ground and the corporeality of the human condition. In his \u00abOde to the Nightingale\u00bb, the fretful and consumptive Keats dispenses with any Icarian aspirations and wishes only that he could \u00ableave the world unseen\u00bb and \u00abfade away\u00bb with the invisible nightingale into the realm of fantasy. From these two poems, it seems clear that Romantic poets define the body in terms of a burden: a dungeon incarcerating the volatile mind. Whilst Thomas Hardy in his poem \u00abShelley\u2019s Skylark\u00bb (1887) savagely criticises the Romantics\u2019 disregard for the body and shows the bird for what it is, a little \u00abball of feather and bone\u00bb, it must not be overlooked that the process of re-embodiment, man\u2019s awareness of being \u00aban embodied conundrum\u00bb, started not so much with the Victorians (as in Dickens\u2019s novel Our Mutual Friend<\/i>), as with the Romantics them\u00adselves. Whilst Keats longed to fade away and see his feverish body dissolve into nothingness (in consequence of which the poem \u00abTo Autumn\u00bb discards all references to human beings and bodies), his lingu\u00adistic sensuality can clearly be understood as a potent effort to re-embody language and counter Shelley\u2019s (futile) aspirations to make language diaphanous and an adequate vehicle for his idea of intellectual beauty. Contrary to all expectations, as well as to the 18^{th<\/sup>-century habit of highlighting the filthy and bestial aspects of the body, the Romantic age thus re-discovers the body and reclaims it from its mar\u00adginalised and taboo position. It is to Keats\u2019s merit that he releases melancholy from its brooding self-centredness and sees it as a gift that enables the poet to enjoy his mistress\u2019s physical beauty and \u00abfeed deep, deep upon her peerless eyes\u00bb. Lord Byron, an extremely harsh critic of Keats\u2019s poetry, goes one step further when, in his monumental poem Don Juan<\/i> (1818-24), he not only re-introduces the body in all its Swiftian connotations, but also divests Romantic poetry of its oppressive Platonic garb. In the same sensual manner as that in which Keats\u2019s speaker emprisons his mistress\u2019s hand, young Don Juan ignores the Platonic traditions and, by squeezing Donna Julia\u2019s hand, reveals that all discourses of disembodied amour courtois<\/i> in the wake of Petrarch are a hoax. Disparaging Plato as a \u00abcharlatan\u00bb and Petrarch as the \u00abPlatonic pimp of all posterity\u00bb Byron underscores the fact that the age of Romanticism is not a monolithic movement and that his deconstruction of Plato is conducive to a strong anti-Lakist wave of Romantic re-embodiments which culminate in graphic depictions of slaughter, canni\u00adbalism and sexual intercourse. In this respect, the age of Romanticism resembles the age of Shakespeare, which the Roman\u00adtics helped to redefine. Struggling to free themselves from Petrarch\u2019s Platonic idiom, Shakespeare and his contemporaries invested their works with an unprecedented corporeality that only Puritan fundamentalism was able to stifle. Whilst Byron more often than not re\u00adverts to Shakespeare to give his bodily and erotic language a canonical underpinning, other Romantics (such as Coleridge) re-interpret the Elizabethan dramatist in terms of disembodied philosophy, \u00abRomantic brain science\u00bb, or \u2013 in the light of the emergence of Evangelicalism \u2013 reduce Shakespeare to a torso, which proved palatable to the avid readers of Bowlder\u2019s Family Shakespeare<\/i> (1820). As in Shakespeare\u2019s times, the Romantic age is thus characterised by a clash of different concepts of the body, by discourses running the gamut from anti-corporeality to provocative and aggressive re-embodiment, showing that the images of the Romantic body are as elusive as the period that generated them. Within this frame, the present volume aims to investigate the usage and conception of the body in the Romantic period. We have tried to keep the focus open to both the decades immediately preceding the Romantic age strictu sensu<\/i> \u2013 the exploration of corporeality in the second half of the 18^{th<\/sup> century \u2013 and those following it up to the later 19^{th<\/sup> century, when perspectives on the body would be affected by increasingly relevant racial debate and the impact of Darwin\u2019s theories. We have tried to include as many critical approaches as possible, hosting contributions from both established and young or independent scholars. Some of the contributions in the main section \u2013 such as those of Lisa Ann Robertson, Rocco Coronato, and Norbert Lennartz \u2013 provide the reader with an insight into the main scientific and cultural debates concerning the mind\/body relationship, as well as a discussion of the way Romantic and pre-Romantic literature helped to redefine older concepts of the body. The essays of Eliza O\u2019Brien, Linda Claridge Middup, Sharon Ruston, Caroline Kimberly, Evy Varsamopoulou and Michael Bradshaw, on the other hand, focus more closely on the reception and treatment of the body and its anatomy in both classic and less known\/studied works. The Marginalia<\/i> section is dedicated to contributions that either widen the scope of the analysis to contexts other than the British (Barnaba Maj\u2019s essay on Georg B\u00fcchner, as well as Stephanie Saint\u2019s essay on Herman Melville), or propose an investigation into the later years of the 19^{th<\/sup> century (Tiziana Morosetti\u2019s contribution on the racial debate between Italy and Great Britain). Finally, in the Poet\u2019s Corner <\/i>we have chosen to include (rather than the usual presentation of previously unpublished creative writing) some selected representative extracts from such relevant thinkers as David Hartley, James Cowles Prichard, William Lawrence and Robert Knox, whose work was central in the forging of 18^{th<\/sup>– and 19^{th<\/sup>-century perspectives on the body. A key text in the shaping of an exquisitely British conception of the body and its anatomy, David Hartley\u2019s Observations <\/i>(1749) is explored in the opening essay of the volume, Robertson\u2019s \u00abSoulful Sensorium\u00bb, which investigates the impact of Hartley\u2019s work on Joseph Priestley (Disquisitions Relating to Matter and Spirit, <\/i>1777), as well as how they discussed traditional Christian and neo-Platonic views of the body. The cultural heritage of the 18^{th<\/sup> century also underlies Rocco Coronato\u2019s essay, which, through a discussion of Sterne\u2019s Sentimental Journey<\/i> and an increasing fascination with automata, explores both the concept of sentiment and the mechanistic view of the body in pre-Romantic England. To Romantic literature more strictly, on the other hand, is dedicated the essay \u00abPorous Bodies in British Romantic Literature\u00bb, in which Lennartz, focusing on authors as diverse as Byron, Keats and Matthew Lewis, discusses the way Romantic literature dealt with the \u2018porousness\u2019 of the feminised body, at once inheriting and challenging previous gender concepts. Realting more closely to British Romantic literature in its various expressions, O\u2019Brien\u2019s analysis of Caleb Williams <\/i>proposes an effective insight into the employment of the body as evidence in the early Romantic period, as well as into Godwin\u2019s conception of judgement. To Mary Wollstonecraft\u2019s Original Stories from Real Life<\/i>, Hannah More\u2019s Cheap Repository Tracts<\/i> and Maria Edgeworth\u2019s Rosamond<\/i> and to their representation of the feminine body more specifically, is dedicated Middup\u2019s \u00abBody vs Soul\u00bb, in which the relation between body and mind is once more central. Frankestein<\/i>,on the other hand, is explored by Ruston in her essay through an investigation into the the language of natural history employed in the novel, as well as into the classification of the Creature, looking more closely at the impact of physicians such as Blumenbach, Buffon and Lawrence on the literary landscape. Kimberly\u2019s \u00abEndymion<\/i> and the Critics\u00bb focuses on the conception of both class and gender in Keats\u2019s work, exploring his representation of the body and masculinity in Endymion <\/i>through the lens of later criticism of the poem. Pain, and starvation more specifically, are at the core of Varsamopoulou\u2019s essay, which investigates the limits to which the body is led in De Quincey\u2019s Confessions of an English Opium-Eater<\/i>, as well as their relation to autobiographical discourse. Bradshaw\u2019s \u00abThomas Hood and the Art of the Leg-Pull\u00bb still focuses on pain, but with a look at deformity and disability, and the author re-evaluates Hood\u2019s works in light of body criticism, disability studies and theories of laughter, discussing the relation between pain and the comic genre. The contributions included in the main section of this issue of La Questione Romantica<\/i> are therefore meant to offer an overview on the body and its employment\/reinterpretation in the context of British Romanticism. Although generally shorter than those included in the main section, the essays presented in the Marginalia<\/i> section are equally relevant, given the importance of the debate on the body outside Great Britain, as well as the impact of the Romantic conception of the body on later cultural and literary developments. Maj\u2019s essay on Georg B\u00fcchner focuses on the bodily dimensions of the suffering of the the people, exploring such an undervalued piece as the political manifesto Der Hessische Landobte<\/i> (The Hessian Messenger<\/i>), in which the German author addresses the peasants of his country. Saint\u2019s contribution on Melville\u2019s Redburn<\/i>, through an investigation of the employment of physical disability in the novel, points on the other hand to Melville\u2019s challenging Adam Smith\u2019s The Wealth of Nations <\/i>in his portrait of Liverpool\u2019s dock-wall beggars. Finally, Tiziana Morosetti\u2019s \u00abA War between Races\u00bb explores the way the claim of a biological specificity of Italians in the late 19th century led to the reinforcement, in the British context, of stereotypes on the Italian \u2018body\u2019 that first the Renaissance, and later Romanticism had nurtured. The portrait of the body that arises from these essays is in no way homogenous, but rather proves how flexible, evocative, as well as rich in allusion the employment of the body has been in the context of British Romanticism.<\/p>\n}}}}}}}
This issue of La Questione Romantica is edited by Tiziana Morosetti and Norbert Lennartz.<\/strong><\/h1>\n<\/div>
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Numero 3 <\/strong>(Aprile 2011)<\/h3><\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/span><\/div><\/div><\/div><\/div>EDITORIALE<\/a><\/p>\n<\/div><\/i><\/i><\/span>SAGGI<\/span><\/a><\/h4><\/div>\n\nLisa Ann Robertson, Soulful Sensorium: The Body in British Romantic Brain Science<\/li>\n

<\/i><\/i><\/span>SAGGI<\/span><\/a><\/h4><\/div>\n\nLisa Ann Robertson, Soulful Sensorium: The Body in British Romantic Brain Science<\/li>\n

Numero 3 <\/strong>(Aprile 2011)<\/h3><\/span>
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EDITORIALE<\/a><\/p>\n<\/div>