Enfilade

From Routledge:

Shun-liang Chao and John Michael Corrigan, eds., Romantic Legacies: Transnational and Transdisciplinary Contexts (London: Routledge, 2019), 336 pages, ISBN: 978-0367076726, £115 / $145.

Romantic Legacies: Transnational and Transdisciplinary Contexts presents the most wide-ranging treatment of Romantic regenerations, covering the cross-pollination between the arts or between art and thought within or across the borders of Germany, Britain, France, the US, Russia, India, China, and Japan. Each chapter examines a legacy or afterlife in a comparative context to demonstrate ongoing Romantic legacies as fully as possible in their complexity and richness. The volume provides a lens through which to understand Romanticism not merely as an artistic heritage but as a dynamic site of intellectual engagement that crosses nations and time periods and entails no less than the shaping of our global cultural currents.

Shun-liang Chao is Associate Professor of English and Comparative Literature at National Chengchi University, Taiwan. He’s the author of Rethinking the Concept of the Grotesque: Crashaw, Baudelatire, Magritte (Legenda/Routledge, 2010) and co-editor of Humour in the Arts: New Perspectives (Routledge, 2018).

John Michael Corrigan is Associate Professor of English and Digital Humanities at National Chengchi University, Taiwan. He’s the author of American Metempsychosis: Emerson, Whitman, and the New Poetry (Fordham UP, 2012).

C O N T E N T S

Foreword, James Engell

Introduction, Shun-liang Chao and John Michael Corrigan

I. Realist Romanticism
1  Romantic Walking and Railway Realism, Rachel Bowlby
2  The Use and Abuse of Romance: Realist Revisions of Walter Scott in England, France, and Germany, Geoffrey Baker
3  Chekhov on the Meaning of Life: After Romanticism and Nihilism, Yuri Corrigan

II. Fin-de-Siècle Romanticism
4  Keats Gone Wilde: Wilde’s Romantic Self-Fashioning at the Fin de Siècle, Ya-Feng Wu
5  Delacroix, Signac, and the Aesthetic Revolution in Fin-de-siècle France, Shao-Chien Tseng
6  Mediating Richard Wagner and Henry Bishop: Frederick Corder and the Different Legacies of German and English Romantic Opera, David Chandler

III. (Post)Modern Romanticism
7  Platonism, Its Heirs, and the Last Romantic, Arthur Versluis
8  Vexed Meditation: Romantic Idealism in Coleridge and Its Afterlife in Bataille and Irigaray, Justin Prystash
9  ‘You have to be a transparent eyeball’: Transcendental Afterlives in Matthew Weiner’s Mad Men, John Michael Corrigan

IV. Environmental Romanticism
10  Tracing Romanticism in the Anthropocene: An Ecocritical Reading of Ludwig Tieck’s Rune Mountain, Caroline Schaumann
11  The Eye of the Earth: Nonhuman Vision from Blake to Contemporary Ecocriticism, Sophie Laniel-Musitelli
12  ‘Indistinctness is my forte’: Turner, Ruskin, and the Climate of Art, Carmen Casaliggi

V. Oriental Romanticism
13  ReOrienting Romanticism: The Legacy of Indian Romantic Poetry in English, Steve Clark
14  Grafting German Romanticism onto the Chinese Revolution: Goethe, Guo Morou, and the Pursuit of Self-Transcendence, Johannes Kaminski
15  Two Chinese Wordsworths: The Reception of Wordsworth in Twentieth-Century China, Li Ou
16  ‘The world must be made Romantic’: The Sentimental Grotesque in Tetsuya Ishida’s ‘Self-Portraits of Others’, Shun-liang Chao

Index

The publication resulting from the 64th annual Mellon Lectures in the Fine Arts delivered at the National Gallery of Art in 2015 by Thomas Crow is now available from Princeton UP:

Thomas Crow, Restoration: The Fall of Napoleon in the Course of European Art, 1812–1820 (Princeton: Princeton University Press, 2018), 208 pages, ISBN: 978-0691181646, $40 / £30.

As the French Empire collapsed between 1812 and 1815, artists throughout Europe were left uncertain and adrift. The final abdication of Emperor Napoleon, clearing the way for a restored monarchy, profoundly unsettled prevailing national, religious, and social boundaries. In Restoration, Thomas Crow combines a sweeping view of European art centers—Rome, Paris, London, Madrid, Brussels, and Vienna—with a close-up look at pivotal artists, including Antonio Canova, Jacques-Louis David, Théodore Géricault, Francisco Goya, Jean-Auguste-Dominique Ingres, Thomas Lawrence, and forgotten but meteoric painters François-Joseph Navez and Antoine Jean-Baptiste Thomas. Whether directly or indirectly, all were joined in a newly international network, from which changing artistic priorities and possibilities emerged out of the ruins of the old.

Crow examines how artists of this period faced dramatic circumstances, from political condemnation and difficult diplomatic missions to a catastrophic episode of climate change. Navigating ever-changing pressures, they invented creative ways of incorporating critical events and significant historical actors into fresh artistic works. Crow discusses, among many topics, David’s art and influence during exile, Géricault’s odyssey through outcast Rome, Ingres’s drive to reconcile religious art with contemporary mentalities, the titled victors over Napoleon all sitting for portraits by Lawrence, and the campaign to restore art objects expropriated by the French from Italy, prefiguring the restitution controversies of our own time.

Beautifully illustrated, Restoration explores how cataclysmic social and political transformations in nineteenth-century Europe reshaped artists’ lives and careers with far-reaching consequences. Published in association with the National Gallery of Art, Washington, D.C.

Thomas Crow is the Rosalie Solow Professor of Art History at the Institute of Fine Arts, New York University. His many books include Emulation: David, Drouais, and Girodet in the Art of Revolutionary France; The Long March of Pop: Art, Music, and Design 1930–1995; and No Idols: The Missing Theology of Art. He lives in New York City and in Old Saybrook, Connecticut.