Beginning with the premise that men and women of the Romantic period were lively interlocutors who participated in many of the same literary traditions and experiments, Fellow Romantics offers an inspired counterpoint to studies of Romantic-era women writers that stress their differences from their male contemporaries. As they advance the work of scholars who have questioned binary approaches to studying male and female writers, the contributors variously link, among others, Charlotte Smith and William Wordsworth, Mary Robinson and Samuel Taylor Coleridge, Felicia Hemans and Percy Bysshe Shelley, Jane Austen and the male Romantic poets. These pairings invite us to see anew the work of both male and female writers by drawing our attention to frequently neglected aspects of each writer's art. Here we see writers of both sexes interacting in their shared historical moment, while the contributors reorient our attention toward common points of engagement between male and female authors. What is gained is a more textured understanding of the period that will serve as a model for future studies.

This book addresses the philosophical reception of early German Romanticism and offers the first in-depth study in English of the movement's most important philosopher, Friedrich Schlegel, presenting his philosophy against the background of the controversies that shaped its emergence. Elizabeth Millán-Zaibert begins by distinguishing early German Romanticism from classical German Idealism, under which it has all too often been subsumed, and then explores Schlegel's romantic philosophy (and his rejection of first principles) by showing how he responded to three central figures of the post-Kantian period in Germany—Jacobi, Reinhold, and Fichte—as well as to Kant himself. She concludes with a comprehensive critique of the aesthetic and epistemological consequences of Schlegel's thought, with special attention paid to his use of irony.

Romanticism was always culturally diverse. Though English-language anthologies have previously tended to see Romanticism as predominantly British, the term itself actually originated in Germany, where it became the banner of a Europe-wide movement involving the profound intellectual and aesthetic changes which we now associate with modernity. This anthology is the first to place British Romanticism within a comprehensive and multi-lingual European context, showing how ideas and writers interconnected across national and linguistic boundaries. By reprinting everything in the original languages, together with an English translation of all non-English material in parallel on the opposite page, it offers a new intellectual map of Romanticism. Material is thematically arranged as follows: - Art & Aesthetics - The Self - History - Language - Hermeneutics & Theology - Nature - The Exotic - Science While focusing on European texts, the inclusion of essays on their North American and Japanese reception means that Romanticism can be seen as a global phenomenon, influencing a surprising number of the ways in which the modern world sees itself.

Taking into account key movements, such as late 19th century aestheticism, early 20th century Modernism, postmodernism and post-colonialism, the book shows how these developments were not only informed by Romanticism, but also revealed it to be a more plural and less stable concept.

Bringing together leading British, North American, and Italian critics, this collection makes a crucial intervention in the reclamation of women's theatrical activities during the Romantic period. As they examine key figures like Elizabeth Inchbald, Joanna Baillie, Elizabeth Vestris, and Jane Scott, the contributors take up topics such as women's history plays, ethics and sexuality, the politics of drama and performance, and the role of women as managers and producers.

Beginning with the premise that men and women of the Romantic period were lively interlocutors who participated in many of the same literary traditions and experiments, Fellow Romantics offers an inspired counterpoint to studies of Romantic-era women writers that stress their differences from their male contemporaries. As they advance the work of scholars who have questioned binary approaches to studying male and female writers, the contributors variously link, among others, Charlotte Smith and William Wordsworth, Mary Robinson and Samuel Taylor Coleridge, Felicia Hemans and Percy Bysshe Shelley, Jane Austen and the male Romantic poets. These pairings invite us to see anew the work of both male and female writers by drawing our attention to frequently neglected aspects of each writer's art. Here we see writers of both sexes interacting in their shared historical moment, while the contributors reorient our attention toward common points of engagement between male and female authors. What is gained is a more textured understanding of the period that will serve as a model for future studies.