"This anthology of poems dive into the realms of dark mystic realism and celebrate the obsessive/possessive/compulsive passions that we all have but turn a blind eye to. Rohankar has imbibed a forcefulness that compels the reader to pause from the daily flux of chronos and inspect the dark revelry that unconsciously dictates and establishes the existing paradigms from an antithetical perspective. The poem abides to the Elioton soul of free verse while subtly flirting with the Edgarion scepticism and pessimistic mysticism. Many of the poems adhere to the classic medieval romanticism but at the same time they foray into projected narcissism. These poems then capitulate the projected narcissism within the framework of God complex within the personification of a woman who is adored, worshiped and glorified. Every verse brutally decimates the societal constructs and embraces one’s psyche with all pervasive absolute darkness. The mystic Sufi touch in the poems are not just borrowed principles but they reiterate the undercurrent of the fading reality of truth and increasing understanding of the absolute. Despite drawing so many parallels to the poems here and trying to summarise them in a verbalised manner, I would unflinchingly hold that this is impossible. The work stands on its own inexplicable organic unity and brings one closer to an intellectual orgasm and perhaps even absolute actualization of the prospects one dares not venture into. "

Explores how the Romantic period gave birth to a seductive cognitive cultural program that retains far reaching implications for contemporary views on individuality and relationships between the individual and larger groups of identification. Established

An examination of the relationship between romanticism, theory and gender.

Taking twenty women writers of the Romantic period, Romanticism and Gender explores a neglected period of the female literary tradition, and for the first time gives a broad overview of Romantic literature from a feminist perspective.

There has recently been a resurgence of interest in the importance of the emotions in Romantic literature and thought. This collection, the first to stress the centrality of the emotions to Romanticism, addresses a complex range of issues including the relation of affect to figuration and knowing, emotions and the discipline of knowledge, the motivational powers of emotion, and emotions as a shared ground of meaning. Contributors offer significant new insights on the ways in which a wide range of Romantic writers, including Jane Austen, William Wordsworth, Immanuel Kant, Lord Byron, Mary and Percy Bysshe Shelley, Thomas De Quincey and Adam Smith, worried about the emotions as a register of human experience. Though varied in scope, the essays are united by the argument that the current affective and emotional turn in the humanities benefits from a Romantic scepticism about the relations between language, emotion and agency.

The essays in this volume have all been carefully chosen by Cynthia Chase to exemplify the most important strands in contemporary critical thought on Romantic literature, in particular the best of recent feminist, deconstructive, and new historicist writing. They include contributions from critics such as Paul de Man, Mary Jacobus, Marjorie Levinson and Jerome Christensen. The collection, with its substantial introduction and judicious selection of key work, explains the significance of recent critical debate by relating it to fundamental critical questions that define Romanticism. Through the course of their analyses the essays offer answers to perhaps the most essential question posed by the Romantic period: what is the role of language in history?

In this thinker's guide to rock and roll, Robert Pattison contends that rock music mirrors the tradition of 19th-century Romanticism. The music is vulgar, he notes, and vulgarity is something that high culture has long despised but rarely bothered to define. This book is the first effort since John Ruskin and Aldous Huxley to describe in depth what vulgarity is, and how, with the help of ideas inherent in Romanticism, it has slipped the constraints imposed on it by refined culture and established its own loud arts.