Open Access (free)
Anne McClintock and H. Rider Haggard
Laura Chrisman

of ‘real’ political-economic growth. Haggard’s elitist romanticism, then, generates a complex contradiction: ‘the people’ emerge as both the victim and as the cause of contemporary decline. This gives rise to a fiction in which immense value is invested in the vision of non-reified, nonindustrialised humans, Africans whose production and reproduction belong to the workings of nature not culture. Within such a scheme, as I have already argued, the dynamics of sexual reproduction serve ideologically to naturalise economic production. For Haggard it is axiomatic that

in Postcolonial contraventions
Open Access (free)
Roger Southall

-determination, sovereignty and racial equality. Significantly, however, whereas Western liberal-democratic thought was founded principally upon rational individualism as found in the political theories of Thomas Hobbes (1588–1679) and John Locke (1632–1704), African nationalism, emphasizing the putative solidarity of rapidly-forming, self-conscious, African national collectivities, had much greater affinity to the romanticism of Jean-Jacques Rousseau (1712–78). Consequently ‘African democracy’ soon came to resemble more the ‘people’s democracies’ of the communist world than Western

in Democratization through the looking-glass
Open Access (free)
Hamlet, adaptation and the work of following
John J. Joughin

’ concerns a shift in understanding about the nature of language itself. For German Romanticism, the semantic indeterminacy of Shakespeare is directly linked to the emergence of a new native ‘literary language’ which cannot be subsumed under existing rules, as, beyond the systematic endeavours of modern philology to establish a science of language, ‘literature becomes the realm of language which arises for its own sake and is not bound to representation’ or to descriptive analysis.24 In the same tradition, a more explicitly philosophical justification for reading genius as

in The new aestheticism
Open Access (free)
The cartographic consciousness of Irish gothic fiction
Christina Morin

frequent reference to underground Inquisition torture chambers and nuns immured behind convent walls, see Richard Hamblyn, ‘Notes from underground: Lisbon after the earthquake’, Romanticism , 14.2 (2008), 113–16. 77 On the ‘binary, symmetrical oppositions between the familiar and the foreign’ in eighteenth-century British travel writing, see Chloe Chard, Pleasure and guilt on the Grand Tour: travel writing and imaginative geography

in The gothic novel in Ireland, c. 1760–1829
Nazima Kadir

mainstream middle-class mores which promote heterosexual normativity and heterosexual marriage and restrict female sexuality. Hence, a mode of anti-romanticism that values sexuality and sexual practices without emotional bonds, with multiple partners, and that celebrates female sexual assertiveness dominates. Furthermore, anti-romanticism is displayed by openly discussing practices that may seem taboo in the Mainstream. In an unexpected twist, this style of sexual gossip then enables a misogynist, homosocial dynamic

in The autonomous life?
Open Access (free)
Mladen Dolar

Authority: The Uses of Cliché (Basingstoke: Palgrave Macmillan, 2006). 11 Gilles Deleuze, ‘The exhausted’, in Essays Critical and Clinical (Minneapolis: University of Minnesota Press, 1997), p. 152. 12 Jean-Paul Sartre, Nausea, trans. Robert Baldick (Harmondsworth: Penguin, [1965] 1972), p. 185; La Nausée (Paris: Livre de Poche, 1968), p. 182. 13 Beckett, Molloy, pp. 64–9. See also the remarkable article by Denise Gigante, ‘The endgame of taste: Keats, Sartre, Beckett’, in Timothy Morton (ed.), Cultures of Taste / Theories of Appetite: Eating Romanticism (Basingstoke

in Beckett and nothing
Thomas Docherty

not only extends the possibilities we have for vision, for imaging, but, in doing so, offers us, as its primary content, the beautiful. The blind Montesquieu, then, is denied beauty, denied ‘imaging otherwise’ or, simply, imagination and ‘youth’. Montesquieu’s thesis in his Essay starts from the proposition that we are always hungry for experience: growing and developing, we want to see as much as possible, to extend our view as far as possible (or even as far as impossible; into what we would now – post-Romanticism – term the imagination). We are never at rest

in The new aestheticism
Felix Kanitz and Balkan archaeology
Vladimir V. Mihajlović

century romanticism and Realpolitik’ (2009 [1997]: 62). Despite the fact that Kanitz refused to take sides, his insights and actions, network of contacts and finally the knowledge he produced as well as the reception of that knowledge were all influenced by ‘geography’, or, more precisely, the geopolitical situation in which he found himself. Felix Kanitz’s Balkan network The roots of Kanitz’s world view, and hence the foundations of the knowledge he created, could be found in the period when he was still learning the craft of engraving and illustration in Vincenz

in Communities and knowledge production in archaeology
Open Access (free)
Robert Hamer after Ealing
Philip Kemp

wistful francophilia and his conviction that life had dealt him a rotten hand. It may be that the script is better than any film of it could have been at the time. Today Hamer’s doom-laden romanticism might come through unscathed, but in 1950s Britain some crass happy ending would surely have been imposed. The script is adapted from a French play, L’Âme en peine by Jean-Jacques Bernard. At its heart

in British cinema of the 1950s
Johnnie Gratton

recurrently found herself wondering whether the detective felt attracted to her: a show of affect which nods knowingly towards the romanticism of the mass-market photo-roman. Contrary to the scripts and scenarios of the photo-roman, however, there is never any question in La Filature of wanting actually to meet the man. The experience of feeling a ‘personal’ connection with him, to the point where the day in question is described by Calle with hollow poignancy as ‘notre journée’ (p. ) (our day), is a product of the experiment, an ‘experimental experience’, which, as such

in Women’s writing in contemporary France