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Mark Robson

in this respect it may be right to call “romantic”.’25 Rhetoric is not then just replaced; it is explicitly abjected in romanticism. It is this negative valuation of rhetoric within the post-romantic tradition that we must think beyond if we are to encounter that which occupies the space of aesthetics in the pre-romantic period, and yet it must not simply be assumed that this is possible. In part this is because any notion of a sudden division of pre- and post-romantic thought is dubious as well as hard to define, but it is also because any rational enquiry must

in The new aestheticism
Open Access (free)
Gertrude Stein and Alfred North Whitehead
Kate Fullbrook

fruition. This usage links her, among writers in English, back through Emerson, Matthew Arnold and Coleridge and through them, to Hegel, that is, to a major strain in American and European romantic thought. But aside from her implicit acceptance of standard romantic usage, Stein inflects the concept of genius with kinds of emphasis which are particu- Encounters with genius: Stein and Whitehead 245 larly her own. For example, in ‘Portraits and Repetition’, one of the lectures from her American tour of 1934, she comments: Nothing makes any difference as long as some one

in Special relationships
Open Access (free)
Henry David Thoreau
David Herd

situating himself, for all his distance, in the mainstreams of Enlightenment and Romantic thought. Thus, if the problem that Kant calls forth is the unknowability of the thing- in-itself, and if that unknowability is a function of mind’s conditioned relation to the world — if reason, like money, alienates things — it’s as well, as Kant does, to take a look at what reason was brought forward to displace. To return, then, to the Critique of Judgement. Sounding: Henry David Thoreau 45 The idea of the good to which affection is superadded is enthusiasm. This state of mind

in Enthusiast!
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Jonathan Atkin

experiences if I choose to receive them.’83 On the death of Rupert Brooke, Forster had commented that Brooke’s ‘1914’ sonnets had been inspired by his romantic thoughts about war and not by his knowledge of it. If he had been spared to gain this knowledge, argued Forster, he would have expressed his thoughts with much greater ‘grim and grotesque realism’. As he wrote to his friend Malcolm Darling, ‘This war’s like the bible – we’re all going to take out of it what we bring to it’, adding that, ‘I, who never saw much purpose in the Universe, now see less’.84 In 1917 Forster

in A war of individuals