| 1. |
- Conning, Carl-Ludwig
(författare)
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Towards an “Aesthetics of Weather” : Gustaf Fröding and Percy Bysshe Shelley’s “Hymn to Intellectual Beauty”
- 2023
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Ingår i: European Romantic Review. - 1050-9585 .- 1740-4657. ; 34:6, s. 732-751
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Tidskriftsartikel (refereegranskat)abstract
- In spring 1892 the Stockholm literary magazine Ord och bild commissioned Swedish poet Gustaf Fröding (1860–1911) with a translation of Shelley’s “Hymn to Intellectual Beauty” (1816). At the time, Fröding was an accomplished poet and an experienced translator of Romantic poetry from English, German, and French. However, Fröding lamented in a letter to his editor that in “Hymn” he had encountered an unexpected problem with rendering Shelley’s poetry of meteorological form into Swedish. This is peculiar as Fröding’s own poetic compositions, original and translations alike, are deeply preoccupied with meteorology. Taking its outset in Fröding’s struggle with the translation, this essay investigates weather in “Hymn,” arguing that what had puzzled Fröding was a mode of meteorological representation idiosyncratic to Shelley. The essay suggests that it is precisely through these idiosyncratic meteorological representations that Shelley develops discourses of French materialist and British skeptical and empirical philosophy. This development culminates in an “aesthetics of weather,” expressive of Shelley’s radical conceptions of the social and physical world. The essay concludes that Fröding’s pronounced struggle and the variation in semantic content of his version of the poem reveal what is really the meteorologically precise poetic form of an aesthetics of weather in “Hymn.”
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| 2. |
- Hermansson, Gunilla, 1974
(författare)
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Isles of Felicity – Negotiating a Place for Poetry in Swedish and Danish Romanticism
- 2015
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Ingår i: European Romantic Review. - : Informa UK Limited. - 1050-9585 .- 1740-4657. ; 26:4, s. 401-415
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Tidskriftsartikel (refereegranskat)abstract
- This article explores a group of poems, dramas and tales which all can be viewed as romantic variations on the legend of the “Isle of Felicity.” They depict poetry as a blissful kingdom, or in other ways present poetic imagination as central for the conception of felicity. Focussed upon here are works by the Swedish authors C.J.L. Almqvist and P.D.A. Atterbom, as well as the Danish B.S. Ingemann, J.L. Heiberg, Hans Christian Andersen, and Frederik Paludan-Müller. These works form a chain of inspiration and competition across national borders during the first half of the nineteenth century. The center of the literary exchange is Atterbom's drama Lycksalighetens Ö [The Isle of Felicity] (1824–1827). Seen together, these “romantic isles of felicity” form a series of late and ambivalent renegotiations of the romantic project as they respond to challenges and new demands in terms of political changes and public taste.
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| 3. |
- Lysell, Roland
(författare)
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Shelley's Prometheus Unbound in the Light of Contemporary Concepts of Tragedy
- 2018
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Ingår i: European Romantic Review. - : Informa UK Limited. - 1050-9585 .- 1740-4657. ; 29:1, s. 25-35
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Tidskriftsartikel (refereegranskat)abstract
- Most literary and theater historians emphasize the historical importance of Ibsen, Strindberg, and Andre Antoine's Theatre Libre and as a consequence Shelley's Prometheus Unbound is reduced to a parenthesis in the history of drama. Can contemporary views on tragedy expressed in theoretical works by Hans-Thies Lehmann and put on stage by, for example, Jan Fabre, Romeo Castellucci, and Olivier Dubois, cast a new light on Shelley's play and make it more familiar with the stage? Prometheus Unbound does not replace the lost play of the trilogy of Aeschylus. Rather, it questions the premises of the Greek play and it is to a certain extent a metadrama. The concept of excess, central to Lehmann and Fabre, is one of the characteristics of Shelley's drama. The Aristotelian concept of opsis, neglected in eighteenth- and nineteenth-century tragedy theory, is fundamental in Prometheus Unbound just as are music and voices. Prometheus Unbound is a typically Romantic drama as its action takes place on several levels at the same time: on stage and on a cosmic level, on stage and in a phantom world, on stage and in the mind. The use of metaphors and similes (as, like) are consitutive of the play and they constantly draw our attention to new modalities (memories, dreams, visions) and back again and thus make the modality of the action insecure. In these respects, Shelley's drama can be looked upon as a forerunner of the avantgarde theater of today.
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| 4. |
- Ohlsson, Hélène
(författare)
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Rivaling Femininities-Jenny Lind and Emelie Hogqvist : The Emergence of Multiple Femininities and Female Identity
- 2018
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Ingår i: European Romantic Review. - : Informa UK Limited. - 1050-9585 .- 1740-4657. ; 29:1, s. 63-77
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Tidskriftsartikel (refereegranskat)abstract
- This essay studies two rival representations of femininity at the Royal Theatre in Stockholm 1835-45. Jenny Lind and Emelie Högqvist embodied these different femininities through their stage persona, their image, and their legacy. The theoretical perspective is of gender studies with a particular focus on critical femininity studies. The two divas' respective self-representations and strategies for fashioning their celebrity are linked here to the concepts of idealized femininity and pariah femininity. It is argued that both femininities exemplify different branches of modernity that were crucial to nineteenth-century female identity and that still echo in society today.
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| 5. |
- Schneider, Magnus Tessing, 1975-
(författare)
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Kierkegaard and the Copenhagen Production of Mozart’s Don Giovanni
- 2018
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Ingår i: European Romantic Review. - : Informa UK Limited. - 1050-9585 .- 1740-4657. ; 29:1, s. 43-50
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Tidskriftsartikel (refereegranskat)abstract
- The article explores the early performance history of Mozart’s Don Giovanni (1787) at Copenhagen’s Royal Theatre, as a context for Søren Kierkegaard’s famous essay on the opera, which appeared in his philosophical work Either/Or: A Fragment of Life (1843). Focusing on the treatment of the supernatural elements in the opera, the author examines Lauritz Kruse’s Danish singspiel translation of the libretto, which was used by the theater from 1807 to 1839. Kruse turned Lorenzo Da Ponte’s enlightened comedy of manners into a romantic tragedy with religious overtones, but his radical reconceptualization of the drama conflicted with the portrayal of the title role by the Danish-Italian baritone Giovanni Battista Cetti who was the Don Giovanni of Copenhagen’s Royal Theatre from 1822 to 1837, and who partly inspired Kierkegaard’s interpretation. Cetti performed the role as a charming and sympathetic character, probably due to the influence of his teacher Giuseppe Siboni who, in his turn, was probably influenced by Luigi Bassi’s portrayal, the singer for whom Mozart had written the role. Hence the responses of Kierkegaard and other contemporary writers to Mozart’s seducer may be read as attempts to find meaning in a dramaturgically incongruous production.
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| 6. |
- Schurch, Millie
(författare)
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“And Breathes a Spirit Through the Finish’d Whole” : Empiricism, Poetry and Devotion in Anna Letitia Barbauld’s Poetic Epistemology
- 2022
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Ingår i: European Romantic Review. - : Taylor & Francis. - 1050-9585 .- 1740-4657. ; 33:6, s. 777-800
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Tidskriftsartikel (refereegranskat)abstract
- Anna Barbauld creates a poetic epistemology, a particular way of knowing, that she uses to shape her readers’ encounters with her poems. She demonstrates that poetry can transform empirical observation into a devotional experience that the reader can take forward beyond their immediate encounter with the poem. She combines observations with poetic techniques—and notably with epistolary characteristics—to produce an epistemology that draws on, questions, and reconfigures an empirical model, paying particular attention to the gendering of different modes and methods of knowledge production and their potential for religious devotional experience. Barbauld’s poetic epistemology also, significantly, positions the reader as a participant, accomplice or critic in the act of creating knowledge at the moment of reading. She aims to instill in the reader a new, transformational, responsive, mode of observation and interpretation that will imbue their future experiences of poetry, of God’s creation, and the process of knowledge production itself with poetic and devotional ways of knowing.
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| 7. |
- Wagner, Meike
(författare)
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Out of Time, into Time : Spatio-temporal Dramaturgies in Zacharias Werner's Der vierundzwanzigste Februar
- 2018
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Ingår i: European Romantic Review. - : Informa UK Limited. - 1050-9585 .- 1740-4657. ; 29:1, s. 13-23
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Tidskriftsartikel (refereegranskat)abstract
- Zacharias Werner's romantic play Der vierundzwanzigste Februar was enormously successful with audiences even as critics devalued it to the extent that it later became almost a synonym for bad taste in literary discourse. Nevertheless, after its premiere in 1810, it became the prototype for the popular but short-lived Schicksalsdrama. Werner's play is almost forgotten today. This essay elaborates on Werner's temporal dramaturgy in respect to its overall stage atmosphere and scenography, its symbolization of temporal objects, and its timing. Additionally, Werner's carefully constructed parallel scenes effectively stage the dynamics of time and temporal tension. My objective here is to investigate the theatrical and performative potential of Werner's Schicksalsdrama, giving more consideration to Werner's outstanding stage crafty mind and his talent as a theatrical dramatist than to his rather obvious literary shortcomings. Consequently, this article looks into the reasons for his stage success rather than judging his play from modern standards of literary quality and canon.
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