David Duff
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780199572748
- eISBN:
- 9780191721960
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199572748.003.0001
- Subject:
- Literature, 19th-century Literature and Romanticism
The Introduction reviews previous scholarship, arguing that anti-generic approaches which see a dissolution of genre and revisionist accounts which stress the Romantics' continued investment in genre ...
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The Introduction reviews previous scholarship, arguing that anti-generic approaches which see a dissolution of genre and revisionist accounts which stress the Romantics' continued investment in genre both fail fully to capture the ambivalent place of genre in Romantic literary culture. Citing many examples of authorial ambivalence towards genre and of contradictory tendencies in the way genres themselves are used, it argues that these contradictory impulses are what define the period. Romanticism displays a hyperconsciousness about genre because the traditional genre-system is breaking down, old genres are being transformed, and new literary forms are emerging. This heightened awareness is in part a theoretical awareness, critical self-consciousness about genre being an aspect of what Paul Hamilton has termed ‘metaromanticism’, Romanticism's conceptualization of itself. The chapter explains the relationship between genre theory and practice in Romanticism, and introduces the German-British parallels which are a recurring theme of the book.Less
The Introduction reviews previous scholarship, arguing that anti-generic approaches which see a dissolution of genre and revisionist accounts which stress the Romantics' continued investment in genre both fail fully to capture the ambivalent place of genre in Romantic literary culture. Citing many examples of authorial ambivalence towards genre and of contradictory tendencies in the way genres themselves are used, it argues that these contradictory impulses are what define the period. Romanticism displays a hyperconsciousness about genre because the traditional genre-system is breaking down, old genres are being transformed, and new literary forms are emerging. This heightened awareness is in part a theoretical awareness, critical self-consciousness about genre being an aspect of what Paul Hamilton has termed ‘metaromanticism’, Romanticism's conceptualization of itself. The chapter explains the relationship between genre theory and practice in Romanticism, and introduces the German-British parallels which are a recurring theme of the book.
Andrea Zlatar-Violić
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780804784023
- eISBN:
- 9780804787345
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804784023.003.0016
- Subject:
- History, European Modern History
Croatian literature in the 1990s was marked by a series of questions—about cultural continuity and discontinuity, about changes in the genre system due to changes in the transitional economy and ...
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Croatian literature in the 1990s was marked by a series of questions—about cultural continuity and discontinuity, about changes in the genre system due to changes in the transitional economy and distribution, and about the emergence of new authors and individual poetics. During the last twenty years we have seen the increased quality of literary production and the creation of a new, relatively stable, reading public. The main themes of novels and short stories (which are the most popular genres) in the last few years have been the historical issues of cultural memory and cultural amnesia. How to face history, especially the postwar reality, is, for Croatian authors such as UgreŠić, Jergović, Drakulić, Sajko, Bukovac, Simić, BodroŽić, et al., primarily an individual ethical question which reopens the issues of guilt and responsibility.Less
Croatian literature in the 1990s was marked by a series of questions—about cultural continuity and discontinuity, about changes in the genre system due to changes in the transitional economy and distribution, and about the emergence of new authors and individual poetics. During the last twenty years we have seen the increased quality of literary production and the creation of a new, relatively stable, reading public. The main themes of novels and short stories (which are the most popular genres) in the last few years have been the historical issues of cultural memory and cultural amnesia. How to face history, especially the postwar reality, is, for Croatian authors such as UgreŠić, Jergović, Drakulić, Sajko, Bukovac, Simić, BodroŽić, et al., primarily an individual ethical question which reopens the issues of guilt and responsibility.
