Professor%20Nicholas%20Halmi: List of publications
Showing 1 to 25 of 25 publications
Généalogie du cliché
February 2024
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Journal article
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Revue de Litterature Comparee
FFR
Transcendental revolutions
November 2023
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Chapter
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The Cambridge History of European Romantic Literature
Universal histories
May 2023
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Journal article
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Intellectual History Review
FFR
Coleridge's Philosophies
November 2022
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Chapter
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The New Cambridge Companion to Coleridge
associationism, Benedictus de Spinoza, David Hartley, dualism, Erasmus Darwin, F. W. J. Schelling, Immanuel Kant, Joseph Priestley, monism, necessitarianism, philosophy, reason, Samuel Taylor Coleridge, system, theology
Romantic Thinking
April 2021
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Chapter
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Thought: A Philosophical History
German Romanticism, German Idealism, antifoundationalism, self-reflexivity, irony, absolute, intellectual intuition, Immanuel Kant, Johann Gottlob Fichte, Friedrich Hölderlin, Novalis (Friedrich von Hardenberg), Friedrich Schlegel, Self-consciousness
The reception of A. W. Schlegel in British Romanticism
November 2020
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Journal article
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Serapion: Zweijahresschrift für europäische Romantik
European Romanticism
August 2019
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Chapter
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Cambridge History of Modern European Thought. Volume 1: The Nineteenth Century
Attempts to define Romanticism characteristically begin by conceding the difficulty, even impossibility, of the task. The entry on the subject in an encyclopedia of German literary history summarizes the challenge: “The Romantic movement must be understood as a unity, but it is in itself so polymorphous and contradictory that both a definition and an historical presentation are extraordinarily difficult.” Rather than proposing a normative definition, as if that were possible, this chapter will take the resistance to definition and its historical roots as keys to understanding Romanticism as distinctly European and modern. Accordingly, the focus here will be less on the art produced during the early decades of the nineteenth century, when Romanticism began to be theorized as a contemporary concern, than on discursive self-understanding in that unsettled period in which, as the poet William Wordsworth acknowledged, “a shock had then been given / To old opinions; and the minds of all men / Had felt it.”
SBTMR
The Greco-Roman Revival
October 2018
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Chapter
<p>During the eighteenth century an emergent historicism, which differentiated modernity radically from past ages, questioned the traditional notion of a ‘classical tradition’ of timeless values exemplified in Greek and Roman works. Classical antiquity began to be understood as a repository of historical artefacts associated, in part nostalgically, with ‘primitive’ ways of thought. Such recognition of the distance between modernity and antiquity paradoxically encouraged identification with the latter, since antiquarian research permitted increasingly accurate imitation of classical forms in the visual arts from the 1750s, while anthropological reflection on myth stimulated a revival of mythological poetry from the 1810s. Yet British Romantic poetry, whether describing classical artworks or appropriating classical myths, engaged with classical antiquity ambivalently, often ironically. While espousing the Philhellenist cause of Greek independence from Ottoman rule, Byron and Shelley remained very conscious of the disparities between ancient and modern Greece.</p>
Byron and Weltliteratur
August 2018
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Chapter
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Byron and Marginality
The ageing Goethe was fascinated with Byron whom he called the greatest poetic talent. Though suspicious of Byron’s Philhellenism, Goethe found in Byron an openness to encounter non-English cultures, an attentiveness to national histories and in interest in the relationship of the individual to social life. Byron’s self-contextualising, self-historicising narrative poems constitute a parallel to Goethe’s own literary campaigns for cross-cultural engagement in the 1810s and 1820s and, despite Byron’s alienation from England, offer hope for the prospects of what Goethe was to call “world literature”.
European Romanticism, Hellenism, cosmopolitanism, English Romantic poetry, Johann Wolfgang Goethe, Biedermeierzeit, Philhellenism, paratexts, Lord Byron, Romanticism, German Romanticism, Faust, world literature, cultural exchange, historicism
The Literature of Italy in Byron's Poems of 1817-20
December 2017
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Chapter
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Byron and Italy
This chapter focuses on Byron’s The Lament of Tasso and The Prophecy of Dante alongside his translations of Filicaja in the fourth canto of Childe Harold’s Pilgrimage and Pulci’s Morgante Maggiore. It begins by exploring the ways in which Byron ‘exploited both the writings and the figures of Italian writers (especially the exiled Dante and imprisoned Tasso) to construct his own cosmopolitan poetic identity’, reinventing himself as simultaneously – and ambiguously – an English and an Italian poet. In the translation of Pulci, however, Byron stresses his foreignness to both British and Italian poetic traditions, cutting a cosmopolitan figure not through identity but difference. While in his letters – and, of course, many of his poems – Byron is both British and Italian, Italian literature could also offer the poet a way of being neither.
SBTMR
Past and future, discontent and unease
December 2017
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Chapter
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Romanticism and Its Discontents
French Revolution, Louis-Sebastien Mercier, modernity, nostalgia, periodization, SBTMR, historicization, Immanuel Kant, anxiety, Romanticism, Thomas Warton, progress
Two types of Wordsworthian ambiguity
December 2017
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Chapter
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Romantic Ambiguities: Abodes of the Modern
William Empson, imagination, childhood memory, historical consciousness, ambiguity, SBTMR, sublime, William Wordsworth, epic, French Revolution, Prelude
The Anti-Historicist Historicism of German Romantic Architecture
November 2015
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Journal article
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European Romantic Review
Nineteenth-century German architecture was characterized by a conflict between the availability of multiple historically derivative styles and the demand for the establishment of a culturally appropriate normative one. This conflict resulted from an aesthetic historicism that posited the cultural specificity of architectural styles while simultaneously abstracting them from their original contexts. Because the same aesthetic, ideological, and functionalist claims could be and were advanced on behalf of different styles, the prolonged debate among German architectural writers and practitioners about which one should be favored proved irresolvable so long as it was assumed that a style must be historically referential.
Romanticism, architectural history, architectural theory, historicism, German history, German architecture, Ludwig I, king of Bavaria, Klenze, Leo von, Schinkel, Karl Friedrich, Hübsch, Heinrich, Nazarenes, French Enlightenment, neoclassicism, Goethe, Johann Wolfgang, Gothic architecture, Greek architecture, classical reception, Durand, J. N. L., Bavaria, ideology
The Theorization of Style
August 2015
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Chapter
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Romanticism and Knowledge
Romanticism; aesthetics; historicism; German Romanticism; intellectual history; genre theory; classical reception; Winckelmann, Johann Joachim; Herder, Johann Gottfried; chronotope; Schlegel, Friedrich; architectural historicism; Koselleck, Reinhart; Buffon, George-Louis Leclerc, comte de; aesthetics; Enlightenment
Romanticism, the Temporalization of History, and the Historicization of Form
September 2013
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Journal article
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Modern Language Quarterly
Wordsworth's Poetry and Prose
January 2013
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Book
The Very Model of a Modern Epic Poem
November 2012
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Chapter
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Romanticism and Modernity
Coleridge's Ecumenical Spinoza
January 2012
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Chapter
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Spinoza beyond Philosophy
Byron between Ariosto and Tasso
January 2011
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Chapter
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Dante and Italy in British Romanticism
Ruins without a Past
January 2011
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Journal article
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Essays in Romanticism
The Very Model of a Modern Epic Poem
January 2010
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Journal article
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European Romantic Review
An epic-length poem without a determinable plan, and therefore remarkably accommodating of contingency, Byron’s Don Juan is founded on a distinctly modern understanding of reality as a subjectively realizable potentiality. But just as traditional and novel literary forms can coexists with each other, so can existing and emergennt concepts of reality, however uneasily. In Don Juan the tension between this new concept of reality and that presupposed by the theory of artistic mimesis manifests itself in Byron’s flouting of the same epic conventions to which he professes his adherence.
Coleridge on Allegory and Symbol
January 2009
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Chapter
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The Oxford Handbook of Samuel Taylor Coleridge
The Genealogy of the Romantic Symbol
November 2007
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Book
Despite its widely acknowledged importance in and beyond
the thought of the Romantic period, the distinctive concept of the symbol articulated by such writers as Goethe and F.W. J. Schelling in Germany and S.T. Coleridge in England has de ed adequate historical explanation. In contrast to previous scholarship, Nicholas
Halmi’s study provides such an explanation by relating the content
of Romantic symbolist theory—often criticized as irrationalist—to the cultural needs of its time. Because its genealogical method eschews a single disciplinary perspective, this study is able to examine the Romantic concept of the symbol in a broader intellectual context than previous scholarship, a context ranging chronologically from classical antiquity to the present and encompassing literary criti-
cism and theory, aesthetics, semiotics, theology, metaphysics, natural philosophy, astronomy, poetry, and the origins of landscape painting. The concept is thus revealed to be a speci cally modern response
to modern discontents,neither reverting to pre-modern modes of thought nor secularizing Christian theology, but countering Enlighten- ment dualisms with means bequeathed by the Enlightenment itself.
symbol, Goethe, F. W. J. Schelling, S. T. Coleridge, Romantic symbol theory, Romanticism, literary criticism, Enlightenment, semiotics, monism, sublime, Naturphilosophie, dualism, symbolism, secularization
Coleridge's Poetry and Prose Authoritative Texts, Criticism
January 2004
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Book
Supportingapparatus includes detailed headnotes, footnotes (both Coleridge's andthe editors'), biographical register, glossary, and an index of poemsand first lines.