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Esterhammer (English and comparative literature, U. of Western Ontario, Canada) offers a context and methodology for reading Romantic literature, based on an exploration of philosophies of language fr

, Angela

During the Romantic era, especially in Italy, performers known as improvvisatori and improvvisatrici extemporised poetry in public in response to subjects requested by their audiences. This type of performance fascinated Grand Tourists from northern Europe, who reported on poetic improvisers in hundreds of travel accounts, journals, letters, and periodical articles. By uncovering historical data and interpreting literary texts, Professor Esterhammer identifies patterns in the evolving responses of English, German, French, and Russian writers to the experience of improvisation. She explores how improvisation interacts with Romantic ideas about genius, spontaneity, orality, and emotional expressiveness, and relates to evolving concepts of gender and nation. Esterhammer goes on to interpret the influence that the figure of the poetic improviser had in nineteenth-century English and European fiction. In this context, the improvvisatore casts new light on conflicts between poetic genius

, Angela

The writings of John Milton and William Blake were central to Northrop Frye’s concept of the imaginative structure of Western literature and thought. He considered them the two most important poet-pro

Two Stories of Prague signifies the maturation of a poet and of a people. Although most readers know Rilke as a mature, cosmopolitan poet, here we can discern a young writer self-consciously exploring

Ten essays, presented by Dick (English, U. of British Columbia, Canada) and Esterhammer (English, U. of Zurich, Switzerland), explore the culture of British romanticism in terms of intersections betwe

This collection brings together current research on topics that – separately and together – are perennially important to Romantic studies: the life and work of Jean-Jacques Rousseau, and the landscape