Titlebook: Bloody Romanticism; Spectacular Violence Ian Haywood Book 2006 Palgrave Macmillan, a division of Macmillan Publishers Limited 2006 Coleridg

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occult

,‘Beneath the Bloody Scourge Laid Bare the Man’: Slavery and Violence,tural landscape. Graphic descriptions of slave atrocities were regarded as a powerful cultural tool for critiquing European ‘civilised’ values. In order to point the finger of blame squarely at the European slave trade, anti-slavery writers developed a highly effective and influential repertoire of

Badger

,‘Disturbed Imagination’: The French Revolution, Here is one familiar thesis: If the excessive violence of the French revolution had not taken place there would be no British Romanticism. A profound disillusionment with the Jacobin regime of Terror led the first generation of Romantic poets to abandon radical politics and to seek salvation in nat

Parallel

GLIB

,American ‘Savagery’,ormers of spectacular violence is already extensive but by no means complete. This chapter will look at another prominent player in the grim theatre of bloody Romanticism, the American Indian. However, as the title of the chapter indicates, Indian violence was only one component of bloody conflict i

progestin

Unruly People: The Spectacular Riot,and, this violence has a significantly different character to the atrocities studied so far in this book. First, it is collective violence; second, the target of the violence is property not people. In one sense, therefore, we are dealing with ‘bloodless’ rather than bloody vignettes, but the aim of

盡責(zé)

Hilbert’s 16th Problem and Its Weak Formure, the literary imagination and the exploration of subjectivity. Romanticism, therefore, was a sublimation, displacement or exorcism of the unbearable violence of history. The personal replaced the public; poetic idealism replaced political idealism.

Misgiving

GUISE

Inculcate

,American ‘Savagery’,f bloody Romanticism, the American Indian. However, as the title of the chapter indicates, Indian violence was only one component of bloody conflict in America, and it is essential to place the demonized figure of the ‘savage’ Indian in this wider geopolitical and cultural context.