The roots of romantic cognitivism:(post) Kantian intellectual intuition and the unity of creation and discovery

During the romantic period, various authors expressed the belief that through creativity, we can directly access truth. To modern ears, this claim sounds strange. In this paper, I attempt to render the position comprehensible, and to show how it came to seem plausible to the romantics. I begin by offering examples of this position as found in the work of the British romantics. Each thinks that the deepest knowledge can only be gained by an act of creativity. I suggest the belief should be seen in the context of the post-Kantian embrace of “intellectual intuition.” Unresolved tensions in Kant's philosophy had encouraged a belief that creation and discovery were not distinct categories. The post-Kantians held that in certain cases of knowledge (for Fichte, knowledge of self and world; for Schelling, knowledge of the Absolute) the distinction between discovering a truth and creating that truth dissolves. In this context, the cognitive role assigned to acts of creativity is not without its own appeal

The multidimensional spectrum of imagination: Images, Dreams, Hallucinations, and Active, Imaginative Perception.

A theory of the structure and cognitive function of the human imagination that attempts to do justice to traditional intuitions about its psychological centrality is developed, largely through a detailed critique of the theory propounded by Colin McGinn. Like McGinn, I eschew the highly deflationary views of imagination, common amongst analytical philosophers, that treat it either as a conceptually incoherent notion, or as psychologically trivial. However, McGinn fails to develop his alternative account satisfactorily because (following Reid, Wittgenstein and Sartre) he draws an excessively sharp, qualitative distinction between imagination and perception, and because of his flawed, empirically ungrounded conception of hallucination. His arguments in defense of these views are rebutted in detail, and the traditional, passive, Cartesian view of visual perception, upon which several of them implicitly rely, is criticized in the light of findings from recent cognitive science and neuroscience. It is also argued that the apparent intuitiveness of the passive view of visual perception is a result of mere historical contingency. An understanding of perception (informed by modern visual science) as an inherently active process enables us to unify our accounts of perception, mental imagery, dreaming, hallucination, creativity, and other aspects of imagination within a single coherent theoretical framework

From Romantic Gothic to Victorian Medievalism: 1817 and 1877

"The Cambridge History of the Gothic was conceived in 2015, when Linda Bree, then Editorial Director at Cambridge University Press, first suggested the idea to us

British Romanticism and the Global Climate

As a result of developments in the meteorological and geological sciences, the Romantic period saw the gradual emergence of attempts to understand the climate as a dynamic global system that could potentially be affected by human activity. This chapter examines textual responses to climate disruption cause by the Laki eruption of 1783 and the Tambora eruption of 1815. During the Laki haze, writers such as Horace Walpole, Gilbert White, and William Cowper found in Milton a powerful way of understanding the entanglements of culture and climate at a time of national and global crisis. Apocalyptic discourse continued to resonate during the Tambora crisis, as is evident in eyewitness accounts of the eruption, in the utopian predictions of John Barrow and Eleanor Anne Porden, and in the grim speculations of Byron’s ‘Darkness’. Romantic writing offers a powerful analogue for thinking about climate change in the Anthropocene

Lyrical ballads, with a few other poems

92 p. Transcription of: Bristol, Printed by Biggs and Cottle, for T.N. Longman, 1798. The corrections indicated on the original errata slip have been made. Footnotes have been converted into hyperlinked endnotes. The copy (one of three known to exist) in the British Museum contains two tables of contents, one including Coleridge's "The Nightingale," while the other includes his "Lewti." Both poems appear in the printed text, with duplicate pagination

Imposing on Napoleon: the Romantic appropriation of Bonaparte

This article explores how major British Romantic writers perceived Napoleon in the early nineteenth century: the ideas they associated with him and the images they used to depict him. I argue that these perceptions have relatively little to do with the politics of the various writers, or with the chronology of Napoleon’s career. Instead, interest in Bonaparte is driven by aesthetic and philosophical concerns: especially the question of whether Napoleon is an ordinary man ‘within’ history, or a semi-allegorical personage -a representative of some ideology or concept (like Liberty or Heroism). I also discuss how Napoleon is appended to the Romantic problem of the ‘overreacher’, who fails due to his glorious success, and who thus blurs the boundaries between triumph and failure. Lastly, I show how Napoleon influences Romantic concern about ‘imposing’ ideas onto analysis of the world. In this way, Napoleon exposes insecurities at the heart of Romantic self-perception

Poems. With a memoir of his life

Memoir by Derwent Coleridge: v. 1, p. [ix]-ccxv.Mode of access: Internet