A practical and comprehensive reference work, the Oxford Handbook provides the best single-volume source of original scholarship on all aspects of Coleridge's diverse writings. Thirty-seven chapters, bringing together the wisdome of experts from across the world, present an authoritative, in-depth, and up-to-date assessment of a major author of British Romanticism. The book is divided into sections on Biography, Prose Works, Poetic Works, Sources and Influences, and Reception. The Coleridge scholar today has ready access to a range of materials previously available only in library archives on both sides of the Atlantic. The Bollingen edition, of the Collected Works of Samuel Taylor Coleridge, forty years in production was completed in 2002. The Coleridge Notebooks (1957-2002) were also produced during this same period, five volumes of text with an additional five companion volumes of notes. The Clarendon Press of Oxford published the letters in six volumes (1956-1971). To take full advantage of the convenient access and new insight provided by these volumes, the Oxford Handbook examines the entire range and complexity of Coleridge's career. It analyzes the many aspects of Coleridge's literary, critical, philosophical, and theological pursuits, and it furnishes both students and advanced scholars with the proper tools for assimilating and illuminating Coleridge's rich and varied accomplishments, as well as offering an authoritative guide to the most up-to-date thinking about his achievements.

The Oxford Handbook of Samuel Taylor Coleridge (Oxford Handbooks)

Literature & Fiction

Burwick, Frederick

British & Irish

Oxford University Press

The major work of German literature, Johann Wolfgang von Goethe's Faust (1808), was translated into English by one of Britain's most capable mediators of German literature and philosophy, Samuel Taylor Coleridge.   Goethe himself twice referred to Coleridge's translation of his Faust. Goethe's character wrestles with the very metaphysical and theological problems that preoccupied Coleridge: the meaning of the Logos, the apparent opposition of theism and pantheism. Coleridge, the poet of tormented guilt, of the demonic and the supernatural, found himself on familiar ground in translating Faust. Because his translation reveals revisions and reworkings of Coleridge's earlier works, his Faust contributes significantly to the understanding of Coleridge's entire oeuvre.   Coleridge began, but soon abandoned, the translation in 1814, returning to the task in 1820. At Coleridge's own insistence, it was published anonymously in 1821, illustrated with 27 line engravings copied by Henry Moses after the original plates by Moritz Retzsch. His publisher, Thomas Boosey, brought out another edition in 1824. Although several critics recognized that it was Coleridge's work, his role as translator was obscured because of its anonymous publication. Coleridge himself declared that he "never put pen to paper as translator of Faust", and subsequent generations mistakenly attributed the translation to George Soane, a minor playwright, who had actually commenced translating for a rival press.   This edition of Coleridge's translation provides the textual and documentary evidence of his authorship, and presents his work in the context of other contemporary efforts at translating Goethe's Faust.

Faustus From the German of Goethe Translated by Samuel Taylor Coleridge

McKusick, James C.

Dramas & Plays

Burwick examines the debate over illusion from Johnson to Coleridge in England, Diderot to Stendhal in France, and Lessing to A. W. Schlegel in Germany.
Although few critics still define illusion in contrast to reality, the essential distinction is between illusion as perceived reality and as hallucination or delusion. The concept of illusion as debated in contemporary critical theory has been shaped by developments that took place during the transition from Enlightenment to Romantic thought. Burwick provides a commentary on illusion in contemporary criticism, emphasizing the ways in which such critics as Husserl and Heidegger, Gadamer and Gombrich, Derrida, and Adorno have dealt with the subjective dimensions of aesthetic response. He describes two extreme positions that were asserted in the eighteenth century, the “perfect illusion” in which the work of art is perceived as reality and the insistence on a skeptical distance. He deals with various arguments that locate the source of illusion in the acting, in the audience, in the play, in the imagination, and in the staging effects.
Burwick devotes a chapter to two of the foremost Romantic critics of the drama Samuel Taylor Coleridge and August Wilhelm Schlegel. After clarifying the prominent issues discussed by their contemporaries and immediate predecessors, he shows the radical differences between the criticism of Schlegel and Coleridge, thus dispelling the charge that Coleridge’s lectures on Shakespeare are marred by plagiarism of Schlegel’s ideas.

Illusion and the Drama: Critical Theory of the Enlightenment and Romantic Era

History & Criticism

Penn State University Press

Using as his starting point the historical notion that poets may be, at least in moments of inspiration, out of their senses, Frederick Burwick here explores the theoretical implications of inspiration as furor poeticus, particularly as that concept was presented during the latter eighteenth and early nineteenth centuries

Poetic Madness and the Romantic Imagination

In Romantic theories of art and literature, the notion of mimesis—defined as art’s reflection of the external world—became introspective and self-reflexive as poets and artists sought to represent the act of creativity itself. Frederick Burwick seeks to elucidate this Romantic aesthetic, first by offering an understanding of key Romantic mimetic concepts and then by analyzing manifestations of the mimetic process in literary works of the period.
Burwick explores the mimetic concepts of "art for art's sake," "Idem et Alter," and "palingenesis of mind as art" by drawing on the theories of Philo of Alexandria, Aristotle, Immanuel Kant, Friedrich Schiller, Friederich Wilhelm Joseph von Schelling, Thomas De Quincey, and Germaine de Staël. Having established the philosophical bases of these key mimetic concepts, Burwick analyzes manifestations of mimesis in the literature of the period, including ekphrasis in the work of Thomas De Quincey, mirrored images in the poems of Samuel Taylor Coleridge and William Wordsworth, and the twice-told tale in the novels of Charles Brockden Brown, E. T. A. Hoffmann, and James Hogg. Although artists of this period have traditionally been dismissed in discussions of mimesis, Burwick demonstrates that mimetic concepts comprised a major component of the Romantic aesthetic.

Mimesis and Its Romantic Reflections

Arts & Photography

Using as his starting point the historical notion that poets may be, at least in moments of inspiration, "out of their senses," Frederick Burwick here explores the theoretical implications of inspiration as furor poeticus, particularly as that concept was presented during the latter eighteenth and early nineteenth centuries. Drawing on social and medical attitudes toward madness and the so-called poetic rapture, Burwick addresses the appeal to poetic madness in critical theory, the thematization of the mad poet in literature, and the reception of mad poets. 
With a mad king on the throne of England, mad prophets in the marketplace, and mad poets in their midst, many writers of this period, not surprisingly, used their fiction to explore the conditions of madness. In discussing the mad poet as a character in Romantic literature, Burwick examines the reception and representation of the Italian poet Torquato Tasso in Goethe's play and in the poetry and criticism of the Schlegels, Byron, Shelley, Peacock, and Hazlitt. In his commentary on narratives of madness, Burwick discusses Nodier's Jean-François les bas-bleus, Hoffmann's Der goldne Topf, Shelley's Julian and Maddalo, and Blake's account of the struggle between Los and Urizen. The final section interprets the visual strategies adopted by Hölderlin, Nerval, and Clare in relating their visionary experiences.

Burwick examines the debate over illusion from Johnson to Coleridge in England, Diderot to Stendhal in France, and Lessing to A. W. Schlegel in Germany.Although few critics still define illusion in contrast to reality, the essential distinction is between illusion as perceived reality and as hallucination or delusion. The concept of illusion as debated in contemporary critical theory has been shaped by developments that took place during the transition from Enlightenment to Romantic thought. Burwick provides a commentary on illusion in contemporary criticism, emphasizing the ways in which such critics as Husserl and Heidegger, Gadamer and Gombrich, Derrida, and Adorno have dealt with the subjective dimensions of aesthetic response. He describes two extreme positions that were asserted in the eighteenth century, the “perfect illusion” in which the work of art is perceived as reality and the insistence on a skeptical distance. He deals with various arguments that locate the source of illusion in the acting, in the audience, in the play, in the imagination, and in the staging effects.Burwick devotes a chapter to two of the foremost Romantic critics of the drama Samuel Taylor Coleridge and August Wilhelm Schlegel. After clarifying the prominent issues discussed by their contemporaries and immediate predecessors, he shows the radical differences between the criticism of Schlegel and Coleridge, thus dispelling the charge that Coleridge’s lectures on Shakespeare are marred by plagiarism of Schlegel’s ideas.

In Romantic theories of art and literature, the notion of mimesis-defined as art's reflection of the external world-became introspective and self-reflexive as poets and artists sought to represent the act of creativity itself. Frederick Burwick seeks to elucidate this Romantic aesthetic, first by offering an understanding of key Romantic mimetic concepts and then by analyzing manifestations of the mimetic process in literary works of the period.Burwick explores the mimetic concepts of "art for art's sake," "Idem et Alter," and "palingenesis of mind as art" by drawing on the theories of Philo of Alexandria, Aristotle, Immanuel Kant, Friedrich Schiller, Friederich Wilhelm Joseph von Schelling, Thomas De Quincey, and Germaine de Staël. Having established the philosophical bases of these key mimetic concepts, Burwick analyzes manifestations of mimesis in the literature of the period, including ekphrasis in the work of Thomas De Quincey, mirrored images in the poems of Samuel Taylor Coleridge and William Wordsworth, and the twice-told tale in the novels of Charles Brockden Brown, E. T. A. Hoffmann, and James Hogg. Although artists of this period have traditionally been dismissed in discussions of mimesis, Burwick demonstrates that mimetic concepts comprised a major component of the Romantic aesthetic.

Compiles 70 of the key terms most frequently used or discussed by authors of the Romantic period – and most often deliberated by critics and literary historians of the era. <ul>
<li>Offers an indispensable resource for understanding the ideas and differing interpretations that shaped the Romantic period</li> <li>Includes keywords spanning Abolition and Allegory, through Madness and Monsters, to Vision and Vampires</li> <li>Features in-depth descriptions of each entry’s direct meaning and connotations in relation to its usage and thought in literary culture</li> <li>Provides deep insights into the political, social, and cultural climate of one of the most expressive periods of Western literary history</li> <li>Draws on the author’s extensive experience of teaching, lecturing, and writing on Romantic literature</li> </ul>

Romanticism: Keywords (Keywords in Literature and Culture (KILC).)

Wiley/Blackwell

See the best price to sell, buy, or rent books by Burwick, Frederick. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Burwick, Frederick

See the best price to sell, buy, or rent books by Burwick, Frederick. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

The Oxford Handbook of Samuel Taylor Coleridge (Oxford Handbooks)

Faustus From the German of Goethe Translated by Samuel Taylor Coleridge

The Oxford Handbook of Samuel Taylor Coleridge (Oxford Handbooks)

Illusion and the Drama: Critical Theory of the Enlightenment and Romantic Era

Poetic Madness and the Romantic Imagination

Mimesis and Its Romantic Reflections

Poetic Madness and the Romantic Imagination

Illusion and the Drama: Critical Theory of the Enlightenment and Romantic Era

Mimesis and Its Romantic Reflections

Romanticism: Keywords (Keywords in Literature and Culture (KILC).)