Long description:

Ebook available to libraries exclusively as part of the JSTOR Path to Open initiative.

In this book Michele Speitz assembles the first full-length scholarly study of the British Romantic technological sublime, addressing a significant gap in scholarship on Romantic literature, technological aesthetics, and the history of science and technology. Speitz shows that it is through a study of technology, and by putting British Romanticism?s representations of sublime nature and technology in dialogue, that the broader history and present-day implications of the British Romantic sublime can best be understood.

This innovative study foregrounds representations of Romantic machines and tools both aged and new: from the lever and the teacup to modern marvels including the steam engine and the seismograph. Surveyed as well are built environments and vast mechanical and infrastructural systems: mines, canal works, roadways, modern suspension bridges. By grouping together this set of ancient and novel inventions ? sourced from accounts penned by Erasmus Darwin, John Keats, Anna Seward, Robert Southey, Mary Godwin Shelley, Percy Bysshe Shelley and more ? Speitz demonstrates how a comparative study of these technologies relative to their aesthetic presentation and reception uncovers an overlooked iteration of the Romantic sublime, one that reveals fresh accounts of Romantic nature that have a bearing on twenty-first-century debates about the environment. The Romantic Sublime and Representations of Technology is essential reading for literary and aesthetic theorists, historians of science and technology, literary and art historians, and scholars of ecocriticism and literature and the environment.

"Michele Speitz offers a compelling and timely expansion of our understanding of the Romantic sublime to encompass the fascination and fear engendered by new technologies. The book offers an important genealogical account of the concept of technology as both continuous with pre-industrial innovations in machinery and engineering and as anticipating the post-industrial developments with which we are all contending today. The counterintuitive, original, and compelling insight of The Romantic Sublime and Representations of Technology is that the category of nature?so central to Romantic era literature and to the disciplinary history of Romanticism itself?needs to be understood as arising in conjunction, and in dynamic interdependence with remarkable and unnerving technological changes. Through original interpretations of key figures including Erasmus Darwin, Robert Southey, John Keats, Mary Shelley, and Percy Shelley, Speitz tracks an anti-Promethean counter-plot within Romanticism that ought to unsettle received ideas of how writers and thinkers of the period grappled with the limits of human ingenuity and invention, and imagined the cultural collaboration of art with science." Professor Nancy Yousef, Rutgers University

Table of Contents:

Introduction: Reinventing the Romantic Sublime, Nature, and Technology

I. Prometheus and Trophonius: Technological Myth and Sublime Scripts of Industry and Creativity

II. The Seismograph and a Keatsian ?Material Sublime?: On Sublime Worldbuilding and Unbuilding

III. Lyres, Levers, Boats, and Steam: Shelleyan Technologies of Sublime Correspondence

IV. Suspension Bridges, Modern Canals, and the Infrastructural Sublime: Robert Southey, Thomas Telford, and the Traffic of Empire

Conclusion: An Aesthetic of Intimate Relations: Romanticism?s Child of Sublime Nature and Technology?the Material Sublime