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By Wayne Deakin

In Hegel and the English Romantic culture, Wayne Deakin re-examines English Romanticism in the course of the philosophy of G.W.F. Hegel. Outlining and increasing upon Hegel's conception of popularity, Deakin evaluations 4 canonical writers of the English Romantic culture - Coleridge, Wordsworth, P.B. Shelley and Mary Shelley - and argues that they, like Hegel, are engaged in a fight in the direction of philosophical acceptance. The clean procedure bargains the potential of re-reading those writers in new and leading edge methods, whereas even as critiquing Hegel's personal philosophy of brain and difficult his hierarchy of philosophy, faith, artwork. The publication additionally examines prior criticisms, reminiscent of these of McGann, Butler, Mellor and Abrams, and claims that every one of those theories of Romanticism are complimentary and will be subsumed via this new version of "philosophical romanticism".

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Romantic art gives up the task of showing him in such an external form and by means of beauty: it presents him only as condescending to appearance, and the divine as the heart of hearts in an externality from which it always disengages itself. 24 Because of the profound inwardness of its spiritual freedom, there is a sense of deep expressiveness in romantic art and a gap once again emerges between the aesthetic signifier and the signified, or the form and content. Christian art is very important as a romantic art in that it in effect humanises the divine in terms of the sufferings of Christ.

However unsustainable Coleridge’s foundationalist hopes for the romantic imagination, these ideas provide us with an interesting perspective from which we can approach his poetry – that is, in terms of a generative tension between an absolute idealism and an empirical-realism or between imaginative autonomy and receptivity to the external world. This tension is also partially characterised in Coleridge’s poetry by the tension between symbol and allegory. 1 I will then discuss four of Coleridge’s canonical poems, “Kubla Khan” (1797), “Frost at Midnight” (1834), the third version of “Dejection: An Ode” (1817) and “Constancy to an Ideal Object” (1828).

Pippin argues that mediums such as art can represent our new-found self-authoring autonomy as well as philosophy, and it is as such a an unorthodox Hegelian reading of aesthetics. Pippin’s subjectivist stance, I believe, is one also taken up in the period of the romantics through their own representations; however, it is only one pole – the other being necessary receptivity to natural processes. This is the subjectivity taken up by romantic poetics (and later in the ultimately disembodied works of the symbolists).

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