Issue Details: First known date: 2017... 2017 Who’s Afraid of the Lyric Mode? Romanticism’s Long Tail and Adamson’s Ecopoetics.
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'Although ecocriticism has roots in Romanticism, much discourse around ecopoetry has come to hinge on a distancing from a ‘Romantic’, ‘ego-driven’ style of poetry, seen to be unethical. Such positions problematize lyric poetry, given its strong association with both Romanticism and the formal centrality of the self. This paper contends that lyric is often conflated with a reductive view of Romanticism and seeks to uncouple the form from such views. Looking to the work of Australian poet Robert Adamson, lyric is framed here as a performative mode rather than a genre, and is presented as an engaged type of ethical discourse which functions via reader answerability. Maintaining a Merleau-Pontean ontology as regards the lyric subject and the dynamic between word and world, and drawing upon Barthes’s use of the term ‘place’, the paper concludes that the lyric can function as a decidedly ethical ecopoetry, in which the place of lyric is also the place of the ecopoetic.' (Publication abstract)

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    y separately published work icon TEXT Special Issue Website Series Romanticism and Contemporary Australian Writing : Legacies and Resistances no. 41 October 2017 12933044 2017 periodical issue

    'Late eighteenth-century and early nineteenth-century literary and artistic conceptions may seem far removed from the complex, global materialism that characterises contemporary culture, yet many ideas associated with historical Romanticism continue to influence the study and practice of creative writing throughout the world. This is partly because of the power and diversity of the Romantic legacy – so many fine writers are associated with Romanticism – and partly because Romanticism continues to inform the contemporary zeitgeist in a variety of complex ways. J.M. Fitzgerald contends that one of Romanticism’s best known works, William Wordsworth’s The Prelude ushered in the idea ‘that each individual constructs themselves … and that each individual’s story is his or her own unique[ly]’ (2002: 101). This fundamental and far-reaching idea of the (more-or-less) separate self remains with us, however much it may have been reinflected by postmodernity.' (Editorial introduction)

    2017
Last amended 28 Aug 2024 11:22:10
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