Books by Nicholas Halmi
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""Wordsworth’s Poetry and Prose includes a generous selection of poems and prose writings, works ... more ""Wordsworth’s Poetry and Prose includes a generous selection of poems and prose writings, works published by Wordsworth himself being presented under the headings and in the texts of their earliest published volumes. Wordsworth's contributions to the 1798 Lyrical Ballads are included in their entirety, as is the 1805 Prelude, newly edited and annotated. For the first time, The Ruined Cottage and corresponding passages of book 1 of The Excursion are printed en face to reveal Wordsworth's revisionary process.
A general introduction and textual introduction precede the texts, each of which is annotated (with significant textual variants cited in the footnotes), and contextualizing headnotes introduce volumes of poetry and longer poems. Illustrative materials include maps and photographs of manuscript pages and title pages.
"Criticism" collects 28 responses to Wordsworth spanning three centuries by British and American authors. Contributors include Samuel Taylor Coleridge, Percy Bysshe Shelley, Felicia Hemans, Ralph Waldo Emerson in the 19th century, and Susan Wolfson, Lucy Newlyn, Stephen Gill, Neil Fraistat, Mary Jacobus, Nicholas Roe, Thomas Pfau, M. H. Abrams, Simon Jarvis, Karen Swann, Michael O’Neill, and Geoffrey Hartman, among others, in the 20th and 21st centuries.
The volume also includes a Chronology, a Biographical and Topographical Register, a Selected Bibliography, and an Index of Titles and First Lines of Poems.""
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Guest-edited journal by Nicholas Halmi
Intellectual History Review, 2023
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Articles and chapters by Nicholas Halmi
Revue de littérature comparée, 2023
Using Michael Riffaterre’s concept of cliché constitutif as a heuristic tool, I offer a genealogy... more Using Michael Riffaterre’s concept of cliché constitutif as a heuristic tool, I offer a genealogy of cliché as an aesthetic category. The first section traces the semantic extension of the term cliché from printing to rhetoric and aesthetics, in which it is always denotatively negative and never a neutral classification. The connection between the original and transferred sense of cliché is mass repro- duction, which I distinguish from mechanical reproduction as theorized by Walter Benjamin. The second section explains that the literary use of cliché depends on a shared horizon of aesthetic expectations between author and reader. The third section then considers whether such a horizon could exist before cliché became a named rhetorical and stylistic category. The fourth section notes that the pas- toral (and classical models more generally) fell into critical disrepute in England as 18th-century aesthetics became increasingly historicist and increasingly affirmed vernacular and bourgeois, as opposed to classical and aristocratic, val- ues as the basis of taste. Overall, I distinguish two stages in the development of the category of cliché: first as excessive adherence to the conventions of classical tradition, second as excessive adherence to the conventions that replace classi- cal tradition. In the final section I relate the emergence of cliché as a category to the formulation of the modern conception of literature in England, France, and Germany, as a kind of writing specifically intended to provoke an aesthetic response. As literature began to be differentiated from other kinds of discourse and to acquire an autonomous status, precisely the markers by which members of that class could be identified risked falling into critical disfavour and being judged “non-literary”.
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Cambridge History of European Romantic Literature, 2023
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The New Cambridge Companion to Coleridge, 2022
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Romanticism and Time: Literary Temporalities, Jul 2021
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Thought: A Philosophical History, 2021
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Serapion: Zweijahresschrift für europäische Romantik, 2020
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Books by Nicholas Halmi
A general introduction and textual introduction precede the texts, each of which is annotated (with significant textual variants cited in the footnotes), and contextualizing headnotes introduce volumes of poetry and longer poems. Illustrative materials include maps and photographs of manuscript pages and title pages.
"Criticism" collects 28 responses to Wordsworth spanning three centuries by British and American authors. Contributors include Samuel Taylor Coleridge, Percy Bysshe Shelley, Felicia Hemans, Ralph Waldo Emerson in the 19th century, and Susan Wolfson, Lucy Newlyn, Stephen Gill, Neil Fraistat, Mary Jacobus, Nicholas Roe, Thomas Pfau, M. H. Abrams, Simon Jarvis, Karen Swann, Michael O’Neill, and Geoffrey Hartman, among others, in the 20th and 21st centuries.
The volume also includes a Chronology, a Biographical and Topographical Register, a Selected Bibliography, and an Index of Titles and First Lines of Poems.""
Guest-edited journal by Nicholas Halmi
Articles and chapters by Nicholas Halmi
A general introduction and textual introduction precede the texts, each of which is annotated (with significant textual variants cited in the footnotes), and contextualizing headnotes introduce volumes of poetry and longer poems. Illustrative materials include maps and photographs of manuscript pages and title pages.
"Criticism" collects 28 responses to Wordsworth spanning three centuries by British and American authors. Contributors include Samuel Taylor Coleridge, Percy Bysshe Shelley, Felicia Hemans, Ralph Waldo Emerson in the 19th century, and Susan Wolfson, Lucy Newlyn, Stephen Gill, Neil Fraistat, Mary Jacobus, Nicholas Roe, Thomas Pfau, M. H. Abrams, Simon Jarvis, Karen Swann, Michael O’Neill, and Geoffrey Hartman, among others, in the 20th and 21st centuries.
The volume also includes a Chronology, a Biographical and Topographical Register, a Selected Bibliography, and an Index of Titles and First Lines of Poems.""