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By Angela Esterhammer

The Romantic Performative develops a brand new context and method for analyzing Romantic literature by means of exploring philosophies of language from the interval 1785-1835. It finds that the idea that of the performative, debated by means of twentieth-century theorists from J. L. Austin to Judith Butler, has a far higher relevance for Romantic literature than has been learned, considering that Romantic philosophy of language used to be ruled via the concept that whatever happens whilst phrases are spoken.

By providing Romantic philosophy as a idea of the performative, and Romantic literature when it comes to that thought, this ebook uncovers the old roots of twentieth-century principles approximately speech acts and performativity. Romantic linguistic philosophy already concerned about the connection among speaker and hearer, describing speech as an act that establishes either subjectivity and intersubjective kin and theorizing truth as a verbal build. yet Romantic theorists thought of utterance, the context of utterance, and the positions and identities of speaker and hearer to be even more fluid and not more sturdy than smooth analytic philosophers are likely to lead them to. Romantic theories of language for this reason yield a definition of the "Romantic performative" as an utterance that creates an item on this planet, instantiates the connection among speaker and hearer, or even founds the subjectivity of the speaker within the second whilst the utterance occurs.

The writer lines the Romantic performative via its varied improvement within the ethical, political, and criminal philosophy of Reid, Bentham, Kant and the German Idealists, Humboldt, and Coleridge, then explores its importance in literary texts via Coleridge, Godwin, Hölderlin, and Kleist. those readings show that Romantic writers fastened a deeper research than formerly learned into the best way the act of talking generates subjective id, intersubjective family members, or even target fact. The venture of the ebook is to learn the language of Romanticism as performative and to acknowledge between its achievements the ancient founding of the discourse of performativity itself.

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