Reading The Romantic Ridiculous aims to take Romantic Studies from the sublime to the ridiculous. Building on recent work which decentres the myth of the solitary genius, this duograph theorizes the ridiculous as an alternative affect to the sublime, privileging collective laughter above solitude and selfishness, reflecting on these ideals through the practice of joint authorship. Tracing the history of the ridiculous through Romantic and post-Romantic debates about sublimity from the rediscovery of Longinus and the aesthetic theories of Burke and Kant to contemporary queer and postcolonial theory interested in silliness, lowness, and vulnerability, The Romantic Ridiculous explores Romanticism's surprising commitments to ridiculousness in canonical material by writers such as S T Coleridge, Jane Austen, and Charles Lamb as well as lesser known material from joke books to children's literature. In theory and practice, this duograph also considers the legacies of Romanticism - and ridiculousness - today, analysing their influence on independent film, sitcoms, and young adult fiction, as well as their place in Higher Education now.
Introduction - Ridiculous Definitions
Chapter 1 - The Trouble with Nature: Romanticism from Below
Chapter 2 - In Defence of Silliness: Ridiculous Society from Austen to Ghosts
Chapter 3 - Even If It Hurts: Vulnerable Readings in Young Adult Fiction
Conclusion - Ridiculous Displays
Bibliography
Biography
Andrew McInnes is Reader in Romanticisms and Co-Director of EHU Nineteen: Research Centre in Nineteenth-Century Studies at Edge Hill University.
Rita J. Dashwood is a literary scholar and historian of the eighteenth and nineteenth centuries. Her research focuses on women, property and cultural heritage, and the Romantic period’s legacies in popular culture. She is a Research Foundation – Flanders (FWO) Senior Postdoctoral Fellow at Ghent University, where she is working on her third book, The Heiress: Women, Property and Economics, 1780-1900.
