Beatriz González Moreno

El nacimiento de la categría de lo sublime supuso una auténtica rebolución en el siglo XVIII y confirió al Romanticismo una dimensión estética de la que, en gran medida, hoy seguimos siendo deudores. La Categoría de los bello, propia del clasicismo, se vió amenazada por una estética que rompía los marcos conceptuales prescritos y abogada por la escuridad, la falta de proporciones, la sombra y la experiencia del terror. Por todo esto, dicha categoría sedujo a los escritores del momento, que veían en la recién nacida sublimidad el descubrimiento de un nuevo mundo. En este sentido, la categoría de lo sublime desempeñará un papel fundamental en el nacimiento de la novela gótica; la noche, las tinieblas, se convirtieron en esapacios emblemáticos de una región donde las leyes imperantes no son ya las de la razón. La obra de Mary Shelley, Frankenstein, constituirá una magistral cristalización romántica de los motivos góticos y de su experiencia estética.

la experiencia estética en el romanticismo inglés

Lo sublime, lo gótico y lo romántico

Margarita Rigal Aragón

Today Edgar Allan Poe is a well-known and highly regarded author. When, a hundred years ago (1909), a group of Poe acquaintances, fans and scholars got together at the University of Virginia to commemorate Poe's birth centenary, they had to do so in order to modify the persistent misstatements of his earlier biographers, and to correct the unsettled judgment of his literary rank. Now, in 2009, many Poe fans and scholars are gathering together once more to honour Poe on the second centenary of his birth. Different types of events (theatrical and musical performances, book auctions, etc.) and academic conferences have been celebrated on both sides of the Atlantic, acclaiming Poe's literary rank again. This volume brings together a wide range of scholars with varied critical approaches and succeeds in shedding new light on E. A. Poe on the occasion of his Bicentenary. The book is organized into three principal sections; the first part focuses on the reception of Poe in Great Britain, France, and Spain; the second revisits some of Poe's main legacies, such as his stories of detection, the Gothic, and Science Fiction; and the third deals with the aesthetic quality of his narratives and also offers an analysis of his work integrating Text Linguistics within the broader study of social discourses.

Beatriz González Moreno

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