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• W2485944278 abstract "In his classic text The Mirror and the Lamp, published in 1953, the literary critic Meyer Abrams described the concept of genius in the Romantic imagination. Genius, he said, was believed to have specific features: it was sudden and effortless; it was involuntary; it generated intense mental excitement; and the completed musical, visual, or conceptual achievement sometimes seemed unfamiliar to the author, almost as though it were produced by someone else.1 Inspiration was a visitation from somewhere outside the body entirely. Shelley was Abrams’s typical example, although he could as easily have cited individuals from other spheres, such as Mozart, Goethe, or Johann Friedrich Gauss, one of the greatest theoretical mathematicians of the period. Much of this rhetoric of genius, Abrams argues, was prevalent in Europe and North America through the first two decades of the nineteenth century. It was strikingly echoed in pictorial form by Casper David Friedrich’s painting “The Wanderer above the Sea of Fog” (1818). The solitary figure, viewed from behind, is caught in an instant of sublimity, an enlargement of the spiritual self through the contemplation of nature." @default.
• W2485944278 created "2016-08-23" @default.
• W2485944278 creator A5008457863 @default.
• W2485944278 date "2016-01-01" @default.
• W2485944278 modified "2023-09-27" @default.
• W2485944278 title "Inspiration to Perspiration: Francis Galton’s Hereditary Genius in Victorian Context" @default.
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• W2485944278 doi "https://doi.org/10.1057/9781137497673_6" @default.
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