Romantik: Journal for the Study of Romanticisms started out as ap rint publication but has for an umber of years been ap eriodical with open access. All articles published during the lifetime of the journal are now available in various digital formats. The development of the journal reflects how the reading, viewing, and conceptualization of romanticism is changing. As students and researchers, we find ourselves in the fortunate situation that anumber of digital projects related to the texts and art of the romantic period havereceived funding, and more such projects will undoubtedly emerge in the years to come. There is acertain comfort and convenience in handling print material, but the new digital platforms bring several advantages: they are searchable in terms of content, and it is often possible to zoom in to study artworks or facsimiles of book pages close up. The photomechanical reproductions that are confined to the printed book remain inflexible in this regard.One of the romantic-period artists who has benefitted greatly from the new technology is William Blake (1757-1827). His composite art, combining both illustration and text (what he himself referred to as 'illuminated printing' in his 1793 prospectus), can now be accessed as high-resolution images on The William Blake Archive (http://www.blakearchive.org/). Launched in 1996, this archivew as one of the earliest free websites focusing on romantic texts with a visual component. The scope, content, and features of the platform havee xpanded exponentially over the years. As all areas of individual plates or pictures havebeen tagged with detailed descriptions, it is now possible to explore alarge body of Blake'spictorial art by using the image-searching tool. Users are able to scrutinise the minute particulars of an image in high resolution without the need to touch the often fragile original, and the Archive affords users the possibility of comparing different versions of plates from several copies. For example, one may study the widely diverse colourings of Blake'si llustration to his famous poem 'The Tyger' and ponder how each version may convey adifferent idea of the animal, which come across as either ferocious or (most often) alittle tame. Such acomparativestudy would havebeen well-nigh impossible for researchers
The early German romantics were highly interested in medieval literature, primarily poetry written in romance vernaculars such as Dante's Inferno. Only later did the German romantics turn to northern medieval literature for inspiration. In the case of German romantic Friedrich Schlegel (1772-1829), the usual opinion is that he would not have cared for northern (primarily Scandinavian) medieval literature and art before his late phase, beginning around 1802. In this phase, his literary criticism stood under the sway of his conservative politics. This article examines the reception of Germanic medieval literature in Schlegel's early essays, reviews and fragments, in order to discuss the role of Germanic medieval literature in his work and the extent to which it is connected with his poetics and politics.
The article does not investigate the reason behind the recurring cases of missing children and young adults in the Republic of Sakha (Yakutia) and does not offer an explanation for this phenomenon. Instead, it interprets this occurrence as a symptom of the oppressive histories and realities for indigenous groups residing on the territory of this part of the Russian Federation. Although the reasons for children going missing might seem obvious—the vast uninhabited territory of the region and poor infrastructure—the article argues that these cases of missing children are the result and evidence of neglect on behalf of parents and the state. The contributive value of this article is to voice the current precarious situation in the Republic of Sakha (Yakutia) under the “brotherhood” of the New Russians’ oligarchy and the way that communal cultural practices of the indigenous peoples of Yakutia resist this form of oppressive practice and the possibility of going missing, or extinct.
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