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My article proposes a revision of the periodization and the canon of Romanticism by going back to the roots of key elements of this literary period, in linking together the imagination to the pivotal assumption of the Enlightenment, i.e. the debunking of innatism, as Locke had proposed it. Joseph Addison reworks his theory of the imagination accordingly, in particular, in his Journal «The Spectator», with a series of essays called The Pleasures of the Imagination (1712). Here he affirms that the tabula rasa of the mind is modelled by the sensations we acquire via the senses, which write on the ‘blank slate’, producing our distinguished and unique understanding of the world. The faculty of the imagination is thus revolutionarily seen not as an innate gift of the gods to geniuses, but simply as a faculty each human being possesses. Each and every human being could, from then on, imagine a different world, fostering thus what I consider the major asset of all Romanticisms of the world: romantic individualism. Therefore, I propose to link these two only seemingly different cultural periods of time, the Enlightenment and Romanticism, together, to give their due both to the empiricists and to the romantics, who jointly permitted an evolution of humankind, in ‘authorising’ all human beings in the use of their imagination, just as artists, scientists, and so-thought geniuses had done in the past, i.e. to become ‘artists’ themselves, assuming upon them the accountability towards reality. ‘Enlightened Romanticism’ synthesizes this revolutionary synergy created by the dismissal of innatism and the rise of the imagination. Riassunto: L’articolo propone una revisione della periodizzazione del canone e del periodo romantico rintracciando alcuni elementi di questo periodo letterario nelle sue radici illuministe e, nella fattispecie, nelle rivoluzionarie proprietà dell’immaginazione proposte da Joseph Addison e anticipate dal quadro filosofico del rifiuto dell’ipotesi innatista di Locke. Sarà, infatti, Joseph Addison a teorizzare l’immaginazione in questa chiave interpretativa, nel 1712, nel suo giornale «The Spectator», nella serie di saggi, che intitolerà: I piaceri dell’immaginazione. Qui, riprendendo Locke, Addison affermerà che sono i sensi (non per caso ridefiniti ‘piaceri’) a modellare plasticamente la tabula rasa della mente, producendo il nostro distintivo e unico modo di acquisizione e di comprensione del mondo. L’immaginazione è quindi letta non come dono innato consegnatoci da esseri superiori, ipotesi base dell’innatismo e di conseguenza anche del creazionismo, ma semplicemente come una facoltà che, ora, tutti gli esseri umani posseggono. Tale affermazione cambierà il significato stesso dell’‘immaginare’, da una parte autorizzando tutti all’uso della facoltà, ma anche creando al contempo il caposaldo fondamentale di tutti i romanticismi del mondo: l’autorizzazione ad essere liberi e del tutto singolari esercitando l’individualismo romantico, tratto distintivo di ogni Romanticismo. Il saggio propone, quindi, da una parte, di unire Illuminismo e Romanticismo, periodi che in apparenza paiono opposti, essendo l’uno votato alla scienza e l’altro alla creatività, suggerendo la loro unione attraverso l’icastica formula di un ‘Romanticismo Illuminato’, e dall’altra di anticipare il canone romantico. L’immaginazione di Addison ha infatti permesso un’evoluzione della specie, autorizzando ogni essere umano ad esercitare questa potente facoltà della mente, come artisti, poeti, e scienziati avevano da sempre fatto. È, infatti, nel diventare ‘artisti’ che tutti gli esseri assumono su di sé la responsabilità dei cambiamenti immaginati e da realizzarsi nel mondo reale. Il ‘Romanticismo Illuminato’ sintetizza quindi questa sinergia straordinaria che il rifiuto dell’innatismo e la difesa dell’immaginazione hanno reso possibile. Key words: Enlightenment, Innatism, Romanticism, imagination, tabula rasa, genius, individualism, artist, ‘Enlightened Romanticism’, The Pleasures of the Imagination, John Locke, Joseph Addison, David Hartley, the invention of Northern Aesthetics., Romanticismi - La rivista del CRIER, V. 4 (2019): IL CANONE DEI ROMANTICI

Статья посвящена исследованию оформления концепции человека в творчестве поэтов «Озерной школы». Демонстрируется, какие факторы повлияли на конструирование тех или иных сторон указанной концепции в индивидуальном методе У. Вордсворта, С.Т. Кольриджа, Р. Саути. Также отмечается двойственность концепции вообще и на разных уровнях: «фантазия воображение», «природа цивилизация» и т.д. Сделан вывод о том, что, несмотря на то, что концепции поэтов индивидуальны, они имеют общий базис.This article dedicated to exploring of the design of the concept of man in the work of poets of the "Lake School". It demonstrates which factors influenced the construction of certain aspects of this concept in the individual methods of W. Wordsworth, S.T. Coleridge and R. Southey. The duality of the concept is also noted in general and at different levels, for example: "fantasy imagination", "nature civilization", etc. In this article it was found that despite the fact that the concepts of poets are individual, they have a common basis.

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La tesi contrasta les conseqüències filosòfiques i la constel·lació temàtica de la Crítica del Judici, amb les manifestacions poeticofilosòfiques de F. Hölderlin i S.T. Coleridge. La font principal de recerca són aquelles tesis de la Crítica del Judici rellevants per comprendre l'esclat de l'idealisme allà on aquest nou sistema involucra significativament art i experiència estètica. Hölderlin s'instal·la de manera genuïna en la tensió entre l'idealisme i la filosofia crítica. Per la radicalitat dels seus plantejaments podrem presentar-lo també com a poeta romàntic o precedent del romanticisme. Pel que fa a Coleridge estudiem la recepció immediata de la filosofia Kantiana en el medi cultural britànic per contrastar el paper del poeta en la importació de la ideologia romàntica alemanya. L'objectiu és presentar Coleridge com a poeta que assumeix els postulats del romanticisme alemany i investigar si aquests postulats poden relacionar-se amb el balanç de la filosofia kantiana expressat a Crítica del Judici., The thesis compares the philosophical consequences of Critique of Judgement to the poetic and philosophical productions of F.Höldelrin and S.T. Colerige. The main source of research are those aspects of Critique of Judgement relevant to understand the outbreak of idealism particularly where this new system deals significantly with art and aesthetic experience. Hölderlin stands in a genuine position beneath the tensions of idealism and kantian criticism, and his radical aproach to poetry allows to present him as a romantic poet or forerunner of romanticism. For S.T. Coleridge we study the immediate reception of kantian philosophy in british soil in order to highlight his role as a mediator of the german romantic ideology. The aim is to portrait Coleridge as a poet who assumed the main postulates of german idealism and to investigate how far those postulates can be connected to the final conclusions of kantian philosophy as formulated in Critique of Judgement.

Revision is a fundamental part in the process of writing and, in a general sense, a revisionary nature or character can be identified in all written literature. This notwithstanding, the recursive nature of revision may be regarded as problematic and adverse especially when this practice is used in creative writing. This problem is particularly evident in Romantic poetry since the revising process, denoting an alteration of the original conception, may seem to some extent antithetical to its own assumptions of authenticity. S.T. Coleridge was one of the most productive and ‘inveterate reviser[s]’ of the Romantic period [Ve-Yin Tee, 2009]. During his lifetime, Coleridge revised almost everything that he wrote, often re-vising his poems by altering their structure and aim. Examples include ‘The Rime of the Ancient Mariner’ (1798) and ‘Kubla Khan’ (1816), which Coleridge claimed to have written almost extempore. This essay investigates the complex relationship between original conception and revising practice in Coleridge’s works, and examines a specific case in Coleridge’s history of revisions, namely the poem known as ‘Dejection: An Ode’, which underwent major changes before achieving its final form. The first version of ‘Dejection: An Ode’ was written in 1802 and revised in the same year. However, the many differences between ‘A Letter’ and the final version, included in the 1834 Poetical Works, indicate that Coleridge’s authorial intentions drastically changed.