Aus unseren Neuerwerbungen – Anglistik 2020.6

Roman­tic cli­mates: lit­er­a­ture and sci­ence in an age of cat­a­stro­phe
This book seeks to uncov­er how today’s ideas about cli­mate and cat­a­stro­phe have been formed by the think­ing of Roman­tic poets, nov­el­ists and sci­en­tists, and how these same ideas might once more be har­nessed to assist us in the new cli­mate chal­lenges fac­ing us in the present.
The glob­al cli­mate dis­as­ter fol­low­ing Mt Tambora’s erup­tion in 1815 – the ‘Year with­out a Sum­mer’ – is a start­ing point from which to recon­sid­er both how the Roman­tics respond­ed to the chang­ing cli­mates of their day, and to think about how these cli­mat­ic events shaped the devel­op­ment of Roman­ti­cism itself.
As the con­tri­bu­tions to this vol­ume demon­strate, cli­mate is an inescapable aspect of Roman­tic writ­ing and think­ing. Ide­olo­gies and expe­ri­ences of cli­mate inform every­thing from sci­en­tif­ic writ­ing to lyric poet­ry and nov­els. The ‘Dio­dati cir­cle’ that assem­bled in Gene­va in 1816 – Lord Byron, Per­cy and Mary Shel­ley, John Poli­dori and John Cam Hob­house and the goth­ic nov­el­ist MG ‘Monk’ Lewis – is syn­ony­mous with the lit­er­a­ture of that drea­ry, uncan­ny sea­son. Essays in this col­lec­tion also con­sid­er the work of Jane Austen, John Keats and William Wordsworth, along with less well-known fig­ures such as the sci­en­tist Luke Howard, and lat­er respons­es to Roman­tic cli­mates by John Ruskin and Vir­ginia Woolf.
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Pop Beck­ett: Inter­sec­tions with Pop­u­lar Cul­ture
Tele­vi­sion was the key pop­u­lar medi­um of the sec­ond half of the twen­ti­eth cen­tu­ry in the UK, and Beckett’s work was con­sis­tent­ly aired by BBC, the British non-com­mer­cial TV broad­cast­er that had already fea­tured his work on radio since the mid-1950s. But Beckett’s work also appeared on Inde­pen­dent Tele­vi­sion (ITV), the com­mer­cial­ly-fund­ed British tele­vi­sion chan­nel set up in 1955 to rival BBC. The com­mer­cial ABC TV com­pa­ny made the series The Present Stage for ITV in 1966. In its fea­ture announc­ing the series, the TV Times list­ings mag­a­zine asked “Do you real­ly enjoy the mod­ern play like Look Back in Anger or Wait­ing for Godot? A new 13-week series, The Present Stage, starts next Sun­day and is designed to help you enjoy and under­stand mod­ern plays.” The series was based on a pop­u­lar book by John Ker­shaw, and along­side Beckett’s dra­ma it dealt with plays by the drama­tists Arnold Wesker, Max Frisch, Eugene Ionesco and Harold Pin­ter, each of which were land­marks in Lon­don the­atre at the time. The series was broad­cast on Sun­days, fol­low­ing a home improve­ment pro­gramme, and this chap­ter asks what it meant for the ITV chan­nel to screen a pro­gramme about Beckett’s dra­ma amongst tele­vised church ser­vices and home decor advice. The chap­ter places Beckett’s dra­ma in the con­text of dynam­ic insta­bil­i­ty in British cul­ture, when the cat­e­gories of the pop­u­lar and the elite were being con­test­ed, to argue that ITV’s pro­gramme con­tributed to a cul­tur­al rev­o­lu­tion.
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