Abstract :
This essay explores the contributions of a tradition of nineteenth-century Künstlerromane by Germaine de Staël, Mary Shelley, and George Sand to European idealist historiography as exemplified in Kantʹs writings on perfectibility. Corinne, Valperga, and Consuelo represent the historical agency of the intellectual and artist as communication with a spirit world inhabited by ghosts of the past so that their secrets and wisdom can be transmitted to the future. In canonical Romanticism, contact with these phantasms provokes crippling guilt over the failure of past projects of perfectibility like the French Revolution (doomed by violence and bloodshed), guilt that is figured in the interdependent tropes of the titanic hero and Romantic melancholy. The novels discussed here perform an explicit critique of masculinist individualism in the name of women and humanity as a whole, replacing melancholy with enthusiasm and deploying spirits aesthetically, as sublime signs of future historical potentiality. (KL)
