location in southern Florida to have students think through transatlantic Romantic-era “histories of violent dispossession, removal, and decimation; and technocratic pipedreams of unchecked accumulation.” Carmen Faye Mathes, also located in Florida, designed an online course on “the wilds” that used networked Romantic responses to North American wilderness to shape “a new kind of affective relation” among the distanced denizens of her course. As if asynchronously answering Mathes’s exploration of textual and virtual travel, Pamela Buck’s course participants created a website that allowed themselves and others to experience and rethink women’s travel writing and thereby “redefine Romanticism as a global movement.” The entangled lines of flight in these courses enwrap students in a contemporary constellation of the field. This constellation is one drawn from textual response, power dynamics of difference, affective ties over space and time, andmigrations, forced and otherwise, all underwritten by nature’s own diverse, unaccountable material movements. This is a Romanticism vital with possibilities arising from both the inclusion of new texts and new assemblages built of them. Mondello’s course dramatically asks us to rethink Romanticism by placingMary Shelley’s The Last Man as the paramount text. Garofalo’s thematic-conceptual grouping every week rousingly decolonizes Romanticism—see, for example her syllabus for week seven, “Swamp Sublime, Subtropical Wilderness,” which features Edmund Burke’s Philosophical Enquiry (1757); Samuel Taylor Coleridge’s “Kubla Khan” and “Christabel”; selections from William Wordsworth’s The Prelude; George Loring Brown’s painting Midnight on the Okefenokee Swamp (1866) and Herman Ottomar Herzog’s painting The Fox, Near Gainesville (ca. 1880); and, finally, the contemporary indigenous writer Tommy Pico’s Nature Poem. Such textual energies are complemented by a range of digital methodologies where students engaged in projects that were both selfdriven and collaborative in their interactive response and research. Mondello had students visit museum and archive sites (themselves assemblages of material) and then participate in multimodal blogging to help engage different sensory knowledges and connections across space and time. While Buck’s students each contributed original research on women travel writers to a website, Mathes’s online community worked through her carefully created group endeavors, such as the creation of Prezi networks, to forge “community-ata-distance” through the building of complex structures—including that now-phantom notion of North American culture, consensus. I, for one, am very proud to teach in a nearby spacetime to these teacher-scholars who have already rewritten the Romantic script as a most rich, collaborative, diverse, and iteratively decolonial creative venture.

中文翻译：

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“大沼泽地浪漫主义”：从鳄鱼到夜莺

位于佛罗里达州南部的位置，让学生思考跨大西洋浪漫时代的“暴力剥夺、迁移和屠杀的历史”；以及不受限制的积累的技术官僚白日梦。” 同样位于佛罗里达州的 Carmen Faye Mathes 设计了一个关于“荒野”的在线课程，该课程利用对北美荒野的网络浪漫反应在她课程中距离遥远的居民之间形成“一种新的情感关系”。仿佛异步回答了 Mathes 对文本和虚拟旅行的探索，Pamela Buck 的课程参与者创建了一个网站，让他们自己和其他人体验和重新思考女性旅行写作，从而“将浪漫主义重新定义为一场全球运动”。这些课程中纠缠的飞行线将学生包裹在该领域的当代星座中。这个星座是从文本反应、差异的权力动态、空间和时间的情感纽带以及被迫和其他方面的迁移中提取出来的，所有这些都是由大自然自己多样化的、不负责任的物质运动所支持的。这是一种至关重要的浪漫主义，其中包含新文本和由它们构建的新组合所产生的可能性。蒙德罗的课程戏剧性地要求我们通过将玛丽雪莱的《最后的人》作为最重要的文本来重新思考浪漫主义。Garofalo 每周的主题-概念分组都令人兴奋地去殖民化浪漫主义——例如，参见她第七周的教学大纲“沼泽崇高，亚热带荒野”，其中包括埃德蒙·伯克的哲学探究（1757）；塞缪尔·泰勒·柯勒律治的《忽必烈可汗》和《克里斯塔贝尔》；选自华兹华斯的《前奏曲》；乔治·洛林·布朗的《奥克芬诺基沼泽上的午夜》（1866 年）和赫尔曼·奥托马尔·赫尔佐格的《盖恩斯维尔附近的狐狸》（约 1880 年）；最后，当代土著作家汤米皮科的自然诗。这种文本能量得到了一系列数字方法的补充，学生们在互动反应和研究中参与了自我驱动和协作的项目。蒙德罗让学生参观博物馆和档案馆（他们自己的材料组合），然后参与多模式博客，以帮助跨空间和时间吸收不同的感官知识和联系。虽然巴克的学生都为网站贡献了关于女性旅行作家的原创研究，但马西斯的在线社区通过她精心创建的团队努力工作，例如创建 Prezi 网络，通过构建复杂的结构来打造“远距离社区”——包括现在北美文化的幻影概念，共识。一方面，我非常自豪能够在附近的时空向这些已经将浪漫主义剧本改写为最丰富、协作、多样化和反复去殖民化的创造性冒险的教师学者进行教学。