The Descent of the Imagination: Postromantic Culture in the Later Novels of Thomas HardyNYU Press, 1 juni 1990 - 334 sidor The Descent of the Imagination places Thomas Hardy's writing within the context of nineteenth-century fiction writing as a genre. Moore therefore regards his examination of Hardy's work as a form of archaeology as well as a genealogy of the romantic figure in fiction, from Wordsworth through Hardy. The book provides a new interpretation of Hardy's method of composition and uses new source material that will interest Hardy scholars. It offers an original view of the novelist that argues that his work, especially his later writings, were a deliberate rewriting of romanticism. |
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... Christminster dreams; Henchard divorces himself from “Christminster” dreams in order to become a master of Casterbridge realities. Between the two characteristic domains of discourse, there is no dialectical exchange. Were there, Hardy ...
... Christminster dreams; Henchard divorces himself from “Christminster” dreams in order to become a master of Casterbridge realities. Between the two characteristic domains of discourse, there is no dialectical exchange. Were there, Hardy ...
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... Christminster.” There we learn that “save his own soul he hath no guide.” This characterization of his subjectivity casts him as a figure of an imagination which rises in Wordsworth's Prelude and sets in Swinburne's Songs Before Sunrise ...
... Christminster.” There we learn that “save his own soul he hath no guide.” This characterization of his subjectivity casts him as a figure of an imagination which rises in Wordsworth's Prelude and sets in Swinburne's Songs Before Sunrise ...
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... Christminster, we note, always floats on the horizon; it never touches the ground of history. In another sense, Jude stands at the dead end of the romantic tradition because a century of such “songs before sunrise” had passed and the ...
... Christminster, we note, always floats on the horizon; it never touches the ground of history. In another sense, Jude stands at the dead end of the romantic tradition because a century of such “songs before sunrise” had passed and the ...
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... Christminster” is Jude's word for his labyrinth of denial. It is the home of the “lost causes” of his joy in solitude, which is why Hardy borrows Arnold's Oxford, the home of lost causes, as the model for Jude's hypothetical capital of ...
... Christminster” is Jude's word for his labyrinth of denial. It is the home of the “lost causes” of his joy in solitude, which is why Hardy borrows Arnold's Oxford, the home of lost causes, as the model for Jude's hypothetical capital of ...
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... Christminster. Because he cannot, his life is tragic. The agency of this tragedy is “culture,” in Wordsworth's sense—the poet is entranced by Shakespeare, Milton, and the Tales of the Arabian Nights—and in Shelley's whose Alastor-poet ...
... Christminster. Because he cannot, his life is tragic. The agency of this tragedy is “culture,” in Wordsworth's sense—the poet is entranced by Shakespeare, Milton, and the Tales of the Arabian Nights—and in Shelley's whose Alastor-poet ...
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The Descent of the Imagination: Postromantic Culture in the Later Novels of ... Kevin Z. Moore Begränsad förhandsgranskning - 1993 |
The Descent of the Imagination: Postromantic Culture in the Later Novels of ... Kevin Z. Moore Begränsad förhandsgranskning - 1993 |
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aesthetic Alastor Alec Alec’s allegory Angel Arabella Arnold’s Arnoldian authentic beauty becomes Björk Bramshurst Carlyle Carlyle’s character characterized Charmond Christminster Coleridge Coleridge’s consciousness constitutes critical critique d’Urberville death depicts desire divorce Dowden’s dream Dynasts effect Eliot’s Elizabeth-Jane emblem fable faith fancy fantasy Farfrae Farfrae’s fate father fiction figure Fitzpiers Fitzpiers’s forms of romanticism Giles Giles’s Goethe’s Grace Hardy Hardy’s Hardy’s novel Hellenic Henchard Hintocks idealism imagination intertextual Jude Jude the Obscure Jude’s Keats Keats’s letters Literary Notebooks Lucetta lyrical Margaret’s Marty Marty’s Mary Shelley Mayor of Casterbridge metaphor metonymical Middlemarch Milton’s narrative narrator narrator’s nature once past Pater’s Paterian poem poet poetic poetry Preface Prelude present quest reading recall redemption represents romantic culture satire scene sense Shelley Shelley’s Shelley’s Alastor Shelleyan skimmington ride South’s specular spirit sublime Sue’s Tess Tess’s texts textual Thomas Hardy Tintern Abbey tragic tree vision Wessex Weydon woodland Wordsworth’s Wordsworthian