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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... Eliot's Middle-march, the need for “note-catching” being exemplified in the very injunction to do so. Uncaught notes from romantic writing resound throughout Hardy's writing. For instance, in the preface to The Dynasts, Hardy sums up ...
... Eliot's Middle-march, the need for “note-catching” being exemplified in the very injunction to do so. Uncaught notes from romantic writing resound throughout Hardy's writing. For instance, in the preface to The Dynasts, Hardy sums up ...
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... the foreshortened name of an earlier and more potent romanticism. Read with its repressed content restored, Tess, whose full name is Theresa, is a latter-day Saint Theresa of Avila. Specifically, it is George Eliot's St. Theresa.
... the foreshortened name of an earlier and more potent romanticism. Read with its repressed content restored, Tess, whose full name is Theresa, is a latter-day Saint Theresa of Avila. Specifically, it is George Eliot's St. Theresa.
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... Eliot's St. Theresa whom Hardy had in mind when writing Tess of the d'Urbervilles. Moreover, his sense of tragedy in Tess owes much to Eliot's in Middlemarch. Eliot's novel, we will recall, concluded with the suggestion that “our daily ...
... Eliot's St. Theresa whom Hardy had in mind when writing Tess of the d'Urbervilles. Moreover, his sense of tragedy in Tess owes much to Eliot's in Middlemarch. Eliot's novel, we will recall, concluded with the suggestion that “our daily ...
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... Eliot's, the terms of liberation are Keats's. In order to find an acceptable form of lyrical liberation from literary culture, Hardy read deeply in the Buxton Foreman edition of Keats's Works which included Keats's letters on aesthetic ...
... Eliot's, the terms of liberation are Keats's. In order to find an acceptable form of lyrical liberation from literary culture, Hardy read deeply in the Buxton Foreman edition of Keats's Works which included Keats's letters on aesthetic ...
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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