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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... Grace's hand (the quest) because he has grown double, as has she at finishing school. It is the very “doubling” of her consciousness, half of which is Wordsworthian, and half Paterian, which constitutes the conflict in her existence as ...
... Grace's hand (the quest) because he has grown double, as has she at finishing school. It is the very “doubling” of her consciousness, half of which is Wordsworthian, and half Paterian, which constitutes the conflict in her existence as ...
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... grace” tragically married to art and science and the Wordsworthian naturalist dead. During the course of the narrative, Fitzpiers's infidelities aptly depict the character of a frivolous and adulterous romanticism out to please itself ...
... grace” tragically married to art and science and the Wordsworthian naturalist dead. During the course of the narrative, Fitzpiers's infidelities aptly depict the character of a frivolous and adulterous romanticism out to please itself ...
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... whom he is compared in the narrative. Concomitantly, Mrs. Charmond, the “flesh of the world,” is a reworking of Pater's famous portrait of La Gioconda, while Grace Melbury's evanescent character is derived from Pater's fading.
... whom he is compared in the narrative. Concomitantly, Mrs. Charmond, the “flesh of the world,” is a reworking of Pater's famous portrait of La Gioconda, while Grace Melbury's evanescent character is derived from Pater's fading.
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... grace,” the Christ portrait of Leonardo's Ultima Cena. Grace is initially a Wordsworthian romantic who is then “educated” to become the aesthetic mate of Fitzpiers. Her story features trace events from Wordsworth's epic “Grace Darling ...
... grace,” the Christ portrait of Leonardo's Ultima Cena. Grace is initially a Wordsworthian romantic who is then “educated” to become the aesthetic mate of Fitzpiers. Her story features trace events from Wordsworth's epic “Grace Darling ...
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... grace in Tess, Hardy turned to Keats's “Ode to Psyche” for guidance. In effect, he inverts his own initial inversion (negates his negation) to arrive at a Keatsean moment of genuine romance. At Bramshurst Court, a “court of love” where ...
... grace in Tess, Hardy turned to Keats's “Ode to Psyche” for guidance. In effect, he inverts his own initial inversion (negates his negation) to arrive at a Keatsean moment of genuine romance. At Bramshurst Court, a “court of love” where ...
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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