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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... Jude the Obscure (1896). Hen chard is a radical realist dominated by materialistic ambitions; Jude a radical idealist prone to every form of enchantment. Henchard depends upon material props and market methods to support his character, Jude ...
... Jude the Obscure (1896). Hen chard is a radical realist dominated by materialistic ambitions; Jude a radical idealist prone to every form of enchantment. Henchard depends upon material props and market methods to support his character, Jude ...
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... Jude's vitality. In one sense, Jude stands where all romantics stand, before Wordsworth's dawn of bliss expecting a genuinely enlightened culture to soon arise. The mirage of Christminster, we note, always floats on the horizon; it ...
... Jude's vitality. In one sense, Jude stands where all romantics stand, before Wordsworth's dawn of bliss expecting a genuinely enlightened culture to soon arise. The mirage of Christminster, we note, always floats on the horizon; it ...
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... Jude's selfentrapping fanciful evasions. “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 ...
... Jude's selfentrapping fanciful evasions. “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 ...
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... Jude's form of idealism. Jude's failure to overcome his enthrallments point to his character as a “reading” of Shelley. And it is to Shelley's life as well as his Alastor that Hardy turned in order to construct his fable of the “Arab ...
... Jude's form of idealism. Jude's failure to overcome his enthrallments point to his character as a “reading” of Shelley. And it is to Shelley's life as well as his Alastor that Hardy turned in order to construct his fable of the “Arab ...
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... Jude “gives the impression of encountering no enchantment he does not embrace” (Bloom, Ringers in the Tower, 27). His autodidactic cultural character is built from introjected and then projected fragments of books he reads, ones ...
... Jude “gives the impression of encountering no enchantment he does not embrace” (Bloom, Ringers in the Tower, 27). His autodidactic cultural character is built from introjected and then projected fragments of books he reads, ones ...
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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