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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... Shelley to comment that “as is wellknown ... Hardy's work is so inhabited by echoes of Shelley's work that it almost might be defined as, from beginning to end, a large-scale interpretation of Shelley, one of the best and strongest that ...
... Shelley to comment that “as is wellknown ... Hardy's work is so inhabited by echoes of Shelley's work that it almost might be defined as, from beginning to end, a large-scale interpretation of Shelley, one of the best and strongest that ...
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... Shelley's fine phrase, to “The Triumph of Life.” The overall effect of such a double loss is the complete absence of ... Shelley when he wrote that the “deep truth is imageless” in order to justify the necessity of imaginative evasions ...
... Shelley's fine phrase, to “The Triumph of Life.” The overall effect of such a double loss is the complete absence of ... Shelley when he wrote that the “deep truth is imageless” in order to justify the necessity of imaginative evasions ...
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... Shelley's words to mean that all images are therefore without truth, and it is from this standpoint that he created Wessex as a challenging reply to Shelley's unsettling question: “And what were thou, and earth, and stars, and sea,/ If ...
... Shelley's words to mean that all images are therefore without truth, and it is from this standpoint that he created Wessex as a challenging reply to Shelley's unsettling question: “And what were thou, and earth, and stars, and sea,/ If ...
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... in the world. More radically, Henchard is a figure of time itself or history understood as an unidealized “vacancy,” in Shelley's phrase (“Mont Blanc”) or as “a soulless image on the eye” in Wordsworth's (Prelude, 6:527). As “Father.
... in the world. More radically, Henchard is a figure of time itself or history understood as an unidealized “vacancy,” in Shelley's phrase (“Mont Blanc”) or as “a soulless image on the eye” in Wordsworth's (Prelude, 6:527). As “Father.
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... Shelley's romanticism in the belletristic eighties. We can schematically present the narrative results of this splicing if we recall that in “The Tables Turned” Wordsworth says that we have had “Enough of Science and of Art,” thus we ...
... Shelley's romanticism in the belletristic eighties. We can schematically present the narrative results of this splicing if we recall that in “The Tables Turned” Wordsworth says that we have had “Enough of Science and of Art,” thus we ...
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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