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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... desire. By the time Hardy completes Jude, he will have accepted the wisdom of his own narrative understanding and write no more novels. Accordingly, the “philosophic” poetry that the twentiethcentury Hardy will write will be a poetry of ...
... desire. By the time Hardy completes Jude, he will have accepted the wisdom of his own narrative understanding and write no more novels. Accordingly, the “philosophic” poetry that the twentiethcentury Hardy will write will be a poetry of ...
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... desire which is to have his life “unbe.” Henchard is a Carlylean “demon of the Void” who rules over the capital of Wessex, a city where man is divorced from his fellow man (or held together by the bondage of the cash nexus), where man ...
... desire which is to have his life “unbe.” Henchard is a Carlylean “demon of the Void” who rules over the capital of Wessex, a city where man is divorced from his fellow man (or held together by the bondage of the cash nexus), where man ...
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... desire. This marginal space of freedom where the body in question can determine—or in Tess's case redetermine—the direction of its own desire constitutes the fantasy of redemption through ecstasy which is implemented in the narrative at ...
... desire. This marginal space of freedom where the body in question can determine—or in Tess's case redetermine—the direction of its own desire constitutes the fantasy of redemption through ecstasy which is implemented in the narrative at ...
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... desire and prevent her from becoming either a romantic Prometheus in her own right or a muse who could inspire a poetical character like Angel to become one. The ballad of her failure implicitly reflects upon “the expectations imposed ...
... desire and prevent her from becoming either a romantic Prometheus in her own right or a muse who could inspire a poetical character like Angel to become one. The ballad of her failure implicitly reflects upon “the expectations imposed ...
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... desires real. Hardy recasts Keats's “Dream of Adam” as Tess's nightmare of rape, for it is she who becomes the form of another's desire. This other never “sees into the life” of Tess's desire and thus misrepresnts her as someone who ...
... desires real. Hardy recasts Keats's “Dream of Adam” as Tess's nightmare of rape, for it is she who becomes the form of another's desire. This other never “sees into the life” of Tess's desire and thus misrepresnts her as someone who ...
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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