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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... divorces himself from “Christminster” dreams in order to become a master of Casterbridge realities. Between the two characteristic domains of discourse, there is no dialectical exchange. Were there, Hardy would have only reconstituted ...
... divorces himself from “Christminster” dreams in order to become a master of Casterbridge realities. Between the two characteristic domains of discourse, there is no dialectical exchange. Were there, Hardy would have only reconstituted ...
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... divorce, Hardy presents us with as radically divergent an emblem from that which is “central [to] the Romantic enterprise” as he could imagine. As the antithetical emblem to marriage, the Weydon divorce initiates a narrative concerned ...
... divorce, Hardy presents us with as radically divergent an emblem from that which is “central [to] the Romantic enterprise” as he could imagine. As the antithetical emblem to marriage, the Weydon divorce initiates a narrative concerned ...
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... divorced from his fellow man (or held together by the bondage of the cash nexus), where man is divorced from woman, man ... divorce of sign from significance, the romantic metaphor from its intent, and of romance (idealism) from history ...
... divorced from his fellow man (or held together by the bondage of the cash nexus), where man is divorced from woman, man ... divorce of sign from significance, the romantic metaphor from its intent, and of romance (idealism) from history ...
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... divorcing his wife and casting off his child, he fathers himself into historical being as a character without internal, imaginative resources. Divorced from a lyrical interiority which resides in the past, he is born into the present as ...
... divorcing his wife and casting off his child, he fathers himself into historical being as a character without internal, imaginative resources. Divorced from a lyrical interiority which resides in the past, he is born into the present as ...
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... divorced from art by the conjunction of fancy and the seductive lie. Rape then is Hardy's metaphor for a divorce between life and art. And it is this form of divorce that structures a text obsessed with the decline and fall of.
... divorced from art by the conjunction of fancy and the seductive lie. Rape then is Hardy's metaphor for a divorce between life and art. And it is this form of divorce that structures a text obsessed with the decline and fall of.
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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