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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... idealistic forms of romanticism either fail outright or fail to appear. The ache of the modern is then the effect of a double failure or loss whose cause Hardy attributed to the “burden of history” or, in Shelley's fine phrase, to “The ...
... idealistic forms of romanticism either fail outright or fail to appear. The ache of the modern is then the effect of a double failure or loss whose cause Hardy attributed to the “burden of history” or, in Shelley's fine phrase, to “The ...
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... idealism is demoted to fancy, in Coleridge's senses of the less than imaginative, while realism becomes an allegory of history, a less than fanciful discourse which is doubly delusive because coerced by reason to appear coherent ...
... idealism is demoted to fancy, in Coleridge's senses of the less than imaginative, while realism becomes an allegory of history, a less than fanciful discourse which is doubly delusive because coerced by reason to appear coherent ...
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... idealism and aestheticism, we might understand Hardy's brand of impressionism as the realistic effect of an insistent refusal of all ideologies as insubstantial forms of knowledge. Directed against the very notion of ideology, Wessex ...
... idealism and aestheticism, we might understand Hardy's brand of impressionism as the realistic effect of an insistent refusal of all ideologies as insubstantial forms of knowledge. Directed against the very notion of ideology, Wessex ...
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... idealism and not repress them. The growth of Hardy's “mind” from a longing for a coherent point of view, such as that advocated in The Prelude, to the acceptance of an undesirable but acknowledged chaos of fragments as the only form of ...
... idealism and not repress them. The growth of Hardy's “mind” from a longing for a coherent point of view, such as that advocated in The Prelude, to the acceptance of an undesirable but acknowledged chaos of fragments as the only form of ...
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... idealism as it encounters history. The tempting and elusive Shelleyan “form all light” and “one shape of many names” of the allegory is successively named Avice, I, II, and III. More explicitly, she represents “a vice” which inhabits ...
... idealism as it encounters history. The tempting and elusive Shelleyan “form all light” and “one shape of many names” of the allegory is successively named Avice, I, II, and III. More explicitly, she represents “a vice” which inhabits ...
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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