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. |
Från bokens innehåll
Resultat 1-5 av 85
Sida
... imaginative use of figural diction in favor of a merely decorative allegorization” (de Man, Rhetoric of Romanticism ... imagination in ways that Coleridge did, Hardy was compelled to reiterate the “adventure of [the failure of romantic ...
... imaginative use of figural diction in favor of a merely decorative allegorization” (de Man, Rhetoric of Romanticism ... imagination in ways that Coleridge did, Hardy was compelled to reiterate the “adventure of [the failure of romantic ...
Sida
... horror from which the romantic imagination recoiled. That horror was succinctly stated by Shelley when he wrote that the “deep truth is imageless” in order to justify the necessity of imaginative evasions of vacancy. Hardy in his turn.
... horror from which the romantic imagination recoiled. That horror was succinctly stated by Shelley when he wrote that the “deep truth is imageless” in order to justify the necessity of imaginative evasions of vacancy. Hardy in his turn.
Sida
... imaginative evasions of vacancy. Hardy in his turn understood 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 ...
... imaginative evasions of vacancy. Hardy in his turn understood 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 ...
Sida
... imagination is portrayed as a neurotic fancy which renders the subject-creator dependent upon nature rather than an individual of resolute independence supported by nature. Thus the imagination fallen to the condition of neurosis and ...
... imagination is portrayed as a neurotic fancy which renders the subject-creator dependent upon nature rather than an individual of resolute independence supported by nature. Thus the imagination fallen to the condition of neurosis and ...
Sida
... imaginative, while realism becomes an allegory of history, a less than fanciful discourse which is doubly delusive because coerced by reason to appear coherent, directed, comprehensible, and purposeful. Inscribed between fancy and ...
... imaginative, while realism becomes an allegory of history, a less than fanciful discourse which is doubly delusive because coerced by reason to appear coherent, directed, comprehensible, and purposeful. Inscribed between fancy and ...
Andra upplagor - Visa alla
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 |
Vanliga ord och fraser
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