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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... narrator's oblique cue suggests, Casterbridge's thematic (that is textual) center is found in Carlyle's writings of the thirties. It is Carlyle's debate between culture and society, between the dynamical and the mechanical, and between ...
... narrator's oblique cue suggests, Casterbridge's thematic (that is textual) center is found in Carlyle's writings of the thirties. It is Carlyle's debate between culture and society, between the dynamical and the mechanical, and between ...
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... narrator's outlining Elizabeth-Jane's “secret of making limited opportunities endurable ... in the cunning enlargement, by a species of microscopic treatment, of those minute forms of satisfaction” (410) which haphazardly become ...
... narrator's outlining Elizabeth-Jane's “secret of making limited opportunities endurable ... in the cunning enlargement, by a species of microscopic treatment, of those minute forms of satisfaction” (410) which haphazardly become ...
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... narrator's concluding statement can only be fully measured by comparing it to the prevalent line of metaphor in ... narrator implies that the present will not see a return of the glorious past despite Carlyle's titanic efforts to have it ...
... narrator's concluding statement can only be fully measured by comparing it to the prevalent line of metaphor in ... narrator implies that the present will not see a return of the glorious past despite Carlyle's titanic efforts to have it ...
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... narrator provides a clue to one source when he proclaims that “Henchard's character ... might just be described as ... narrator's description is immediately followed by this pronouncement: “Character is Fate, said Novalis” (185). Now ...
... narrator provides a clue to one source when he proclaims that “Henchard's character ... might just be described as ... narrator's description is immediately followed by this pronouncement: “Character is Fate, said Novalis” (185). Now ...
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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