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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... sublime of terror into the classically beautiful (The Woodlanders); and of Coleridge in dejection musing upon a “hope that refuses to be fed” (Tess at Stonehenge). In concluding, we might consider Hardy's last published novel, The Well ...
... sublime of terror into the classically beautiful (The Woodlanders); and of Coleridge in dejection musing upon a “hope that refuses to be fed” (Tess at Stonehenge). In concluding, we might consider Hardy's last published novel, The Well ...
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... revolutionary enthusiasms and cosmic joys of an earlier, more imaginatively daring epoch. Such expansive and sublime movements are not to be expected in latter-day Wessex where one must mechanically enlarge “minute forms” of.
... revolutionary enthusiasms and cosmic joys of an earlier, more imaginatively daring epoch. Such expansive and sublime movements are not to be expected in latter-day Wessex where one must mechanically enlarge “minute forms” of.
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... sublime form. Otherwise put, he represents the dead letter of romantic culture. Like his predecessor the Alastor-poet, Jude leaves Marygreen, the possible site of Wordsworthian forms of naive romanticism, to seek the “solemn vision, and ...
... sublime form. Otherwise put, he represents the dead letter of romantic culture. Like his predecessor the Alastor-poet, Jude leaves Marygreen, the possible site of Wordsworthian forms of naive romanticism, to seek the “solemn vision, and ...
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... Sublime. Pale because consumptive and white because speckled with marble dust, Jude finally appears in the narrative as a figure of “Grecian art, and purest poesy” (Prelude, 5:459) representing all that he had tried to evade by his ...
... Sublime. Pale because consumptive and white because speckled with marble dust, Jude finally appears in the narrative as a figure of “Grecian art, and purest poesy” (Prelude, 5:459) representing all that he had tried to evade by his ...
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... sublime possibilities. In Jude the Obscure, Hardy's theme is that “far greater uneasiness about the limits of poetic idealism than might appear from the theoretical statements of [romantic] poets themselves” (Rajan, 29). Subject to such ...
... sublime possibilities. In Jude the Obscure, Hardy's theme is that “far greater uneasiness about the limits of poetic idealism than might appear from the theoretical statements of [romantic] poets themselves” (Rajan, 29). Subject to such ...
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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