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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... textual formality and not a personality, that “whole man” or coherent individuality which romanticism understood as an autonomous subjectivity enjoying some degree of creative self-expression. It is the “myth” of this myth that is put ...
... textual formality and not a personality, that “whole man” or coherent individuality which romanticism understood as an autonomous subjectivity enjoying some degree of creative self-expression. It is the “myth” of this myth that is put ...
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... textual borrowings, Hardy's latter-day Wessex is implicitly intertextual and not just occasionally or theoretically so.3 By allusion, homology, and disguised grafting, Hardy incorporated as critical commentary previously published texts ...
... textual borrowings, Hardy's latter-day Wessex is implicitly intertextual and not just occasionally or theoretically so.3 By allusion, homology, and disguised grafting, Hardy incorporated as critical commentary previously published texts ...
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... textual positions into a fiction that was not intended to criticize any particular view as false in order to assert another as true. Such determinations had become difficult by the 1880s because the enabling principles of romanticism ...
... textual positions into a fiction that was not intended to criticize any particular view as false in order to assert another as true. Such determinations had become difficult by the 1880s because the enabling principles of romanticism ...
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... textual productions, including himself (his authorial self), are of a piece, or of pieces methodically organized to appear organic when it is just this romantic imperative that they place in jeopardy. From this angle, we might see Hardy ...
... textual productions, including himself (his authorial self), are of a piece, or of pieces methodically organized to appear organic when it is just this romantic imperative that they place in jeopardy. From this angle, we might see Hardy ...
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... textual fragments from Shelley, Wordsworth, Coleridge, and Schlegel. In this connection it is of interest to note that in the 1903 preface Hardy had promised to supply a footnote annotating the history texts from which he directly ...
... textual fragments from Shelley, Wordsworth, Coleridge, and Schlegel. In this connection it is of interest to note that in the 1903 preface Hardy had promised to supply a footnote annotating the history texts from which he directly ...
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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