Romantic Poets and the Culture of PosterityCambridge University Press, 02 դեկ, 1999 թ. - 268 էջ This 1999 book examines the way in which the Romantic period's culture of posterity inaugurates a tradition of writing which demands that the poet should write for an audience of the future: the true poet, a figure of neglected genius, can be properly appreciated only after death. Andrew Bennett argues that this involves a radical shift in the conceptualization of the poet and poetic reception, with wide-ranging implications for the poetry and poetics of the Romantic period. He surveys the contexts for this transformation of the relationship between poet and audience, engaging with issues such as the commercialization of poetry, the gendering of the canon, and the construction of poetic identity. Bennett goes on to discuss the strangely compelling effects which this reception theory produces in the work of Wordsworth, Coleridge, Keats, Shelley and Byron, who have come to embody, for posterity, the figure of the Romantic poet. |
From inside the book
Արդյունքներ 55–ի 1-ից 5-ը:
Էջ iv
... John Barrell, University of York Paul Hamilton, University of London MaryJacobus, Cornell University KennethJohnston, Indiana University Alan Liu, University of California, Santa Barbara Jerome McGann, University of Virginia David ...
... John Barrell, University of York Paul Hamilton, University of London MaryJacobus, Cornell University KennethJohnston, Indiana University Alan Liu, University of California, Santa Barbara Jerome McGann, University of Virginia David ...
Էջ x
... John Lyon, Andrew Nicholson, Nicholas Royle, Timothy Webb, and the Cambridge Studies in Romanticism series editors made significant contributions to the final shape of the book by reading and commenting on my ideas as they developed ...
... John Lyon, Andrew Nicholson, Nicholas Royle, Timothy Webb, and the Cambridge Studies in Romanticism series editors made significant contributions to the final shape of the book by reading and commenting on my ideas as they developed ...
Էջ xii
... John Murray, 1973—8I). Coleridge: The Critical Heritage, 2 vols., ed. J.R. de Jackson (London: Routledge and Kegan Paul, I970, 1991). Collected Letters ofSamael Yiylor Coleridge, 6 vols., ed. Earl Leslie Griggs (Oxford University Press ...
... John Murray, 1973—8I). Coleridge: The Critical Heritage, 2 vols., ed. J.R. de Jackson (London: Routledge and Kegan Paul, I970, 1991). Collected Letters ofSamael Yiylor Coleridge, 6 vols., ed. Earl Leslie Griggs (Oxford University Press ...
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... John Stuart Mill.3 Nevertheless, the Romantic theory of posterity still requires that the work finally be judged and discriminated from other, lesser work. Indeed, with the invention of the modern concept of the (English, literary) ...
... John Stuart Mill.3 Nevertheless, the Romantic theory of posterity still requires that the work finally be judged and discriminated from other, lesser work. Indeed, with the invention of the modern concept of the (English, literary) ...
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... John Dovaston) For something which cannot be known nor spoken of nor represented, death is the subject of an enormous amount of talk. Death has its own literary, artistic and musical forms — the elegy, dirge, threnody, monody and ...
... John Dovaston) For something which cannot be known nor spoken of nor represented, death is the subject of an enormous amount of talk. Death has its own literary, artistic and musical forms — the elegy, dirge, threnody, monody and ...
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Common terms and phrases
appeal argues articulation attempt audience becomes body Byron calls Cambridge canon century Chatterton Coleridge Coleridge’s Compare concern constitutes contemporary context criticism culture of posterity dead death desire develops early effect English essay example expression fact fame figure finally future genius ghosts grave hand haunting Hazlitt heart History human idea identity imagination immortality involves John Keats Keats’s kind language later letter lines literal literary Literature living London meaning memory mind nature neglect never noise Oxford particular period poem poet poet’s poetic poetry possibility posthumous present produced Prose published question quoted readers reading reception records refers remains remarks remembered reputation Romantic Romantic culture Romanticism sense Shelley Shelley’s sound suggest talk theory things Thomas thought tion turn University Press voice women Wordsworth writing written