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 51–ի 1-ից 5-ը:
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... audience of the future : the true poet , a figure of neglected genius , can only be prop- erly appreciated after death . Andrew Bennett argues that this involves a radical shift in the conceptualisation of the poet and poetic reception ...
... audience of the future : the true poet , a figure of neglected genius , can only be prop- erly appreciated after death . Andrew Bennett argues that this involves a radical shift in the conceptualisation of the poet and poetic reception ...
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... audience for parts of my book. Stephen Cheeke, Josie Dixon, 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 ...
... audience for parts of my book. Stephen Cheeke, Josie Dixon, 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 ...
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... audiences , for the chance to try out my ideas and for the stimulus to write , think and rethink . My greatest debt is to my wife , Anna Hämäläinen - Bennett , who has lived with this book through from its inception to its afterlife as ...
... audiences , for the chance to try out my ideas and for the stimulus to write , think and rethink . My greatest debt is to my wife , Anna Hämäläinen - Bennett , who has lived with this book through from its inception to its afterlife as ...
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... audiences a certain anonymity, and once the democratisa- tion of the readership has allowed a certain degradation and, by associ- ation, a feminisation of reading to become credible as a narrative of reception , then poets begin to ...
... audiences a certain anonymity, and once the democratisa- tion of the readership has allowed a certain degradation and, by associ- ation, a feminisation of reading to become credible as a narrative of reception , then poets begin to ...
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... audience . The autonomy of the work of art allows no direct appeal to readers : the act of writing poetry becomes a self - governing and self - expressive practice . The poet is a nightingale singing , as Shelley puts it , to please ...
... audience . The autonomy of the work of art allows no direct appeal to readers : the act of writing poetry becomes a self - governing and self - expressive practice . The poet is a nightingale singing , as Shelley puts it , to please ...
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Common terms and phrases
aesthetic afterlife argues articulation assertion audience body Byron canon Chatterton Clarendon Coleridge Coleridge's concern constitutes contemporary context criticism culture of posterity D'Israeli dead death declares Derrida desire discourse dissolution Don Juan Dorothy Dorothy Wordsworth eighteenth century English ephemeral epitaph essay example fact Felicia Hemans figure future Gender ghosts Harold Bloom haunting Hazlitt Hemans human Ibid imagination immortality involves Isaac D'Israeli Jacques Derrida John Keats Keats's Keatsian language Leo Bersani letter lines literal literary Literature living London mortal noise Oxford University Press paradox PBSL poem poet's poetic poetry posthumous fame posthumous recognition present Prose published quoted readers reading reception redemptive remembered reputation Robert Southey Romantic culture Romantic period Romantic poets Romantic posterity Romanticism sense Shakespeare Shelley Shelley's sound Southey speaker stanza suggest survival Talker theory Thomas thought Tintern Abbey tion trans voice William William Wordsworth women poets word Wordsworth writing