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 60–ի 1-ից 5-ը:
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... Becomes the Law) I cannot imagine being dead: therefore I don't believe that I will ever die. Since reason, hearsay and everything that I see and hear present irref- utable evidence that it is the ultimate destiny of all living beings ...
... Becomes the Law) I cannot imagine being dead: therefore I don't believe that I will ever die. Since reason, hearsay and everything that I see and hear present irref- utable evidence that it is the ultimate destiny of all living beings ...
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... becomes increasingly important in liter- ary and aesthetic thinking during the eighteenth century. By the early nineteenth century, authorial identity has become crucial to the shape of the more advanced modern poetry. Indeed, poetry ...
... becomes increasingly important in liter- ary and aesthetic thinking during the eighteenth century. By the early nineteenth century, authorial identity has become crucial to the shape of the more advanced modern poetry. Indeed, poetry ...
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... becomes a self - governing and self - expressive practice . The poet is a nightingale singing , as Shelley puts it , to please himself : poetry is overheard while ' eloquence ' is heard , according to John Stuart Mill.3 Nevertheless ...
... becomes a self - governing and self - expressive practice . The poet is a nightingale singing , as Shelley puts it , to please himself : poetry is overheard while ' eloquence ' is heard , according to John Stuart Mill.3 Nevertheless ...
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... becomes the necessary condition of the act of writing itself . While the poetry of the Renaissance may be said to be ... become clear , however , this model of the Romantic culture of posterity is never less than a site of conflict and ...
... becomes the necessary condition of the act of writing itself . While the poetry of the Renaissance may be said to be ... become clear , however , this model of the Romantic culture of posterity is never less than a site of conflict and ...
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... Becomes the Law ( 1996 ) – shouldn't blind us to earlier works such as Freud's Beyond the Pleasure Principle ( 1920 ) , nor indeed to a tradition that goes back at least as far as Plato's Phaedo ( c.385 BC ) . Finally , death has its ...
... Becomes the Law ( 1996 ) – shouldn't blind us to earlier works such as Freud's Beyond the Pleasure Principle ( 1920 ) , nor indeed to a tradition that goes back at least as far as Plato's Phaedo ( c.385 BC ) . Finally , death has its ...
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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