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
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... canon , and the construction of poetic identity . Bennett goes on to discuss the strangely compelling effects which this new reception theory produces in the work of Wordsworth , Coleridge , Keats , Shelley and Byron , who have come to ...
... canon , and the construction of poetic identity . Bennett goes on to discuss the strangely compelling effects which this new reception theory produces in the work of Wordsworth , Coleridge , Keats , Shelley and Byron , who have come to ...
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... canon in the mid - eighteenth century , the possibility of such discriminations becomes crucial to reading and to the new discipline of literary criticism . In order to discriminate the poet from the scribbler or hack , the poem from ...
... canon in the mid - eighteenth century , the possibility of such discriminations becomes crucial to reading and to the new discipline of literary criticism . In order to discriminate the poet from the scribbler or hack , the poem from ...
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... canon : Jeremy Taylor's Holy Dying ( 1651 ) , Sir Thomas Browne's Hydriotaphia ( 1658 ) , John Donne's Biathanatos ( c.1609 ) , Edward Young's Night Thoughts ( 1742—45 ) , William Wordsworth's three Essays on Epitaphs ( 1809-10 ) ...
... canon : Jeremy Taylor's Holy Dying ( 1651 ) , Sir Thomas Browne's Hydriotaphia ( 1658 ) , John Donne's Biathanatos ( c.1609 ) , Edward Young's Night Thoughts ( 1742—45 ) , William Wordsworth's three Essays on Epitaphs ( 1809-10 ) ...
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... canon where the proliferation of recent studies - Ernest Becker's The Denial of Death ( 1973 ) , Antony Flew's The Logic of Mortality ( 1987 ) , Derrida's The Gift of Death ( 1992 ) and Aporias ( 1993 ) , Gillian Rose's Mourning Becomes ...
... canon where the proliferation of recent studies - Ernest Becker's The Denial of Death ( 1973 ) , Antony Flew's The Logic of Mortality ( 1987 ) , Derrida's The Gift of Death ( 1992 ) and Aporias ( 1993 ) , Gillian Rose's Mourning Becomes ...
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... canon as a category of dead writers , Romanticism involves the imaginative insertion of the living writer into that canonical cadre : for Romanticism , as defined in this book , the func- tion of writing is to achieve - in the sublime ...
... canon as a category of dead writers , Romanticism involves the imaginative insertion of the living writer into that canonical cadre : for Romanticism , as defined in this book , the func- tion of writing is to achieve - in the sublime ...
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