Romantic Poems, Poets, and NarratorsKent State University Press, 2000 - 203 pages Romantic Poems, Poets, and Narrators will be valuable to specialists not only in romantic period studies but in literary theory and poetics as well. Students of Blake, Coleridge, Wordsworth, and Keats will appreciate these refreshingly subtle, tactful, and convincing new readings of the major romantic poems. The book is a scholarly and engaging guide to the various and complex discourses--formalist, psychoanalytic, deconstructive, new historicist--that have provided the terms in which these poems have been and currently are received. |
À l'intérieur du livre
Résultats 1-5 sur 65
Page 5
... imagination projected onto the poem by readers whose interpretive mastery takes a specifically Christian form . Chapter 3 shows that Wordsworth recognizes limits to his own self - under- standing even in the poem that seems to claim it ...
... imagination projected onto the poem by readers whose interpretive mastery takes a specifically Christian form . Chapter 3 shows that Wordsworth recognizes limits to his own self - under- standing even in the poem that seems to claim it ...
Page 7
... imaginative ' self , ' which faces in one way toward the transcendental but in the other — as historicizing Romanticists increasingly point out - toward the material . " ( A " given , " it is worth remembering , is precisely what is not ...
... imaginative ' self , ' which faces in one way toward the transcendental but in the other — as historicizing Romanticists increasingly point out - toward the material . " ( A " given , " it is worth remembering , is precisely what is not ...
Page 9
... imaginative ' self " " might face used to be ar- gued about textually in such formalist terms as " author " and " speaker , " in such a way as to avoid the problem of double - facing . That is , when the self was per- ceived as facing ...
... imaginative ' self " " might face used to be ar- gued about textually in such formalist terms as " author " and " speaker , " in such a way as to avoid the problem of double - facing . That is , when the self was per- ceived as facing ...
Page 13
Le contenu de cette page est soumis à certaines restrictions..
Le contenu de cette page est soumis à certaines restrictions..
Page 16
Le contenu de cette page est soumis à certaines restrictions..
Le contenu de cette page est soumis à certaines restrictions..
Table des matières
Introduction to the Songs of Experience The Infection of Time | 12 |
The Rime of the Ancient Mariner Distinguishing the Certain from the Uncertain | 34 |
The Prelude Still Something to Pursue | 65 |
The Intimations Ode An Infinite Complexity | 88 |
Lamia Attitude Is Every Thing | 110 |
Conclusion | 137 |
Notes | 153 |
185 | |
199 | |
Expressions et termes fréquents
aesthetic ambiguity Ancient Mariner Apollonius argues argument awareness Bailey Bard Bard's believe Blake Bloom characterizes claim coherence Coleridge Coleridge's complex consciousness context critical cultural Dacier deconstructive desire discourse dream eighteenth-century emphasis added ence episode example fantasy formalist genre gloss glossator historicism historicist human imagination implies intention interpretation Intimations Ode John Keats Keats Keats's Lacan Lamia language latent content least limits literary Lycius lyric Lyrical Ballads Mariner's experience mastery McGann meaning metaphoric mind moral narrative narrator narrator's nature Neoplatonic Oxford philosophical Platonic Platonic shades poem poem's poet's poetic poetry Prelude primary process problem prophetic psychic psychoanalytic Reader-Response Criticism readers reflect relation rhetoric Rime Romantic poets Romanticism seems self-consciousness sense Simplon Pass Songs of Experience speaker stanzas sublime suggests textual theory Tintern Abbey tion transcendent truth understanding vision Warren William Blake William Wordsworth words Wordsworth York