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Presents a biography of English poet William Wordsworth along with critical views of his work.
In this second edition of William Wordsworth: A Life, Stephen Gill draws on knowledge of the poet's creative practices and his reputation and influence in his life-time and beyond. Refusing to treat the poet's later years as of little interest, this biography presents a narrative of the whole of Wordsworth's long life--1770 to 1850--tracing the development from the adventurous youth who alone of the great Romantic poets saw life in revolutionary France to the old man who became Queen Victoria's Poet Laureate. The various phases of Wordsworth's life are explored with a not uncritical sympathy; the narrative brings out the courage he and his wife and family were called upon to show as they crafted the life they wanted to lead. While the emphasis is on Wordsworth the writer, the personal relationships that nourished his creativity are fully treated, as are the historical circumstances that affected the production of his poetry. Wordsworth, it is widely believed, valued poetic spontaneity. He did, but he also took pains over every detail of the process of publication. The foundation of this second edition of the biography remains, as it was of the first, a conviction that Wordsworth's poetry, which has given pleasure and comfort to generations of readers in the past, will continue to do so in the years to come.
This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.
Feelings and other affective responses to a work of fiction are an important part appreciation and the capacity to inspire such responses is part of what is valuable about literary works of art. Susan L. Feagin's philosophical exploration of appreciation, focusing specifically on its emotional or affective components, asks us to consider aesthetic appreciation as getting the value out of the work. Appreciation involves exercising abilities. Feagin develops a psychological model for understanding how one becomes emotionally engaged with something one knows is fictional. She stresses the importance of the role of imagination in producing affective responses. Imagination is harnessed by the writer's choice of phrase or depiction of detail. Feagin cites the work of Angela Carter, Molly Keane, Heinrich Böll, Gabriel Garçia Marquez, and draws an extended example from Henry James. She notes that not all responses to a work are relevant or appropriate and discusses a variety of ways responses may be assessed. Even though assessing responses can stifle imagination, and hence threaten spontaneity and the responses themselves, the value of having affective responses to fiction depends upon our being able to make such assessments. Whatever else we may gain, appreciating a work, getting the value out of it, is one means of extending the capacities of our own imaginations.
"Pfau focuses on three specific paradigms of emotive experience: paranoia, trauma, and melancholy. Along the trajectory of Romantic thought paranoia characterizes the disintegration of traditional models of causation and representation during the French Revolution; trauma, the radical political, cultural, and economic restructuring of Central Europe in the Napoleonic era; and melancholy, the dominant post-traumatic condition of stalled, post-Napoleonic history both in England and on the continent."--BOOK JACKET.
A stimulating new approach to understanding the relationship between music and culture in the long nineteenth century.