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Interweaving past and present texts, The Challenge of Coleridge engages the British Romantic poet, critic, and philosopher Samuel Taylor Coleridge in a "conversation" (in Hans-Georg Gadamer’s sense) with philosophical thinkers today who share his interest in the relationship of interpretation to ethics and whose ideas can be both illuminated and challenged by Coleridge’s insights into and struggles with this relationship. In his philosophy, poetry, theology, and personal life, Coleridge revealed his concern with this issue, as it manifests itself in the relation between technical and ethical discourse, between fact and value, between self and other, and in the ethical function of aesthetic experience and the role of love in interpretation and ethical action. Relying on Gadamer’s hermeneutics to supply a framework for his approach, Haney connects Coleridge’s ideas with, among others, Emmanuel Levinas’s other-oriented notion of ethical subjectivity, Paul Ricoeur’s view about the other’s implication in the self, reinterpretations of Greek drama by Bernard Williams and Martha Nussbaum, and Gianni Vattimo's post-Nietzschean hermeneutics. Coleridge is treated not as a product of Romantic ideology to be deconstructed from a modern perspective, but as a writer who offers a "challenge" to our modern tendency to compartmentalize interpretive issues as a concern for literary theorists and ethical issues as a concern for philosophers. Looking at the two together, Haney shows through his reading of Coleridge, can enrich our understanding of both.
Perry reveals Shakespeare derived modes of tragic characterization, previously seen as presciently modern, via engagement with Rome and Senecan tragedy.
In addition to being the leading philosopher of English Romanticism and one of its greatest poets, Coleridge explores the dynamics of consciousness and mental functioning more extensively than any of his contemporaries. This book compares his psychological theories with his diverse exemplifications of Romanticism's self-reflexive quest for transcendence, showing how he continually highlights the circular and mutual influence of ideas and emotions underlying Romantic idealism and the cult of the sublime.
Great Shakespeareans offers a systematic account of those figures who have had the greatest influence on the interpretation, understanding and cultural reception of Shakespeare, both nationally and internationally. In this volume, leading scholars assess the contribution of Voltaire, Goethe, Schlegel and Coleridge to the afterlife and reception of Shakespeare and his plays. Each substantial contribution assesses the double impact of Shakespeare on the figure covered and of the figure on the understanding, interpretation and appreciation of Shakespeare, provide a sketch of their subject's intellectual and professional biography and an account of the wider cultural context, including comparison with other figures or works within the same field.
Within key texts of Romantic-era aesthetics, William Wordsworth, S. T. Coleridge, and other writers and theorists pointed to the poet, naturalist, and physician Erasmus Darwin as exemplifying a lack of originality and sensibility in the period’s scientific literature--the very qualities that such literature had actually sought to achieve. The success of this strawman tactic in establishing Romantic-era principles resulted in the historical devaluation of numerous other, especially female, imaginative authors, creating misunderstandings about the aesthetic intentions of the period’s scientific literature that continue to hinder and mislead scholars even today. Regenerating Romanticism demonstrates that such strategies enabled some literary critics and arbiters of Romantic-era aesthetics to portray literature and science as locked in competition with one another while also establishing standards for the literary canon that mirrored developing ideas of scientific or biological sexism and racism. With this groundbreaking study, Melissa Bailes renovates understandings of sensibility and its importance to the late eighteenth- and early nineteenth-century movement of scientific literature within genres such as poetry, novels, travel writing, children’s literature, and literary criticism that obviously and technically engage with the natural sciences.
This study traces the response to "A Midsummer Night's Dream" from Shakespeare's day to the present, including critics from Britain, Europe and America.
Sublime Coleridge focuses on the role of the Opus Maximum in explaining Samuel Taylor Coleridge's ideas about religion, psychology, and the sublime. This book is an introduction, a reader's guide, and an interpretation of this central text in British Romanticism.
Haunting’s consequences for the literary imagination. Reading is a weirdly phantasmic trade: animating words to revive absent voices, rehearing the past, fantasizing a future. In Romantic Shades and Shadows, Susan J. Wolfson explores spectral language, formations, and sensations, defining an apparitional poetics in the finely grained textures of writing and their effects on present reading. Framed by an introductory chapter on writing and apparition and an afterword on haunted reading, the book includes chapters of sustained, revelatory close attention to the particular, often peculiar, literary imaginations of William Wordsworth, William Hazlitt, Percy Bysshe Shelley, Lord Byron, W. B. Yeats, and John Keats. Wolfson also explores the work of Samuel Taylor Coleridge (a self-confessed Ghost-Theorist), Mary Shelley, and other writers of the Long Romantic era, canonical as well as less familiar. All are encountered in freshly pointed ways on an arc of investigation that builds with generative force. Romantic Shades and Shadows is written with a lucidity, wit, and accessibility that will appeal to general readers, and with a critical sophistication and scholarly expertise that will engage advanced students, critics, and professional peers.
Day examines the history and usage of the term Romanticism and the changing views and debates which surround it. A range of writers - canonical and non-canonical - are included, as are today's debates such as feminism and new historicism.
What is modernity? Where are modernitys points of origin? Where are its boundaries? And what lies beyond those boundaries? Allegory and Enchantment explores these broad questions by considering the work of English writers at the threshold of modernity, and by considering,in particular, the cultural forms these writers want to leave behind. From the fourteenth to the seventeenth centuries, many English writers fashion themselves as engaged in breaking away from an array of old idols: magic, superstition, tradition, the sacramental, the medieval. Many of these writers persistently use metaphors of disenchantment, of awakening from a broken spell, to describe their self-consciously modern orientation toward a medieval past. And many of them associate that repudiated past with the dynamics and conventions of allegory. In the hands of the major English practitioners of allegorical narrativeWilliam Langland, John Skelton, Edmund Spenser, and John Bunyanallegory shows signs of strain and disintegration. The work of these writers seems to suggest a story of modern emergence in which medieval allegory, with its search for divine order in the material world, breaks down under the pressure of modern disenchantment. But these four early modern writers also make possible other understandings of modernity. Each of them turns to allegory as a central organizing principle for his most ambitious poetic projects. Each discovers in the ancient forms of allegory a vital, powerful instrument of disenchantment. Each of them, therefore, opens up surprising possibilities: that allegory and modernity are inescapably linked; that the story of modern emergence is much older than the early modern period; and that the things modernity has tried to repudiatethe old enchantmentsare not as alien, or as absent, as they seem.