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The first collection of texts by Paul de Man to follow the posthumous Aesthetic Ideology (1996), the title refers to de Man's Harvard thesis of the late 1950s, from which the long section on Mallarme is reproduced. Also included are texts by de Man on Ste
The first collection of texts by Paul de Man to follow the posthumous Aesthetic Ideology (1996), the title refers to de Man's Harvard thesis of the late 1950s, from which the long section on Mallarmé is reproduced. Also included are texts by de Man on Stefan George, as well as essays on Rousseau, Derrida, Symbolism and Keats.
This welcome addition to the Blackwell Guides to Criticism series provides students with an invaluable survey of the critical reception of the Romantic poets. Guides readers through the wealth of critical material available on the Romantic poets and directs them to the most influential readings Presents key critical texts on each of the major Romantic poets – Blake, Wordsworth, Coleridge, Byron, Shelley and Keats – as well as on poets of more marginal canonical standing Cross-referencing between the different sections highlights continuities and counterpoints
Thompson explores the romance that can attach to the notion of suffering in travel, and the importance of the persona of 'suffering traveller' for Romantic writers and travellers. He considers how and why the Romantics typically chose to imitate the hapless protagonists of these accounts
In the first full-length literary-historical study of its subject, Edward Larrissy examines the philosophical and literary background to representations of blindness and the blind in the Romantic period. In detailed studies of literary works he goes on to show how the topic is central to an understanding of British and Irish Romantic literature. While he considers the influence of Milton and the 'Ossian' poems, as well as of philosophers, including Locke, Diderot, Berkeley and Thomas Reid, much of the book is taken up with new readings of writers of the period. These include canonical authors such as Blake, Wordsworth, Scott, Byron, Keats and Percy and Mary Shelley, as well as less well-known writers such as Charlotte Brooke and Ann Batten Cristall. There is also a chapter on the popular genre of improving tales for children by writers such as Barbara Hofland and Mary Sherwood. Larrissy finds that, despite the nostalgia for a bardic age of inward vision, the chief emphasis in the period is on the compensations of enhanced sensitivity to music and words. This compensation becomes associated with the loss and gain involved in the modernity of a post-bardic age. Representations of blindness and the blind are found to elucidate a tension at the heart of the Romantic period, between the desire for immediacy of vision on the one hand and, on the other, the historical self-consciousness which always attends it.
Taylor takes up the question of what happens when a society in which it is virtually impossible not to believe in God becomes one in which faith, even for the staunchest believer, is only one human possibility among others.
Passion, peril and a princess in hiding Forced into hiding after a threat to her life, Princess Gabriella St. Pierre must protect both herself and her unborn child. Working at an orphanage, the princess tries to suppress memories of a passionate night long ago with Whit Howell—her father's royal bodyguard and a man she never thought she'd see again. When an attempted abduction occurs as Princess Gabriella is leaving the orphanage, Whit rescues her and vows to keep her safe. But how can he shepherd the princess back to her country without knowing who is orchestrating these attacks…and why? It is the most important mission of his life—and he'd risk everything to save the one woman he can't live without.
“Essential reading”—n+1 Creative and political art criticism on landscape works from the Renaissance to the present from a “master” storyteller (Arundhati Roy, author of The God of Small Things) In this brilliant collection of diverse pieces—essays, short stories, poems, translations—which spans a lifetime’s engagement with art, John Berger reveals how he came to his own unique way of seeing. He pays homage to the writers and thinkers who influenced him, such as Walter Benjamin, Rosa Luxemburg and Bertolt Brecht. His expansive perspective takes in artistic movements and individual artists—from the Renaissance to the present—while never neglecting the social and political context of their creation. Berger pushes at the limits of art writing, demonstrating beautifully how his artist’s eye makes him a storyteller in these essays, rather than a critic. With “landscape” as an animating, liberating metaphor rather than a rigid definition, this collection surveys the aesthetic landscapes that have informed, challenged and nourished John Berger’s understanding of the world. Landscapes—alongside its companion Portraits—completes a tour through the history of art that will be an intellectual benchmark for many years to come.
Unlike the first two volumes of "ANGLES" on the English-Speaking World, this special issue does not originate in a set of conference papers. The idea of compiling a collection of essays on Romanticism emerged from the unusually strong concentration on Romantic studies among the graduate students of the English Department a couple of years ago. This volume places their work in the context of distinguished international scholars of greater seniority, scholars who have become academic contacts through conferences and assessment committees, and whose contributions I am very pleased to be able to include alongside the works of local contributors. The Romantic generations of the title of this volume thus strike a number of different chords: generations of scholars in Romantic studies; conventional divisions of Romantic poets into first, second and possibly third generations; the self-generative aspect of Romanticism; the awareness of poetic reputation and the image and afterlife of the poet. The collection spans just over a hundred years, from the 1780s to the 1890s, and while not in any way attempting to define Romanticism or raise issues of periodization the volume allows for the continued existence of Romantic features right until the end of the nineteenth century. Poetry looms large in this issue of ANGLES; apart from Ian Duncan's essay on Hume, Scott, and the "Rise of Fiction",' all the other essays are in some way concerned with the Romantic poet and his poetry. The Romantic poet is thus represented as a collector and editor of ballads, as a political radical and printmaker, as other to himself, essentially ignorant of the process of poetic composition, as a rival and collaborator with other poets, or as a poet long dead, the subject of successive generations of poetic lament. The boundaries between poetry and the visual arts is explored in a couple of the essays; indeed, the rivalry between portraiture and literature pervades no less than three of the contributions, and no matter whether the subject of inquiry is the image of the poet or the image of the poet's mother, the Romantic poet displays a high degree of self-consciousness with respect to both literary and visual media. Romantic generations generate both selves and others in poetry and portraiture.