British writers of the Romantic Period were popular in Germany throughout the nineteenth century, and translations of Scott, Burns, Moore, Hemans, and Byron (among others) became widespread. This study analyses the reception of William Wordsworth's poetry in 19th century Germany in relation to other romantic poets. Research into Anglo-German cultural relations has tended to see Wordsworth as of little or no interest to Germany but new research shows that Wordsworth was clearly of interest to German poets, translators and readers and that there was significantly more knowledge of and respect for Wordsworth's poetry, and interest in his ideas and beliefs, than has previously been recognised. Williams focuses particularly on the work of Friedrich Jacobsen, Ferdinand Freligrath and Marie Gothein, who span the early, middle, and late years of the century respectively and establishes the wider presence of many others translating, anthologising and commenting on Wordsworth poetry and beliefs.
Brings together a number of John Schad's very best essays, interleaved with a selection of autobiographical poems and a work that brings together both critical and creative modes of writing.
A collection of 18 contributions by well-known scholars in and outside the US, The Unhappy Divorce of Sociology and Psychoanalysis shows how sociology has much to gain from incorporating rather than overlooking or marginalizing psychoanalysis and psychosocial approaches to a wide range of social topics.
A leading literary critic and psychoanalyst, Julia Kristeva is one of the most significant French thinkers writing today. In this up-to-date survey of her work, John Lechte outlines fully and systematically her intellectual development. He traces it from her work on Bakhtin and the logic of poetic language in the 1960s, through her influential theories of the ‘symbolic’ and the ‘semiotic’ in the 1970s, to her analyses of horror, love, melancholy and cosmopolitanism in the 1980s. He provides an insight into the intellectual and historical context which gave rise to Kristeva’s thought, showing how thinkers such as Roland Barthes, Emile Benviste and Georges Bataille have been important in stimulating her own reflections. He concludes with an overall assessment of Kristeva’s work, looking in particular at her importance for feminism and postmodern thought in general. Essential reading for all those who wish to extend their understanding of this important thinker, this first full-length study of Kristeva’s work will be of interest to students of literature, sociology, critical theory, feminist theory, French studies and psychoanalysis.
This text sets out to demonstrate the influence of street crowds and political riots on literature in the period between 1800 and 1850. Notable works from the period are used to highlight the author's argument that crowds became a rival for the representational claims of the texts themselves.
From the earliest reviews of his poetry, readers were deeply divided on the merits of William Wordsworth's work. John Williams looks in detail at the major poems and discusses the critical issues that have dominated discussions of Wordsworth's compositions since they first began to appear in print after 1798. Beginning with a fresh assessment of the controversies that developed around Lyrical Ballads, the chapters trace the evolution of both Wordsworth's poetry and his reputation through to his death in 1850. At each stage, Williams investigates the possible reasons why critics and readers responded as they did: enraged by his revolutionary 'Jacobinism' at the turn of the eighteenth century; insulted by the 'simplicity' of the Poems in Two Volumes of 1807; reassured by his commitment to Nature and his reverence for Church and State in the early Victorian period. In the twentieth century, Wordsworth has been subjected to a series of extensive critical reappraisals. With reference to a wide range of the poetry, Williams goes on to discuss the way Wordsworth has been variously reconstructed as a consequence of the main critical and theoretical initiatives of the last one hundred years. He also examines the Wordsworth we have inherited for the twenty-first century: a poet many still feel has important things to say to the contemporary reader about human relationships, nature, the environment, and our imaginative life.
This movement radically revised the interpretation of the Bible as an "inspired" book and also helped to redefine the inspiration attributed to poets, since many poets of the period, including Coleridge himself, wished to emulate the prophetic voice of biblical tradition. Coleridge's mastery of this new study and his search for a new understanding of the Bible on which to ground his faith are the focus of this book. Beginning with an exposition of Coleridge's double role as theologian and poet, Anthony Harding analyses the development and transmission of Coleridge's views of inspiration - both biblical and poetic - and provides a history of his theological and poetic ideas in their second generation, in England especially in the work of F.D. Maurice and John Sterling, and in America in that of Ralph Waldo Emerson. Harding argues that Coleridge's emphasis on the human integrity of the scriptural authors provided his contemporaries with a poetics of inspiration that seemed likely to restore to literature a "biblical" sense of the divine as a presence in the world. Coleridge's treatment of biblical inspiration is thus an important contribution to Romantic poetics as well as to biblical scholarship. His concept of inspiration is also linked directly to his literary theory and thus to the current debate over the reader's relation to text and author.
Available in a new digital edition with reflowable text suitable for e-readers William Wordsworth: A Poetic Life is a new biography of the great father of British Romanticism. It is new in several ways, most notably in the way it approaches the life of the poet. Paying its proper respect to the classic lives of Wordsworth by Mary Moorman and Stephen Gill, it attempts to tell the story of the life through a more rigorous reading of key and representative works of the poet, through careful blending of life and poetry. Wordsworth offers the story of the literariness of the poet's life - childhood and adolescence in the Lake District, education at Cambridge, love and political radicalism in France, the long period of residence in Grasmere and Rydal, celebrity, and national and international recognition. Its reading of the poems, in tune with current theoretical practice, offers a sense of the continuities in Wordsworth's career as it moves away from familiar theories of a Golden Decade of creativity and a period of long decline. The book also works closely and rigorously with Wordsworth's poetry as a method of dramatizing the essentially poetic character of the poet's life.
In this essay on 'what the imagination has made of the phenomenon of echo, ' the author examines certain aspects of the figure of echo in light of their significance for poetry. Looking at echo in its literal, acoustic sense, echo in myth, and echo as literary allusion, Mr. Hollander concludes with a study of the rhetorical status of the figure of echo, and the ancient and newly interesting trope of metalepsis, or transumption, which it appears to embody. Centered on ways by which Milton's poetry echoes, and is echoed by, other texts, The Figure of Echo deals well with Spencer and other Renaissance writers, with romantic poets such as Keats, Shelley, and Wordsworth, and with echoes of their nineteenth-century forebears in such modern poets as Hardy, Eliot, Stevens, Frost, Williams and Hart Crane."--Front dust jacket inside flap.
Drawing upon promptbooks and other theater documents, engravings and photographs, reviews, interviews, letters, diaries, and memoirs, he creates a richly layered account of a play persistently denied its character and rarely staged without explicit or implicit apology.
This book demonstrates that Zen thought and art provide both a generative and a formative context for understanding the spirituality of the English poet William Wordsworth (1770—1850). Combining methods of modern literary scholarship with the philosophical initiatives of the Kyoto School, the text crosses disciplines as well as cultures, offering a nonmonotheistic, nonpantheistic philosophical ground upon which to study what Wordsworth calls the "tranquil soul" and "the one Presence" that underlies "the great whole of life." Anticipating a variety of audiences, the discourse progresses from general, introductory level discussions of Zen philosophy and literature to the more technical philosophical idiom of the Kyoto School, employing intertextual readings of a variety of Wordsworthian and Zen documents to broaden and deepen the East-West dialogue as it has been unfolding since the pioneering work of D. T. Suzuki and Kitaro Nishida. An important aspect of this study is its twofold purpose: to situate Wordsworth more centrally in the evolving global community of intercultural and interreligious communication and to demonstrate the unique flexibility and universality of Zen as a medium of spiritual growth and aesthetic understanding.
John D. Kerkering's study examines the literary history of racial and national identity in nineteenth-century America. Kerkering argues that writers such as DuBois, Lanier, Simms, and Scott used poetic effects to assert the distinctiveness of certain groups in a diffuse social landscape. Kerkering explores poetry's formal properties, its sound effects, as they intersect with the issues of race and nation. He shows how formal effects, ranging from meter and rhythm to alliteration and melody, provide these writers with evidence of a collective identity, whether national or racial. Through this shared reliance on formal literary effects, national and racial identities, Kerkering shows, are related elements of a single literary history. This is the story of how poetic effects helped to define national identities in Anglo-America as a step toward helping to define racial identities within the United States. This highly original study will command a wide audience of Americanists.
Raymond Williams' prolific output is increasingly recognised as the most influential body of work on literary and cultural studies in the past fifty years. This book provides the most comprehensive study to date of the theoretical and historical context of Williams' thinking on literature, politics and culture. John Higgins traces: * Williams' intellectual development * the related growth of a New Left cultural politics * the origins of the theory and practice of cultural materialism. Raymond Williams is an astonishing achievement and will challenge many received ideas about Williams' work.
Written in an age of revolutions, Lyrical Ballads represents a radical new way of thinking - not only about literature but also about our fundamental perceptions of the world. The poetry of Wordsworth and Coleridge continues to be among the most appealing and challenging in the rich tradition of English Literature; and Lyrical Ballads, composed at the height of the young authors' creative powers, is now widely acclaimed as a landmark in literary history. In this lively study, detailed analysis of individual poems is closely grounded in the literary, political and historical contexts in which Lyrical Ballads was first conceived, realised and subsequently expanded into two volumes. John Blades examines poetry from both volumes and carefully reassesses the poems in the light of Wordsworth's and Coleridge's revolutionary theories, while Part II of the study broadens the discussion by tracing the critical history of Lyrical Ballads over the two centuries since its first publication. Providing students with the critical and analytical skills with which to approach the poems, and offering guidance on further study, this stimulating book is essential reading.
This book investigates the nature of the alphabet as a medium of communication. The general thesis is that writing is not a merely transparent or empty item like air or glass; rather, the alphabet is both modifier and enabler of meaning itself: The book investigates the general implications of this thesis.
What precisely, W. J. T. Mitchell asks, are pictures (and theories of pictures) doing now, in the late twentieth century, when the power of the visual is said to be greater than ever before, and the "pictorial turn" supplants the "linguistic turn" in the study of culture? This book by one of America's leading theorists of visual representation offers a rich account of the interplay between the visible and the readable across culture, from literature to visual art to the mass media.
For philosophers such as Kant, the imagination is the starting point for all thought. For others, such as Wittgenstein, what is important is only how the word 'imagination' is used. In spite of the attention the imagination has received from major philosophers, remarkably little has been written about the radically different interpretations they have made of it. The HypoCritical Imagination: Between Kant and Levinas is an outstanding contribution to this vaccuum. Focusing on Kant and Levinas, John Llewelyn takes us on a dazzling tour of the philosophical imagination. He shows us that despite the different treatments they accord to the imagination, there is much to be gained from comparing these two key thinkers. From Kant, Llewelyn shows how the imagination is the common root of all understanding. He contrasts this with the thought of Emmanuel Levinas, for whom the imagination plays an ambivalent role both as necessary for and a threat to recognition of the other. John Llewelyn also introduces the importance of the work of Heidegger Schelling, Hegel, Arendt and Derrida on the imagination and what this work can tell us about the relationship between the imagination and ethics, aesthetics and literature. The HypoCritical Imagination: Between Kant and Levinas is a brilliant reading of a neglected but important philosophical theme and is essential reading for those in contemporary philosophy, art theory and literature.
Originally published in 1981. This book looks at the autobiographical work of nine twentieth-century writers – Henry Adams, Henry James, W. B. Yeats, Boris Pasternak, Leiris, Jean-Paul Sartre, Vladimir Nabokov, Henry Green and Adrian Stokes. The author argues that often the writer has shaped his life through his craft, coming to understand the pattern of his own existence through the formalism of language. In each case the writer stamps his personality on the work by mean of a distinctive verbal surface whose discipline enables him to evade narrow egotism and forces both reader and writer into an act of collaboration and corroboration. Written at a time when criticism was turning to focus on the relation between the reader and the text, this study added a provocative dimension to the debate and is still an important read today.
Renowned scholar Susan J. Wolfson assembles seventy-eight selections—some beloved, others less well known—that illuminate the brief, extraordinary career of John Keats. Lively commentaries showcase the poems’ form, style, layers of meaning, and relevant contexts, offering a chronicle of Keats’s artistic evolution.
Someone called Jacques Derrida, someone called him on the phone, someone who was dead - this was August 22nd 1979. A mystery, he thought; but it is a mystery that began more than ten years earlier, in 1968, when Derrida, a philosopher, visits Oxford and there, before the very eyes of the Philosophy Sub-Faculty, he dies, several times.
Hartley sheds new light on neglected pioneers, and also examines a host of themes in the subject, including literary criticism, mass society, political economy, art history, teaching and feminism, anthropology and sociology.
Do the arts make us better people? Why should "high" art be thought higher than "low"? In the first part of this spirited polemic, Carey returns startling answers to these and related questions. In the second part he makes a provocative case for the superiority of literature to all other arts.
Thomas Mann predicted that no manner or mode in literature would be so typical or so pervasive in the twentieth century as the grotesque. Assuredly he was correct. The subjects and methods of our comic literature (and much of our other literature) are regularly disturbing and often repulsive—no laughing matter. In this ambitious study, John R. Clark seeks to elucidate the major tactics and topics deployed in modern literary dark humor. In Part I he explores the satiric strategies of authors of the grotesque, strategies that undercut conventional usage and form: the de-basement of heroes, the denigration of language and style, the disruption of normative narrative technique, and even the debunking of authors themselves. Part II surveys major recurrent themes of grotesquerie: tedium, scatology, cannibalism, dystopia, and Armageddon or the end of the world. Clearly the literature of the grotesque is obtrusive and ugly, its effect morbid and disquieting—and deliberately meant to be so. Grotesque literature may be unpleasant, but it is patently insightful. Indeed, as Clark shows, all of the strategies and topics employed by this literature stem from age-old and spirited traditions. Critics have complained about this grim satiric literature, asserting that it is dank, cheerless, unsavory, and negative. But such an interpretation is far too simplistic. On the contrary, as Clark demonstrates, such grotesque writing, in its power and its prevalence in the past and present, is in fact conventional, controlled, imaginative, and vigorous—no mean achievements for any body of art.
What fueled the Victorian passion for hair-jewelry and memorial rings? When would an everyday object metamorphose from commodity to precious relic? In Portable Property, John Plotz examines the new role played by portable objects in persuading Victorian Britons that they could travel abroad with religious sentiments, family ties, and national identity intact. In an empire defined as much by the circulation of capital as by force of arms, the challenge of preserving Englishness while living overseas became a central Victorian preoccupation, creating a pressing need for objects that could readily travel abroad as personifications of Britishness. At the same time a radically new relationship between cash value and sentimental associations arose in certain resonant mementoes--in teacups, rings, sprigs of heather, and handkerchiefs, but most of all in books. Portable Property examines how culture-bearing objects came to stand for distant people and places, creating or preserving a sense of self and community despite geographic dislocation. Victorian novels--because they themselves came to be understood as the quintessential portable property--tell the story of this change most clearly. Plotz analyzes a wide range of works, paying particular attention to George Eliot's Daniel Deronda, Anthony Trollope's Eustace Diamonds, and R. D. Blackmore's Lorna Doone. He also discusses Thomas Hardy and William Morris's vehement attack on the very notion of cultural portability. The result is a richer understanding of the role of objects in British culture at home and abroad during the Age of Empire.
Probably the most famous of the Romantic poets, William Wordsworth worked with and influenced many of the leading poets of the age. This excellent introduction to his life and works sets his writing firmly in the context of his times. John Purkis provides an outline of Wordsworth's life and cultural background and their effect on his work, and examines his verse, from the earliest school poems to the final years.
Reading Auden is the first book to consider the poetry of W. H. Auden from the perspective of his own theory of the text, rather than that of the romantic norms he deliberately rejected. According to John R. Boly, Auden departs from the romantics in approaching the poem not as a means of expressing an emotion or conveying an idea but as a game whose goal is the continuous transformation of its own rules of play.
First published in 1977, this book was the first to map extensively the ideological typography of the Anglo-American tradition of literary theory. It interrogates, comprehensively and in detail, the assumptions and categorical development within critical ideas from I. A. Richards and T. S. Eliot, through John Crowe Ransom and the New Criticism, to Northrop Frye and Marshall NcLuhan. This analysis reveals the Anglo-American tradition of literary-cultural theory is most properly intelligible within the overall field of social consciousness as an ideology of progressive cultural rationalization. Against a background of ideological development since nineteenth-century Romanticism, John Fekete illuminates the boundaries of literary ideology in relation to the shapes and changes of modern culture and society.
Rowe examines James from the perspectives of the psychology of literary influence, feminism, Marxism, psychoanalysis, literary phenomenology and impressionism, and reader-response criticism, transforming a literary monument into the telling point of intersection for modern critical theories.
The Analects (Lunyu) is one of the most influential texts in human history. As a putative record of Confucius’s (551–479 B.C.E.) teachings and a foundational text in scriptural Confucianism, this classic was instrumental in shaping intellectual traditions in China and East Asia until the early twentieth century. But no premodern reader read only the text of the Analects itself. Rather, the Analects was embedded in a web of interpretation that mediated its meaning. Modern interpreters of the Analects only rarely acknowledge this legacy of two thousand years of commentaries. How well do we understand prominent or key commentaries from this tradition? How often do we read such commentaries as we might read the text on which they comment? Many commentaries do more than simply comment on a text. Not only do they shape the reading of the text, but passages of text serve as pretexts for the commentator to develop and expound his own body of thought. This book attempts to redress our neglect of commentaries by analyzing four key works dating from the late second century to the mid-nineteenth century (a period substantially contemporaneous with the rise and decline of scriptural Confucianism): the commentaries of He Yan (ca. 190–249); Huang Kan (488–545); Zhu Xi (1130–1200); and Liu Baonan (1791–1855) and Liu Gongmian (1821–1880).
In this far-reaching literary history, John Wharton Lowe remakes the map of American culture by revealing the deep, persistent connections between the ideas and works produced by writers of the American South and the Caribbean. Lowe demonstrates that a tendency to separate literary canons by national and regional boundaries has led critics to ignore deep ties across highly permeable borders. Focusing on writers and literatures from the Deep South and Gulf states in relation to places including Mexico, Haiti, and Cuba, Lowe reconfigures the geography of southern literature as encompassing the "circumCaribbean," a dynamic framework within which to reconsider literary history, genre, and aesthetics. Considering thematic concerns such as race, migration, forced exile, and colonial and postcolonial identity, Lowe contends that southern literature and culture have always transcended the physical and political boundaries of the American South. Lowe uses cross-cultural readings of nineteenth- and twentieth-century writers, including William Faulkner, Martin Delany, Zora Neale Hurston, George Lamming, Cristina Garcia, Edouard Glissant, and Madison Smartt Bell, among many others, to make his argument. These literary figures, Lowe argues, help us uncover new ways of thinking about the shared culture of the South and Caribbean while demonstrating that southern literature has roots even farther south than we realize.
The focus of any genuinely new piece of criticism or interpretation must be on the creative act of finding the new, but deconstruction puts the matter the other way around: its emphasis is on debunking the old. But aside from the fact that this program is inherently uninteresting, it is, in fact, not at all clear that it is possible. . . . [T]he naïvetê of the crowd is deconstruction's very starting point, and its subsequent move is as much an emotional as an intellectual leap to a position that feels different as much in the one way as the other. . . ." --From the book
Based on extensive interviews with dozens of photographs, this is a riveting and uncensored account of a show that managed to survive countless revolutions in popular music. 36 halftones.
John McGreal's three new books – It’s Abstraction, Concretely, It’s Figuration, Groundly and It’s Representation, Really – continue the ‘It’ Series published by Matador since 2010. They constitute another stage in an artistic journey exploring the visual and audial dialectic of mark, word and image that began over 25 years ago. Emerging out of the first books on the Bibliograph published in 2016, initiated with It’s Nothing, Seriously, these new texts retain some of the same structural features. The Bibliographs contain the same focus on repetition and variation in meaning of their dominant motifs of representation, abstraction and figuration which have framed philosophical discourse on epistemology and ontology in aesthetics; their chance placement in each Bibliograph interspersed with one another displaying and enhancing similarities and differences. At the same time these works constitute a development in the aesthetic form of the Bibliograph. In earlier works on Nothing, Absence and Silence, it was just a question of finding and transferring given textual references from their source to construct their Bibliographs, with the focus being on the strategic position of the latter within each book. In these new works, the concern has been with working on the line and shape of the references themselves, with their enhanced spacial form as well as that of each Bibliograph as a whole. In shaping and spacing the referential images, the place of words and letters became as important as their semantic & syntactical role. Expansion and contraction of whole words was used to enhance this process. Under such detailed attention their breakdown into particles of language, into part-words and single letters was a result. The recombination of elements produced new words in a process of restrangement with new sequences of letters having visual rather than semantic value. The play on prefixes of dominant motifs yielded new words as did tmesis. This concern with the form of referential images does not preclude an equal commitment to their content. The aleatory character of textual entries in each Bibliograph encourage the reader to let his or her mind go; to read in a new way on diverse contemporary issues across conventional boundaries in the arts and sciences at several levels of physical, psychical and social reproduction.
Arguing throughout that Wordsworth's originality springs from his invention and elaboration of a peculiarly literary form of community, Rieder maintains that the didactic element in Wordsworth's concept of community was doomed to irrelevance by the course of English economic and social development. Yet, Wordsworth's writing became enormously influential, not by virtue of the agrarian community it envisioned, but rather by virtue of the literary form of community it modeled and produced in its dissemination.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.