This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This book investigates the productive crosscurrents between visual culture and literary texts in the Romantic period, focusing on the construction and manipulation of the visual, the impact of new visual media on the literary and historical imagination, and on fragments and ruins as occupying the shifting border between the visible and the invisible. It examines a broad selection of instances that reflect debates over how seeing should itself be viewed: instances, from Daguerre's Diorama, to the staging of Coleridge's play Remorse, to the figure of the Medusa in Shelley's poetry and at the Phantasmagoria, in which the very act of seeing is represented or dramatized. In reconsidering literary engagements with the expanding visual field, this study argues that the popular culture of Regency Britain reflected not just emergent and highly capitalized forms of mass entertainment, but also a lively interest in the aesthetic and conceptual dimensions of looking. What is commonly thought to be the Romantic resistance to the visible gives way to a generative fascination with the visual and its imaginative--even spectacular--possibilities.
A remarkable change has occurred in how we finance the public enterprise, yet this change has gone largely unnoticed by the general public. Policy makers in the federal, state and local levels of government have had to respond to this change. The causes of the change, future policy directions, and the eventual impact on society of this change is the subject of this book. Six of the nation's most influential economists, political scientists and sociologists have been asked to comment and their views can be found here.
This volume makes available to the modern reader selected writings of Thomas Taylor, the eighteenth-century English Platonist. TO Taylor we are indebted for the first full translation into English of Plato and Aristotle. Platonism, as Taylor saw it, was an informing principle, transmitted through a "golden chain of philosophers," a doctrine received by Socrates and Plato from the Orphic and Pythagorean past and transmitted to the future. It emerged again and again, enriched in the School of Alexandria, in Renaissance art, in the works of Spenser, Shelley, Yeats. Kathleen Raine is well known as a poet. GEorge Mills Harper is Professor of English, University of Florida. Bollingen Series LXXXVIII. Originally published in 1969. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
A superlative, riveting history" (BookPage) of Mary Shelley's creation of Frankenstein and the personal and poetic background behind the story. One murky night in 1816, on the shores of Lake Geneva, Lord Byron, famed English poet, challenged his friends to a contest--to write a ghost story. The assembled group included the poet Percy Bysshe Shelley; his lover (and future wife) Mary Wollstonecraft Godwin; Mary's stepsister Claire Claremont; and Byron's physician, John William Polidori. The famous result was Mary Shelley's Frankenstein, a work that has retained its hold on the popular imagination for almost two centuries. Less well-known was the curious Polidori's contribution: the first vampire novel. And the evening begat a curse, too: Within a few years of Frankenstein's publication, nearly all of those involved met untimely deaths. Drawing upon letters, rarely tapped archives, and their own magisterial rereading of Frankenstein itself, Dorothy and Thomas Hoobler have crafted a rip-roaring tale of obsession and creation.
This book surveys the poetic endeavour of John Keats and urges that his true poetry is uniquely constituted by being uttered through three artificial masks, rather than through the natural voice of his quotidian self. The first mask is formed by the attitudes and reality that ensue from aconscious commitment to the identity of poet as such. The second, called here the Mask of Camelot, takes shape from Keats's acceptance and compelling use of the vogue for medieval imaginings that was sweeping across Europe in his time. The third, the Mask of Hellas, eventuated from Keats'senthusiastic immersion in the rising tide of Romantic Hellenism. Keats's great achievement, the book argues, can only be ascertained by means of a resuscitation of the defunct critical category of 'genius', as that informs his use of the masks. To validate this category, the volume is concernedthroughout with the necessity of discriminating the truly poetic from the meretricious in Keats's endeavour. The Masks of Keats thus constitutes a criticism of and a rebuke to the deconstructive approach, which must treat all texts as equal and must entirely forego the conception of quality.
Old South Brooklyn Entrepreneur is far more than a financial and commercial biography of Anson Blake 1789-1868. It provides many details of local history, not only of South Brooklyn (today’s Cobble Hill, Carroll Gardens, Red Hook, Boerum Hill and Gowanus) before the Civil War, but of New York City’s economic history, including Anson Blake’s speculation in Wall Street area lands and buildings. Blake also speculated in Upstate New York’s Black River Canal region of Oneida, Hamilton and Herkimer counties where Anson Blake wanted a railroad to be built through his lots. Many interesting illustrations and photographs depict facets of Manhattan and Brooklyn history — including Blake’s early land and building speculation enterprises in South Brooklyn adjacent to the terminus of the original Long Island Railroad, and the Atlantic Street and Hamilton Avenue ferries. This book describes New York’s and Brooklyn’s history during the second quarter of America’s 19th century.
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