Strange Power of Speech: Wordsworth, Coleridge, and Literary PossessionOxford University Press, 27.02.1992 - 302 Seiten This book explores the relationship between tropes of literary property and signification in the writings and literary politics of Wordsworth and Coleridge. Eilenberg argues that a complex of ideas about property, propriety, and possession sets the terms for the two writers' mutually revisionary efforts and informs the images of literary authority, textual identity, and poetic figuration evident in their major works. Eilenberg's readings of the collaboration and its principle texts bring to bear a combination of deconstructive, psychoanalytic, and both new and literary historical methods. The book provides a deeper understanding of the relationship between two of the major figures of English Romanticism as well as fresh insight into what is at stake in the analogy between the verbal and the material or the literary and the economic. |
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Seite xvi
... Michael." I argue that "Michael”s interest in property and dispossession reflects upon its relationship to the poem whose place in the volume and whose subject matter—vocal and spiritual possession—Wordsworth's composition appropriates ...
... Michael." I argue that "Michael”s interest in property and dispossession reflects upon its relationship to the poem whose place in the volume and whose subject matter—vocal and spiritual possession—Wordsworth's composition appropriates ...
Seite xix
... Michael,” “Christabel,” and the Poetry of Possession 87 The Haunted Language of the Lucy Poems 108 II Afterwards: Imaginations in Division The Heterogeneity of the Biographia Literaria 139 The Impropriety of the Imagination 168 Mortal ...
... Michael,” “Christabel,” and the Poetry of Possession 87 The Haunted Language of the Lucy Poems 108 II Afterwards: Imaginations in Division The Heterogeneity of the Biographia Literaria 139 The Impropriety of the Imagination 168 Mortal ...
Seite 61
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Strange Power of Speech: Wordsworth, Coleridge, and Literary Possession Susan Eilenberg Eingeschränkte Leseprobe - 1992 |
Häufige Begriffe und Wortgruppen
Ancient Mariner anonymous appear appropriation arbitrary attempt authority become Biographia Literaria character Christabel coin Cole Coleridge's consciousness critics dead death Dorothy Dorothy Wordsworth edited Ernest De Selincourt Essays feel figure Geoffrey Hartman Geraldine Hartman human Ibid identity imagination imitation impropriety inscription interpretation Joanna landscape language letter literal Lucy poems Lucy’s Lyrical Ballads M. H. Abrams Mariner's material matter meaning Michael mind Naming of Places narrative nature object one’s original Oxford University Press passion perhaps place-naming poems plagiarism poem's poem’s poet poet's poet’s poetic possession Preface Prelude problem propriety reader relationship representation Rime Romantic Salisbury Plain Samuel Taylor Coleridge Schelling seems sense ship speak speech spirit stanzas STCL Stephen Parrish stones story style suggests tale tells things thought Tintern Abbey uncanny ventriloquism voice volume Wedding Guest William Wordsworth words Wordsworth and Coleridge Wordsworth's poetry worth writing
Beliebte Passagen
Seite 179 - Haunted for ever by the eternal Mind, — Mighty Prophet! Seer blest! On whom those truths do rest Which we are toiling all our lives to find, In darkness lost, the darkness of the grave ; Thou, over whom thy Immortality Broods like the day, a master o'er a slave, A Presence which is not to be put by...
Seite 62 - What then I was. The sounding cataract Haunted me like a passion : the tall rock, The mountain, and the deep and gloomy wood, Their colours and their forms, were then to me An appetite : a feeling and a love. That had no need of a remoter charm By thought supplied, or any interest Unborrowed from the eye.
Seite 171 - I have said that poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquillity : the emotion is contemplated till, by a species of re-action, the tranquillity gradually disappears, and an emotion, kindred to that which was before the subject of contemplation, is gradually produced, and does itself actually exist in the mind.
Seite 52 - Twas night, calm night, the Moon was high; The dead men stood together. All stood together on the deck, For a charnel-dungeon fitter: All fixed on me their stony eyes, That in the Moon did glitter. The pang, the curse, with which they died, Had never passed away: I could not draw my eyes from theirs, Nor turn them up to pray.
Seite 90 - IF from the public way you turn your steps Up the tumultuous brook of Green-head Ghyll, You will suppose that with an upright path Your feet must struggle ; in such bold ascent The pastoral Mountains front you, face to face. But, courage ! for around that boisterous Brook The mountains have all opened out themselves, And made a hidden valley of their own.
Seite 104 - And with low voice and doleful look These words did say: "In the touch of this bosom there worketh a spell, Which is lord of thy utterance, Christabel...
Seite 56 - The upper air burst into life, And a hundred fire-flags sheen To and fro they were hurried about ; And to and fro, and in and out The wan stars danced between. And the coming wind did roar more loud...
Seite 131 - Thus Nature spake — The work was done — How soon my Lucy's race was run ! She died, and left to me This heath, this calm, and quiet scene ; The memory of what has been, And never more will be.
Seite 33 - The Sun came up upon the left, Out of the sea came he! And he shone bright, and on the right Went down into the sea. Higher and higher every day, Till over the mast at noon — ' The Wedding-Guest here beat his breast.
Verweise auf dieses Buch
Strange Fits of Passion: Epistemologies of Emotion, Hume to Austen Adela Pinch Eingeschränkte Leseprobe - 1996 |
A Genealogy of the Modern Self: Thomas De Quincey and the Intoxication of ... Alina Clej Keine Leseprobe verfügbar - 1995 |