Romantic Poets and the Culture of PosterityCambridge University Press, 02/12/1999 - 268 من الصفحات This 1999 book examines the way in which the Romantic period's culture of posterity inaugurates a tradition of writing which demands that the poet should write for an audience of the future: the true poet, a figure of neglected genius, can be properly appreciated only after death. Andrew Bennett argues that this involves a radical shift in the conceptualization of the poet and poetic reception, with wide-ranging implications for the poetry and poetics of the Romantic period. He surveys the contexts for this transformation of the relationship between poet and audience, engaging with issues such as the commercialization of poetry, the gendering of the canon, and the construction of poetic identity. Bennett goes on to discuss the strangely compelling effects which this reception theory produces in the work of Wordsworth, Coleridge, Keats, Shelley and Byron, who have come to embody, for posterity, the figure of the Romantic poet. |
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... Leo Bersani calls a 'culture of redemption',4 it is one which effects its own dissolution or deconstruction. And it is my suggestion that it is in the collapse of this theory in its working through, in multiple, conflicted ways, of an ...
... Leo Bersani calls a 'culture of redemption',4 it is one which effects its own dissolution or deconstruction. And it is my suggestion that it is in the collapse of this theory in its working through, in multiple, conflicted ways, of an ...
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طبعات أخرى - عرض جميع المقتطفات
Romantic Poets and the Culture of Posterity <span dir=ltr>Andrew Bennett</span> لا تتوفر معاينة - 1999 |
Romantic Poets and the Culture of Posterity <span dir=ltr>Andrew Bennett</span> لا تتوفر معاينة - 2006 |
عبارات ومصطلحات مألوفة
appeal argues articulation attempt audience becomes body Byron calls Cambridge canon century Chatterton Coleridge Coleridge’s Compare concern constitutes contemporary context criticism culture of posterity dead death desire develops early effect English essay example expression fact fame figure finally future genius ghosts grave hand haunting Hazlitt heart History human idea identity imagination immortality involves John Keats Keats’s kind language later letter lines literal literary Literature living London meaning memory mind nature neglect never noise Oxford particular period poem poet poet’s poetic poetry possibility posthumous present produced Prose published question quoted readers reading reception records refers remains remarks remembered reputation Romantic Romantic culture Romanticism sense Shelley Shelley’s sound suggest talk theory things Thomas thought tion turn University Press voice women Wordsworth writing written