Why are rocks and landforms so prominent in British Romantic
poetry? Why, for example, does Shelley choose a mountain as the
locus of a "voice . . . to repeal / large codes of fraud and woe"?
Why does a cliff, in the boat-stealing episode of Wordsworth's
Prelude, chastise the young thief? Why is petrifaction, or
"stonifying," in Blake's coinage, the ultimate figure of
dehumanization?
Noah Heringman maintains that British literary culture was
fundamentally shaped by many of the same forces that created
geology as a science in the period 1770 1820. He shows that
landscape aesthetics the verbal and social idiom of landscape
gardening, natural history, the scenic tour, and other forms of
outdoor "improvement" provided a shared vernacular for geology and
Romanticism in their formative stages.
Romantic Rocks, Aesthetic Geology reexamines a wide range of
eighteenth- and nineteenth-century poetry to discover its
relationship to a broad cultural consensus on the nature and value
of rocks and landforms. Equally interested in the initial surge of
curiosity about the earth and the ensuing process of
specialization, Heringman contributes to a new understanding of
literature as a key forum for the modern reorganization of
knowledge."
General
Is the information for this product incomplete, wrong or inappropriate?
Let us know about it.
Does this product have an incorrect or missing image?
Send us a new image.
Is this product missing categories?
Add more categories.
Review This Product
No reviews yet - be the first to create one!
Welcome to Loot.co.za!
Sign in / Register |Wishlists & Gift Vouchers |Help | Advanced search
