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Essays in Romanticism, a peer-reviewed journal edited by Alan
Vardy, is the official journal of the International Conference on
Romanticism, succeeding Prism(s): Essays in Romanticism. Available
to purchase as a single issue, EiR continues the tradition of its
predecessor in encouraging contributions within an
interdisciplinary and comparative framework. More broadly, it
welcomes submissions on any aspect of Romanticism, and especially
work using emergent or innovative perspectives and approaches.
Essays in Romanticism, a peer-reviewed journal edited by Alan
Vardy, is the official journal of the International Conference on
Romanticism, succeeding Prism(s): Essays in Romanticism. Available
to purchase as a single issue, EiR continues the tradition of its
predecessor in encouraging contributions within an
interdisciplinary and comparative framework. More broadly, it
welcomes submissions on any aspect of Romanticism, and especially
work using emergent or innovative perspectives and approaches.
Essays in Romanticism, a peer-reviewed journal edited by Alan
Vardy, is the official journal of the International Conference on
Romanticism, succeeding Prism(s): Essays in Romanticism. Available
to purchase as a single issue, EiR continues the tradition of its
predecessor in encouraging contributions within an
interdisciplinary and comparative framework. More broadly, it
welcomes submissions on any aspect of Romanticism, and especially
work using emergent or innovative perspectives and approaches.
Essays in Romanticism, a peer-reviewed journal edited by Alan
Vardy, is the official journal of the International Conference on
Romanticism, succeeding Prism(s): Essays in Romanticism. Available
to purchase as a single issue, EiR continues the tradition of its
predecessor in encouraging contributions within an
interdisciplinary and comparative framework. More broadly, it
welcomes submissions on any aspect of Romanticism, and especially
work using emergent or innovative perspectives and approaches.
Essays in Romanticism, a peer-reviewed journal edited by Alan
Vardy, is the official journal of the International Conference on
Romanticism, succeeding Prism(s): Essays in Romanticism. Available
to purchase as a single issue, EiR continues the tradition of its
predecessor in encouraging contributions within an
interdisciplinary and comparative framework. More broadly, it
welcomes submissions on any aspect of Romanticism, and especially
work using emergent or innovative perspectives and approaches.
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Fragments (Paperback)
William Wordsworth; Edited by Rainer J. Hanshe; Introduction by Alan Vardy
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R486
R404
Discovery Miles 4 040
Save R82 (17%)
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Ships in 10 - 15 working days
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Featuring an extended introduction by scholar of British
Romanticism, Alan Vardy, Fragments consists of Wordsworth's
philosophico-aesthetic prose fragment "The Sublime & the
Beautiful" and "Hawkshead & the Ferry." While a fragmented
text, unfinished, almost certainly abandoned by the author, the
difficulties of the former text no longer appear fatal so much as
evidence of Wordsworth's rigorous struggle to come to terms not
only with his own aesthetic experiences, but with the philosophical
aesthetics of his epoch. What were once read as confusions may now
be seen as productive of complex accounts of lived affective
experiences. In critical terms, current aesthetic occupations have
perhaps finally found Wordsworth's text. By placing the prose
fragment in a separate appendix, the original editors of
Wordsworth's Prose Works removed it from its actual place in The
Unpublished Tour. New analysis of the manuscripts reveals that "The
Sublime & the Beautiful" is actually part of the Tour. In
reprinting the "Hawkshead & the Ferry" section of the Tour, our
edition restores this original context, lost in the standard Oxford
edition. The prose fragment begins in the precise place where
"Hawkshead & the Ferry" ends - on the west side of Windermere
looking north to the Langdale pikes. Were the missing pages of "The
Sublime & the Beautiful" to be recovered, the transition from
picturesque viewpoint to speculation on the philosophical status of
that view would be apparent. Understanding the significance of our
affective response to natural objects could not be more central to
a Wordsworthian poetics predicated on the internalization of
aesthetic sensations into perceptions and ideas, associations of
one kind or another, and finally into the very stuff of the poetry.
Fragmented or not, this prose treatise on a subject of such
centrality to the poet's project can no longer be ignored. It is
this general neglect that the present text hopes to address by
publishing these fragments on their own for the very first time.
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