By Meyer H. Abrams
This hugely acclaimed examine analyzes a number of the tendencies in English feedback throughout the first 4 many years of this century.
Read Online or Download The Mirror and the Lamp: Romantic Theory and the Critical Tradition PDF
Similar gothic & romance books
This hugely acclaimed research analyzes a number of the traits in English feedback through the first 4 a long time of this century.
Gothic verse liberated the darkish facet of Romantic and Victorian verse: its medievalism, depression and morbidity. a few poets meant only to surprise or entertain, yet Gothic additionally liberated the inventive mind's eye and encouraged them to go into stressful parts of the psyche and to painting severe states of human cognizance.
The paintings of French author and essayist Maurice Blanchot (1907-2003) is absolutely one of the such a lot demanding the 20 th century has to provide. modern debate in literature, philosophy, and politics has but to completely recognize its discreet yet enduring impression. bobbing up from a convention that happened in Oxford in 2009, this ebook units itself an easy, if daunting, activity: that of measuring the effect and responding to the problem of Blanchot’s paintings by means of addressing its engagement with the Romantic legacy, particularly (but not just) that of the Jena Romantics.
- Tirant lo Blanc: New Approaches (Monografías A)
- Skylark Meets Meadowlark: Reimagining the Bird in British Romantic and Contemporary Native American Literature
- Reason and the Passions in the 'Comedias' of Calderón
- Heaving Bosoms
Extra info for The Mirror and the Lamp: Romantic Theory and the Critical Tradition
Consequently, theories which agree in assigning to the represented universe the primary control over a legitimate work of art may vary from recommending the most uncompromising realism to the most remote idealism. Each of our other terms, as we shall see, also varies, both in meaning and functioning, according to the critical theory in which it occurs, the method of reasoning which the theorist characteristically uses, and the explicit or implicit 'world-view' of which these theories are an integral part.
Disagree. The fact is that many theories of art cannot readily be compared at all, because they lack a common ground on which to meet and clash. They seem incommensurable because stated in diverse terms, or in identical terms with diverse signification, or because they are an integral part of larger systems of thought which differ in assumptions and procedure. As a result it is hard to find where they agree, where disagree, or even, what the points at issue are. Our first need, then, is to find a frame of reference simple enough to be readily manageable, yet flexible enough so that, without undue violence to any one set of statements about art, it will translate as many sets as possible onto a single plane of discourse.
Changing Metaphors of Mind, 57 IV. THE DEVELOPMENT OF THE EXPRESSIVE THEORY OF POETRY AND ART, 70 • i. Si vis me ftere . . , 71 ii. Longinus and the Longinians, 72 iii. Primitive Language and Primitive Poetry, 78 iv. The Lyric as Poetic Norm, 84 v. Expressive Theory in Germany: Ut Musica Poesis, 88 vi. Wordsworth, Blair, and The Enquirer, 95 vii. Expressive Theory and Expressive Practice, 97 Contents Preface, vii I. INTRODUCTION: ORIENTATION OF CRITICAL THEORIES, 3 i. Some Co-ordinates of Art Criticism, 6 H.