Shelley's Process: Radical Transference and the Development of His Major Works
Oxford University Press, 12 ene 1989 - 432 páginas
In this set of thorough and revisionary readings of Percy Bysshe Shelley's best-known writings in verse and prose, Hogle argues that the logic and style in all these works are governed by a movement in every thought, memory, image, or word-pattern whereby each is seen and sees itself in terms of a radically different form. For any specified entity or figure to be known for "what it is," it must be reconfigured by and in terms of another one at another level (which must then be dislocated itself). In so delineating Shelley's "process," Hogle reveals the revisionary procedure in the poet's various texts and demonstrates the powerful effects of "radical transference" in Shelley's visions of human possibility.
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Otras ediciones - Ver todo
Adonais Aeschylus Alastor already Annus Mirabilis appears Asia basic Beatrice become Cenci death Defence Demogorgon desire discourse dream drive Essay eternal existence fact fading figures finally forms future human Hymn ideology imagination impulse interplay interpretation Julian and Maddalo Jupiter Keats labor language Laon later Lucretius lyric Maniac memory Milton mimetic mimetic desire mind Mont Blanc motion movement mythographs myths Narrator nature object once past perceived perceptions Percy Bysshe Shelley Peter Bell poem poet poet’s poetic poetry possible potentials Press primal produce projection Promethean Prometheus Unbound psyche Queen Mab reader recall refer relations repressed reveal Romanticism Rousseau seek seems sense shape Shel Shelley Shelley’s Shelleyan shift signs social soul speaker Spirit superego syncretic thought tion Titan trans transference transfiguration transformation transposition Triumph turns Univ urging veil vision Witch words Wordsworth writing
Página 5 - O WILD West Wind, thou breath of Autumn's being,. Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing. Yellow, and black, and pale, and hectic red, Pestilence-stricken multitudes: O thou, Who chariotest to their dark wintry bed The winged seeds, where they lie cold and low, Each like a corpse within its grave, until Thine azure sister of the Spring shall blow Her clarion o'er the dreaming earth, and fill...
Página 11 - I will compose poetry." The greatest poet even cannot say it; for the mind in creation is as a fading coal, which some invisible influence, like an inconstant wind, awakens to transitory brightness...
Página 74 - THE everlasting universe of things Flows through the mind, and rolls its rapid waves, Now dark, now glittering — now reflecting gloom — Now lending splendour, where from secret springs The source of human thought its tribute brings Of waters, — with a sound but half its own...
Página 11 - Poetry is the record of the best and happiest moments of the happiest and best minds. We are aware of evanescent visitations of thought and feeling sometimes associated with place or person, sometimes regarding our own mind alone, and always arising unforeseen and departing unbidden, but elevating and delightful beyond all expression...
Página 157 - tis a trick of this same family To analyse their own and other minds. Such self-anatomy shall teach the will Dangerous secrets : for it tempts our powers, Knowing what must be thought, and may be done, Into the depth of darkest purposes...
Página 27 - The great instrument of moral good is the imagination; and poetry administers to the effect by acting upon the cause. Poetry enlarges the circumference of the imagination by replenishing it with thoughts of ever new delight, which have the power of attracting and assimilating to their own nature all other thoughts, and which form new intervals and interstices whose void for ever craves fresh food.
Página 13 - Man in society, with all his passions and his pleasures, next becomes the object of the passions and pleasures of man; an additional class of emotions produces an augmented treasure of expressions; and language, gesture, and the imitative arts become at once the representation and the medium, the pencil and the picture, the chisel and the statue, the chord and the harmony.
Página 316 - Who mourns for Adonais? Oh come forth Fond wretch! and know thyself and him aright. Clasp with thy panting soul the pendulous Earth; As from a centre, dart thy spirit's light Beyond all worlds, until its spacious might Satiate the void circumference: then shrink...
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