Romantic Androgyny: The Women WithinPennsylvania State University Press, 1990 - 274 páginas Romantic Androgyny is the first study to systematically apply the currents of French and Anglo-American feminist literary criticism to an analysis of the major poetry of the Romantic period. Diane Hoeveler argues that Romantic male poets self-consciously employed the feminine as "Other" and as an alternative source of value in order to engage in a fictional completion of their own psyches. Furthermore, a large proportion of the "women" in the poetry of the major Romantics cannot be understood apart from this radical metaphoric tradition of literary absorption. Because of the power of the feminine as "Other," women in English Romantic poetry have been on the one hand idealized and on the other denigrated by critics in the field. Hoeveler attempts to correct the flaws of both views by placing the various images of women into a psychoanalytical and historical framework. All six canonical poets participated in one of their culture's dominant ideological fantasies that imaginative creativity was possible for males only if they absorbed the feminine principle and thus became androgynous. Romantic Androgyny argues that the images of the symbolic woman were determined by the poets' adherence to the ideologies of both androgyny and the Eternal Feminine that permeated late eighteenth- and early nineteenth-century England. |
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... sense that he has a coherent and stable self that exists in both space and time as constant and knowable , without reference to others . But as Weiskel has observed , this sense of identity is predicated on " the introjected image of ...
... sense of a separation from Nature , or of Nature as " other " to him . But by the third phase the poet has matured to the point of unifying his senses — his sight and his hearing — and of managing to both see and hear " The still , sad ...
... sense in which Milton , like his serpent , was the voyeur in that Eden , the uninvited yet crucial guest in what was , after all , a primal scene . But the primal scene exists only if it is viewed by someone , someone without sexual ...
Índice
Medeas Wondrous Alchemy | 25 |
She was almost a mother she was something | 77 |
Sometimes I curse sometimes bless | 119 |
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Referencias a este libro
Shelley's Goddess: Maternity, Language, Subjectivity Barbara Charlesworth Gelpi Vista previa restringida - 1992 |
Shelley Among Others: The Play of the Intertext and the Idea of Language Stuart Peterfreund Vista previa restringida - 2002 |