Author(s)
Magnuson, Paul,author.Keywords
Authors and readersEnglish poetry
English poetry
Literature and society
Anglo-American Literature, general.
Authors and readers
Authors and readers.
English poetry
English poetry
English poetry.
Literary form
Literary form
Literary form.
Literary Studies.
Literature and society
Literature and society.
Literature in Diverse Languages.
Public opinion in literature.
Public opinion
Public opinion
Public opinion.
Romanticism
Romanticism.
Speech acts (Linguistics).
Englische Literatur.
LITERARY CRITICISM
Full record
Show full item recordOnline Access
https://doi.org/10.1515/9781400864799https://www.degruyter.com/doc/cover/9781400864799.jpg
Abstract
Reading Public Romanticism is a significant new example of the linking of esthetics and historical criticism. Here Paul Magnuson locates Romantic poetry within a public discourse that combines politics and esthetics, nationalism and domesticity, sexuality and morality, law and legitimacy. Building on his well-regarded previous work, Magnuson practices a methodology of close historical reading by identifying precise versions of poems, reading their rhetoric of allusion and quotation in the contexts of their original publication, and describing their public genres, such as the letter. He studies the author's public signature or motto, the forms and significance of address used in poems, and the resonances of poetic language and tropes in the public debates.According to Magnuson, "reading locations" means reading the writing that surrounds a poem, the "paratext" or "frame" of the esthetic boundary. In their particular locations in the public discourse, romantic poems are illocutionary speech acts that take a stand on public issues and legitimate their authors both as public characters and as writers. He traces the public significance of canonical poems commonly considered as lyrics with little explicit social or political commentary, including Wordsworth's "Immortality Ode"; Coleridge's "This Lime-Tree Bower My Prison," "Frost at Midnight," and "The Ancient Mariner"; and Keats's "On a Grecian Urn." He also positions Byron's Dedication to Don Juan in the debates over Southey's laureateship and claims for poetic authority and legitimacy. Reading Public Romanticism is a thoughtful and revealing work.Originally published in 1998.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.Reading Public Romanticism is a significant new example of the linking of esthetics and historical criticism. Here Paul Magnuson locates Romantic poetry within a public discourse that combines politics and esthetics, nationalism and domesticity, sexuality and morality, law and legitimacy. Building on his well-regarded previous work, Magnuson practices a methodology of close historical reading by identifying precise versions of poems, reading their rhetoric of allusion and quotation in the contexts of their original publication, and describing their public genres, such as the letter. He studies the author's public signature or motto, the forms and significance of address used in poems, and the resonances of poetic language and tropes in the public debates.According to Magnuson, "reading locations" means reading the writing that surrounds a poem, the "paratext" or "frame" of the esthetic boundary. In their particular locations in the public discourse, romantic poems are illocutionary speech acts that take a stand on public issues and legitimate their authors both as public characters and as writers. He traces the public significance of canonical poems commonly considered as lyrics with little explicit social or political commentary, including Wordsworth's "Immortality Ode"; Coleridge's "This Lime-Tree Bower My Prison," "Frost at Midnight," and "The Ancient Mariner"; and Keats's "On a Grecian Urn." He also positions Byron's Dedication to Don Juan in the debates over Southey's laureateship and claims for poetic authority and legitimacy. Reading Public Romanticism is a thoughtful and revealing work.Originally published in 1998.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Electronic reproduction.
Mode of access: Internet via World Wide Web.
Description based on online resource; title from PDF title page (publisher’s Web site, viewed March 24, 2015)
Type
textIdentifier
oai:search.ugent.be:ebk01:2550000001333146https://doi.org/10.1515/9781400864799
https://www.degruyter.com/doc/cover/9781400864799.jpg
URN:ISBN:9781400864799
Collections
Related items
Showing items related by title, author, creator and subject.
-
Poeta metafizycznyTytko, Marek Mariusz (Hachette Polska, 2013)Ks. prof. Janusz Artur Ihnatowicz (ur. w 1929 w polskim Wilnie), teolog, filozof, poeta, mieszkał w Polsce (1929–1946 i 1958–1966), Wielkiej Brytanii (1946–1948) oraz Irlandii (1948–1951). Zdał maturę polską w Anglii w 1948. Ukończył studia filozoficzne na uniwersytecie w Dublinie (1951). Mieszkał w Kanadzie (1952–1958 i 1966–1969) oraz w USA (od1969 do dzisiaj). We Włoszech w Rzymie uzyskał doktorat z teologii (1984). Autor w tekście opisał życie i twórczość ks. Ihanatowicza, jako poety i jako tłumacza Biblii oraz poezji. Zanalizował także jego utwory poetyckie i podzielił je na grupy tematyczne, według kategorii motywów.
-
The Satanic Epic /Forsyth, Neil, author.The Satan of Paradise Lost has fascinated generations of readers. This book attempts to explain how and why Milton's Satan is so seductive. It reasserts the importance of Satan against those who would minimize the poem's sympathy for the devil and thereby make Milton orthodox. Neil Forsyth argues that William Blake got it right when he called Milton a true poet because he was "of the Devils party" even though he set out "to justify the ways of God to men." In seeking to learn why Satan is so alluring, Forsyth ranges over diverse topics--from the origins of evil and the relevance of witchcraft to the status of the poetic narrator, the epic tradition, the nature of love between the sexes, and seventeenth-century astronomy. He considers each of these as Milton introduces them: as Satanic subjects. Satan emerges as the main challenge to Christian belief. It is Satan who questions and wonders and denounces. He is the great doubter who gives voice to many of the arguments that Christianity has provoked from within and without. And by rooting his Satanic reading of Paradise Lost in Biblical and other sources, Forsyth retrieves not only an attractive and heroic Satan but a Milton whose heretical energies are embodied in a Satanic character with a life of his own.
-
Myśl i SłowoTytko, Marek Mariusz (Hachette Polska, 2013)Autor wstępu opisuje poezje metafizyczne i biografię twórczą Leszka Elektorowicza (ur. 1924- we Lwowie), polskiego poetę metafizycznego, przyjaciela Zbigniewa Herberta (1924-1998). Nota edytorska zawiera kompletną bibliografię wszystkich źródeł przedruków wierszy Elektorowicza. Ponadto pierwsza bibliografia zawiera listę wszystkich publikacji książkowych Elektorowicza z lat 1957-2012, ale nie tylko książek poetyckich. Osobna bibliografia zawiera wybrane publikacje Elektorowicza w niepolskich antologiach i czasopismach zagranicznych z lat 1959-2008. Kalendarium biograficzne zawiera najważniejsze wydarzenia z jego życia. Fakty tam zawarte, podobnie jak i wszelkie dane bibliograficzne w tej książce, były autoryzowane bezpośrednio przez Leszka Elektorowicza.