Wordsworth s Poetry 1787 1814Wordsworth s Poetry 1787 1814

"If it is the purpose of criticism to illuminate, to evaluate, and to send the reader back to the text for a fresh reading, Hartman has succeeded in establishing the grounds for such a renewal of appreciation of Wordsworth."—Donald Weeks, ...

Author: Geoffrey Hartman

Publisher: Yale University Press

ISBN: 9780300214659


Page: 450

View: 762

The drama of consciousness and maturation in the growth of a poet's mind is traced from Wordsworth's earliest poems to The Excursion of 1814. Mr. Hartman follows Wordsworth's growth into self-consciousness, his realization of the autonomy of the spirit, and his turning back to nature. The apocalyptic bias is brought out, perhaps for the first time since Bradley's Oxford Lectures, and without slighting in any way his greatness as a nature poet. Rather, a dialectical relation is established between his visionary temper and the slow and vacillating growth of the humanized or sympathetic imagination. Mr. Hartman presents a phenomenology of the mind with important bearings on the Romantic movement as a whole and as confirmation of Wordsworth's crucial position in the history of English poetry. Mr. Hartman is professor of English and comparative literature at the University of Iowa. "A most distinguished book, subtle, penetrating, profound."—Rene Wellek. "If it is the purpose of criticism to illuminate, to evaluate, and to send the reader back to the text for a fresh reading, Hartman has succeeded in establishing the grounds for such a renewal of appreciation of Wordsworth."—Donald Weeks, Journal of Aesthetics and Art Criticism.

Tennyson Echoing WordsworthTennyson Echoing Wordsworth

Hartman, The Unremarkable Wordsworth, p. 141. 57. Hartman, The Unremarkable Wordsworth, p. 139. See Hartman, The Unremarkable Wordsworth, p. 139 for more on the role of darkness in 'the growth of the mind – especially the poet's mind'.

Author: Thomas Jayne Thomas

Publisher: Edinburgh University Press

ISBN: 9781474436908


Page: 208

View: 882

Uncovering Wordsworth's influence on TennysonThis book explores Tennyson's poetic relationship with Wordsworth through a close analysis of Tennyson's borrowing of the earlier poet's words and phrases, an approach that positions Wordsworth in Tennyson's poetry in a more centralised way than previously recognised. Focusing on some of the most representative poems of Tennyson's career, including 'The Lady of Shalott', 'Ulysses' and In Memoriam, the study examines the echoes from Wordsworth that these poems contain and the transformative part they play in his poetry, moving beyond existing accounts of Wordsworthian influence in the selected texts to uncover new and revealing connections and interactions that shed a penetrating light on Tennyson's poetic relationship with his Romantic predecessor.Key FeaturesFirst book-length study of Tennyson's poetic relationship with WordsworthBy focusing on echoes or parallel passages, book reevaluates Tennyson's poetic relationship with Wordsworth Reveals Wordsworth as the lynchpin of Tennyson's poetryRecalibrates critical estimates of Tennyson as poet, Poet Laureate and Post-Romantic poet

Romantic AversionsRomantic Aversions

Aftermaths of Classicism in Wordsworth and Coleridge J. Douglas Kneale. Hagstrum , Jean H. The Romantic Body : Love and Sexuality in Keats , Wordsworth , and Blake . ... The Unremarkable Wordsworth . 75–89 .

Author: J. Douglas Kneale

Publisher: McGill-Queen's Press - MQUP

ISBN: 0773518045


Page: 250

View: 532

Romanticism is often regarded as a turning point in literary history, the time when writers such as Wordsworth and Coleridge renounced the common legacy of poets and sought to create a new literature. Yet despite their emphasis on originality, genius, and spontaneity, the first-generation Romantics manifest a highly intertextual style that, while repressing certain classical and neoclassical literary conventions, reveals a deep dependence on those same rhetorical practices. Repression results in the symptoms of originality but it inevitably leads to the return of tradition in a different form.

Wordsworth and ColeridgeWordsworth and Coleridge

See Geoffrey Hartman's insight that, for Wordsworth, The Prelude “asscriptureto himself abetstheflat reiteration ofhis ideas inaslew ofminor poems,” See Wordsworth's ... See The Unremarkable Wordsworth (London: Methuen, 1987),127. 9.

Author: P. Larkin

Publisher: Springer

ISBN: 9781137010940


Page: 267

View: 727

Wordsworth and Coleridge: Promising Losses assembles essays spanning the last thirty years, including a selection of Peter Larkin's original verse, with the concept of promise and loss serving as the uniting narrative thread.

The Oxford Handbook of William WordsworthThe Oxford Handbook of William Wordsworth

3 For later references to Wordsworth's egotism in contemporary reviews, see Woof, 536, 570, 613, 728, 839. ... 18Hartman, 'Words, Wish, Worth', in The Unremarkable Wordsworth (1979); see also chs.1, 2, 6, 8, 9, 11, 14. 19 Paul de Man, ...

Author: Richard Gravil

Publisher: OUP Oxford

ISBN: 9780191019654


Page: 650

View: 766

The Oxford Handbook of William Wordsworth deploys its forty-eight original essays, by an international team of scholar-critics, to present a stimulating account of Wordsworth's life and achievement and to map new directions in criticism. Nineteen essays explore the highlights of a long career systematically, giving special prominence to the lyric Wordsworth of Lyrical Ballads and the Poems in Two Volumes and to the blank verse poet of 'The Recluse'. Most of the other essays return to the poetry while exploring other dimensions of the life and work of the major Romantic poet. The result is a dialogic exploration of many major texts and problems in Wordsworth scholarship. This uniquely comprehensive handbook is structured so as to present, in turn, Wordsworth's life, career, and networks; aspects of the major lyrical and narrative poetry; components of 'The Recluse'; his poetical inheritance and his transformation of poetics; the variety of intellectual influences upon his work, from classical republican thought to modern science; his shaping of modern culture in such fields as gender, landscape, psychology, ethics, politics, religion and ecology; and his 19th- and 20th-century reception-most importantly by poets, but also in modern criticism and scholarship.

Wordsworth Dialogics and the Practice of CriticismWordsworth Dialogics and the Practice of Criticism

2 Bridge " " stands in what might be called a correspondent relation with Hartman's ' The Unremarkable Poet ' in his Unremarkable Wordsworth , " a relation sustained in personal contact and exchange of manuscripts .

Author: Don H. Bialostosky

Publisher: Cambridge University Press

ISBN: 0521412498


Page: 336

View: 276

Wordsworth's poetry has been a focus for many of the theoretical schools of criticism that comprise modern literary studies. Don Bialostosky here proposes to adjudicate the diverse claims of these numerous schools and to trace their implications for teaching. Bialostosky draws on the work of Bakhtin and his followers to create a 'dialogic' critical synthesis of what Wordsworth's readers - from Coleridge to de Man - have made of his poetry. He reveals Wordsworth's poetry as itself 'dialogically' responding to its various contexts, and opens up fruitful possibilities for criticism and teaching of Wordsworth. This challenging book uses the case of Wordsworth studies to make a far-reaching survey of modern literary theory and its implications for the practice of criticism and teaching today.

The Oxford History of Classical Reception in English LiteratureThe Oxford History of Classical Reception in English Literature

52 For a more detailed exploration of revisiting in Wordsworth's oeuvre, see Stephen Gill, Wordsworth's Revisitings (Oxford, 2011). 53 Shorter Poems, p. 544. Geoffrey H. Hartman, The Unremarkable Wordsworth (1987), pp. 93–4.

Author: David Hopkins

Publisher: Oxford History of Classical Re

ISBN: 9780199594603


Page: 761

View: 899

This title offers an investigation of the many diverse ways in which literary texts of the classical world have been responded to and refashioned by English writers. Covering English literature from the early Middle Ages to the present, it both synthesizes existing scholarship and presents new research.

Thought s WildernessThought s Wilderness

In other words, my Wordsworth is the unremarkable, not the apocalyptic, Wordsworth. See the discussion of apocalypse in chapter 1, as well as Hartman's 1987 collection Unremarkable Wordsworth, especially “The Unremarkable Poet,” 207–19.

Author: Greg Ellermann

Publisher: Stanford University Press

ISBN: 9781503633018


Page: 251

View: 263

While much recent ecocriticism has questioned the value of nature as a concept, Thought's Wilderness insists that it is analytically and politically indispensable, and that romanticism shows us why. Without a concept of nature, Greg Ellermann argues, our thinking is limited to the world that capitalism has made. Defamiliarizing the tradition of romantic nature writing, Ellermann contends that the romantics tried to circumvent the domination of nature that is essential to modern capitalism. As he shows, poets and philosophers in the period such as Immanuel Kant, G. W. F. Hegel, Mary Wollstonecraft, William Wordsworth, and Percy Shelley were highly attuned to nature's ephemeral, ungraspable forms: clouds of vapor, a trace of ruin, deep silence, and the "world-surrounding ether." Further, he explains how nature's vanishing—its vulnerability and its flight from apprehension—became a philosophical and political problem. In response to a nascent industrial capitalism, romantic writers developed a poetics of wilderness—a poetics that is attentive to fleeting presence and that seeks to let things be. Trying to imagine what ultimately eludes capture, the romantics recognized the complicity between conceptual and economic domination, and they saw how thought itself could become a technology for control. This insight, Ellermann proposes, motivates romantic efforts to think past capitalist instrumentality and its devastation of the world. Ultimately, this new work undertakes a fundamental rethinking of the aesthetics and politics of nature.

Julia Kristeva and Literary TheoryJulia Kristeva and Literary Theory

within the supposedly reassuring domesticity of Wordsworth's poetry and in spite of domesticating critical assessments of the ... Nearly every chapter of The Unremarkable Wordsworth had appeared previously, before and after the 1984 ...

Author: Megan Becker-Leckrone

Publisher: Bloomsbury Publishing

ISBN: 9780230801950


Page: 232

View: 922

Engaged debate among feminist, political, and psychoanalytic thinkers has secured Julia Kristeva's status as one of the most formidable figures in twentieth-century critical theory. Nevertheless, her precise relevance to the study of literature - the extent to which her theory is specifically a literary theory - can be hard for new readers to fathom. This approachable volume explores Kristeva's definition of literature, her methods for analyzing it, and the theoretical ground on which those endeavors are based. Megan Becker-Leckrone argues that Kristeva's signature concepts, such as abjection and intertextuality, lose much of their force when readers extract them from the specific, complex theoretical context in which Kristeva produces them. Early chapters situate her theory in a broader conversation with Roland Barthes, Sigmund Freud, Jacques Lacan and others around the issues of reading, textuality, and subjectivity. Subsequent chapters look at Kristeva's actual engagements with literary texts, specifically her challenging, highly performative reading of French novelist Louis-Ferdinand Céline in Powers of Horror: An Essay on Abjection and her career-long preoccupation with James Joyce. A final chapter of the book looks at the way contemporary literary critics have marshaled her ideas in re-reading the poetry of William Wordsworth, while a helpful glossary identifies Kristeva's most pertinently "literary" theoretical concepts, by way of synopses of the texts in which she presents them.