Dayton Haskin
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780199212422
- eISBN:
- 9780191707216
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199212422.001.0001
- Subject:
- Literature, 19th-century Literature and Romanticism
In 1906, having been assigned Izaak Walton's Life of Donne to read for his English class, a Harvard freshman heard a lecture on the long disparaged ‘metaphysical’ poets. Years later, when an ...
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In 1906, having been assigned Izaak Walton's Life of Donne to read for his English class, a Harvard freshman heard a lecture on the long disparaged ‘metaphysical’ poets. Years later, when an appreciation of these poets was considered a consummate mark of a modernist sensibility, T. S. Eliot was routinely credited with having ‘discovered’ Donne himself. This book tracks the myriad ways in which Donne was lodged in literary culture during the Romantic and Victorian periods. The early chapters document a first revival of interest when Walton's Life was said to be ‘in the hands of every reader’; they explore what Wordsworth and Coleridge contributed to the conditions for the 1839 publication of The Works, which reprinted the sermons of ‘Dr Donne’. Later chapters trace a second revival, when admirers of the biography, turning to the prose letters and the poems to supplement Walton, discovered that his hero's writings entail the sorts of controversial issues that are raised by Browning, by the ‘fleshly school’ of poets, and by self-consciously ‘decadent’ writers of the fin de siéecle. The final chapters treat the spread of the academic study of Donne from Harvard, where already in the 1880s he was the anchor of the 17th-century course, to other institutions and beyond the academy, showing that Donne's status as a writer eclipsed his importance as the subject of Walton's narrative, which Leslie Stephen facetiously called ‘the masterpiece of English biography’.Less
In 1906, having been assigned Izaak Walton's Life of Donne to read for his English class, a Harvard freshman heard a lecture on the long disparaged ‘metaphysical’ poets. Years later, when an appreciation of these poets was considered a consummate mark of a modernist sensibility, T. S. Eliot was routinely credited with having ‘discovered’ Donne himself. This book tracks the myriad ways in which Donne was lodged in literary culture during the Romantic and Victorian periods. The early chapters document a first revival of interest when Walton's Life was said to be ‘in the hands of every reader’; they explore what Wordsworth and Coleridge contributed to the conditions for the 1839 publication of The Works, which reprinted the sermons of ‘Dr Donne’. Later chapters trace a second revival, when admirers of the biography, turning to the prose letters and the poems to supplement Walton, discovered that his hero's writings entail the sorts of controversial issues that are raised by Browning, by the ‘fleshly school’ of poets, and by self-consciously ‘decadent’ writers of the fin de siéecle. The final chapters treat the spread of the academic study of Donne from Harvard, where already in the 1880s he was the anchor of the 17th-century course, to other institutions and beyond the academy, showing that Donne's status as a writer eclipsed his importance as the subject of Walton's narrative, which Leslie Stephen facetiously called ‘the masterpiece of English biography’.
Thomas F. Bonnell
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780199532209
- eISBN:
- 9780191700996
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199532209.003.0010
- Subject:
- Literature, 18th-century Literature
In 1805, as Cooke brought his project to an end, John Sharpe started a series called The Works of the British Poets, extending to nearly 50 years an unbroken chain of continuity: from 1765 to 1812, ...
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In 1805, as Cooke brought his project to an end, John Sharpe started a series called The Works of the British Poets, extending to nearly 50 years an unbroken chain of continuity: from 1765 to 1812, from Foulis through Sharpe. An edition of Shakespeare paved the way for ‘Sharpe's Edition of The British Theatre’. He also produced ‘British Classics’ and ‘Sharpe's Select Edition of the British Prose Writers’. Sharpe's edition moved the series forward, from a canonical collection of English verse into a full supplementary anthology of minor verse and finally the Greek and Roman classics in translation. The third section of the chapter looks at engravings and vignettes, and examines the marketing logic behind them. The last part of the chapter discusses Alexander Chalmers, publisher of A General Biographical Dictionary, Glossary to Shakespeare, an edition of George Steevens's Shakespeare, and British Essayists.Less
In 1805, as Cooke brought his project to an end, John Sharpe started a series called The Works of the British Poets, extending to nearly 50 years an unbroken chain of continuity: from 1765 to 1812, from Foulis through Sharpe. An edition of Shakespeare paved the way for ‘Sharpe's Edition of The British Theatre’. He also produced ‘British Classics’ and ‘Sharpe's Select Edition of the British Prose Writers’. Sharpe's edition moved the series forward, from a canonical collection of English verse into a full supplementary anthology of minor verse and finally the Greek and Roman classics in translation. The third section of the chapter looks at engravings and vignettes, and examines the marketing logic behind them. The last part of the chapter discusses Alexander Chalmers, publisher of A General Biographical Dictionary, Glossary to Shakespeare, an edition of George Steevens's Shakespeare, and British Essayists.
David Shepherd
- Published in print:
- 1992
- Published Online:
- October 2011
- ISBN:
- 9780198156666
- eISBN:
- 9780191673221
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198156666.003.0004
- Subject:
- Literature, European Literature, Criticism/Theory
This chapter examines the metafictions of Soviet writer Konstantin Vaginov. The position of Vaginov in relation to the dominant literary trends in the 1920s is as marginal as Leonid Leonov's or ...
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This chapter examines the metafictions of Soviet writer Konstantin Vaginov. The position of Vaginov in relation to the dominant literary trends in the 1920s is as marginal as Leonid Leonov's or Marietta Shaginyan's seems central. His major works include The Goat's Song, Experiments in Connecting Words by Means of Rhythm, and The Works and Days of Svistonov. His third novel placed emphasis of authorly autonomy and its relation to cultural traditional and continuity and its metafictional strategies provided a particularly defamiliarizing angle of vision on these matters.Less
This chapter examines the metafictions of Soviet writer Konstantin Vaginov. The position of Vaginov in relation to the dominant literary trends in the 1920s is as marginal as Leonid Leonov's or Marietta Shaginyan's seems central. His major works include The Goat's Song, Experiments in Connecting Words by Means of Rhythm, and The Works and Days of Svistonov. His third novel placed emphasis of authorly autonomy and its relation to cultural traditional and continuity and its metafictional strategies provided a particularly defamiliarizing angle of vision on these matters.
Ridvan Askin
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781474414562
- eISBN:
- 9781474426947
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474414562.003.0003
- Subject:
- Philosophy, Aesthetics
The second chapter traces in detail how Ondaatje’s text engages in what Askin terms disfiguration—the very process of disfiguring its representational surface both in terms of content and form—in ...
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The second chapter traces in detail how Ondaatje’s text engages in what Askin terms disfiguration—the very process of disfiguring its representational surface both in terms of content and form—in order to unearth its constitutive sensations. Disfiguration makes tangible what otherwise remains intangible, the very constitution and genesis of actual narratives from virtual sensations. In The Collected Works of Billy the Kid disfiguration is most prominently on display in a series of becomings the protagonist undergoes culminating in his metaleptic account of his own death where his brain breaks apart and thus literally kills off representation. It is in staging such acute moments of representational crisis that the narrative reaches the impersonal and nonhuman beyond of personal and human experience. By the same token the beyond of actual narratives is attained: the sensations and forces that make up the death of Billy are those that make up the narrative at hand in so far as it is the narrative that assembles and composes the figure of Billy. It is thus that The Collected Works of Billy the Kid can be said to be a Deleuzian monument of sensation.Less
The second chapter traces in detail how Ondaatje’s text engages in what Askin terms disfiguration—the very process of disfiguring its representational surface both in terms of content and form—in order to unearth its constitutive sensations. Disfiguration makes tangible what otherwise remains intangible, the very constitution and genesis of actual narratives from virtual sensations. In The Collected Works of Billy the Kid disfiguration is most prominently on display in a series of becomings the protagonist undergoes culminating in his metaleptic account of his own death where his brain breaks apart and thus literally kills off representation. It is in staging such acute moments of representational crisis that the narrative reaches the impersonal and nonhuman beyond of personal and human experience. By the same token the beyond of actual narratives is attained: the sensations and forces that make up the death of Billy are those that make up the narrative at hand in so far as it is the narrative that assembles and composes the figure of Billy. It is thus that The Collected Works of Billy the Kid can be said to be a Deleuzian monument of sensation.
Tricia Lootens
- Published in print:
- 2016
- Published Online:
- January 2018
- ISBN:
- 9780691170312
- eISBN:
- 9781400883721
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691170312.003.0005
- Subject:
- Literature, Criticism/Theory
This chapter explores the relationship between suspended spheres and interdisciplinary poetic reading, drawing on popular and pedagogical writing that invites reflection on patriotic fantasies' ...
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This chapter explores the relationship between suspended spheres and interdisciplinary poetic reading, drawing on popular and pedagogical writing that invites reflection on patriotic fantasies' relations to post-Victorian processes of reading—and unreading—sentimental poetic texts. It first analyzes Virginia Woolf's “The Works of Mrs. Hemans,” which not only presents learning to unread sentimental poetry as an educational rite of passage, but encourages the cultivation of part comic, part courtly, part anxious visions of naïve and sentimental readers. It then considers Felicia Dorothea Hemans's “Casabianca” and compares it to Elizabeth Bishop's “Casabianca,” arguing that consent to the patriotic Poetess terrors of Hemans may well serve as prerequisite for rendering the terrifying critical and political as well as poetic achievement of Bishop's modernist elegy fully legible. The chapter concludes with a discussion of the New York Times' volume Portraits: 9/11/01; The Collected “Portraits of Grief”.Less
This chapter explores the relationship between suspended spheres and interdisciplinary poetic reading, drawing on popular and pedagogical writing that invites reflection on patriotic fantasies' relations to post-Victorian processes of reading—and unreading—sentimental poetic texts. It first analyzes Virginia Woolf's “The Works of Mrs. Hemans,” which not only presents learning to unread sentimental poetry as an educational rite of passage, but encourages the cultivation of part comic, part courtly, part anxious visions of naïve and sentimental readers. It then considers Felicia Dorothea Hemans's “Casabianca” and compares it to Elizabeth Bishop's “Casabianca,” arguing that consent to the patriotic Poetess terrors of Hemans may well serve as prerequisite for rendering the terrifying critical and political as well as poetic achievement of Bishop's modernist elegy fully legible. The chapter concludes with a discussion of the New York Times' volume Portraits: 9/11/01; The Collected “Portraits of Grief”.
Michael Talbot
- Published in print:
- 2000
- Published Online:
- June 2013
- ISBN:
- 9780853238256
- eISBN:
- 9781846313615
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780853238256.003.0009
- Subject:
- Society and Culture, Media Studies
This chapter examines the existence of a watershed in Western art music located in the decades around 1800. In parallel with the emergence of a modern work-concept, the general public accepted, for ...
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This chapter examines the existence of a watershed in Western art music located in the decades around 1800. In parallel with the emergence of a modern work-concept, the general public accepted, for the first time, a composer-centred (rather than genre-centred or performer-centred) view of music — a perspective previously associated with practitioners, patrons and connoisseurs. The chapter considers the relevance of composer-centredness to the work-concept and analyses Lydia Goehr's views on the work-concept as detailed in her book The Imaginary Museum of Musical Works. According to Goehr, musical work enters its imaginary museum only because composers have already entered their imaginary Pantheon.Less
This chapter examines the existence of a watershed in Western art music located in the decades around 1800. In parallel with the emergence of a modern work-concept, the general public accepted, for the first time, a composer-centred (rather than genre-centred or performer-centred) view of music — a perspective previously associated with practitioners, patrons and connoisseurs. The chapter considers the relevance of composer-centredness to the work-concept and analyses Lydia Goehr's views on the work-concept as detailed in her book The Imaginary Museum of Musical Works. According to Goehr, musical work enters its imaginary museum only because composers have already entered their imaginary Pantheon.
Sue Leaf
- Published in print:
- 2013
- Published Online:
- August 2015
- ISBN:
- 9780816675647
- eISBN:
- 9781452947457
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816675647.003.0014
- Subject:
- History, Cultural History
This chapter examines the birth of the Minnesota Natural History Museum. The museum at the zoology building was full due to the large dioramas. Unfortunately for Thomas Sandler Roberts, the state ...
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This chapter examines the birth of the Minnesota Natural History Museum. The museum at the zoology building was full due to the large dioramas. Unfortunately for Thomas Sandler Roberts, the state legislature passed up on the $125,000 offer of James Ford Bell to build a new building. Bell and Roberts then urged the University of Minnesota to apply to The Public Works Administration for funds, who accepted the offer to help with the building of a museum. Construction began on May 1939. The chapter then describes Roberts’ second marriage to Agnes Williams Harley, the sister of Carroll Williams who had been his friend back at medical school. Roberts defined it as a marriage of “companionship”. In addition to loneliness, chronic bronchitis plagued him. The seventy-five year old Roberts had battled the illness since before Jennie’s death, and had never completely cleared up.Less
This chapter examines the birth of the Minnesota Natural History Museum. The museum at the zoology building was full due to the large dioramas. Unfortunately for Thomas Sandler Roberts, the state legislature passed up on the $125,000 offer of James Ford Bell to build a new building. Bell and Roberts then urged the University of Minnesota to apply to The Public Works Administration for funds, who accepted the offer to help with the building of a museum. Construction began on May 1939. The chapter then describes Roberts’ second marriage to Agnes Williams Harley, the sister of Carroll Williams who had been his friend back at medical school. Roberts defined it as a marriage of “companionship”. In addition to loneliness, chronic bronchitis plagued him. The seventy-five year old Roberts had battled the illness since before Jennie’s death, and had never completely cleared up.
