Lucy Newlyn
- Published in print:
- 2001
- Published Online:
- October 2011
- ISBN:
- 9780199242597
- eISBN:
- 9780191697142
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199242597.001.0001
- Subject:
- Literature, 19th-century Literature and Romanticism, Poetry
In this study of two creative minds, this book offers a new version of the Coleridge–Wordsworth interaction during its most crucial years: 1797–1807. Rejecting all those accounts (including the ...
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In this study of two creative minds, this book offers a new version of the Coleridge–Wordsworth interaction during its most crucial years: 1797–1807. Rejecting all those accounts (including the poets' own) that have sought to construe difference as compatibility, the book argues that it is only on the surface that each poet appears to be the other's ideal audience. Below the surface, there were radical differences, of a theoretical and imaginative kind, which led to misunderstanding. The central argument of the book is that such a ‘misunderstanding’ was creative and, for both poets, a means of self-definition. The key to this interpretation is in the poets' private language: they were not only ‘men speaking to men’, but poets speaking to poets, and it is in their use of literary allusion that their tacit opposition emerges. Indeed, by examining the range of strategies open to any writer using private allusion, this book reveals this mode to be potentially the most aggressive of literary forms.Less
In this study of two creative minds, this book offers a new version of the Coleridge–Wordsworth interaction during its most crucial years: 1797–1807. Rejecting all those accounts (including the poets' own) that have sought to construe difference as compatibility, the book argues that it is only on the surface that each poet appears to be the other's ideal audience. Below the surface, there were radical differences, of a theoretical and imaginative kind, which led to misunderstanding. The central argument of the book is that such a ‘misunderstanding’ was creative and, for both poets, a means of self-definition. The key to this interpretation is in the poets' private language: they were not only ‘men speaking to men’, but poets speaking to poets, and it is in their use of literary allusion that their tacit opposition emerges. Indeed, by examining the range of strategies open to any writer using private allusion, this book reveals this mode to be potentially the most aggressive of literary forms.
Jane de Gay
- Published in print:
- 2006
- Published Online:
- March 2012
- ISBN:
- 9780748623495
- eISBN:
- 9780748651849
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748623495.003.0005
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter is concerned with Woolf's Orlando, which can be viewed as a cheerful comic piece, and as critiquing the assumptions of patriarchal literary history, as well as developing feminist ...
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This chapter is concerned with Woolf's Orlando, which can be viewed as a cheerful comic piece, and as critiquing the assumptions of patriarchal literary history, as well as developing feminist perspectives to replace them. It focuses on the ways Woolf rethought literary history by attempting to uncover a sympathetic and congenial past, and looks at Daniel Defoe, one of the predecessors to English novelists and the only one mentioned in the first draft of the novel. The chapter then studies Woolf's critiques of the ideas of John Ruskin and Leslie Stephen, and determines that literary parody and allusion are used to put an alternative model of history into practice, one whereby Woolf can express intimacy with the literary past. It shows that Orlando is the first novel wherein Woolf wholeheartedly turns to the past and embraces it.Less
This chapter is concerned with Woolf's Orlando, which can be viewed as a cheerful comic piece, and as critiquing the assumptions of patriarchal literary history, as well as developing feminist perspectives to replace them. It focuses on the ways Woolf rethought literary history by attempting to uncover a sympathetic and congenial past, and looks at Daniel Defoe, one of the predecessors to English novelists and the only one mentioned in the first draft of the novel. The chapter then studies Woolf's critiques of the ideas of John Ruskin and Leslie Stephen, and determines that literary parody and allusion are used to put an alternative model of history into practice, one whereby Woolf can express intimacy with the literary past. It shows that Orlando is the first novel wherein Woolf wholeheartedly turns to the past and embraces it.
Sarah Annes Brown
- Published in print:
- 2012
- Published Online:
- May 2013
- ISBN:
- 9780719085154
- eISBN:
- 9781781704684
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719085154.003.0001
- Subject:
- Literature, Criticism/Theory
This chapter, which introduces the concept of the literary allusion, by first citing examples from Northern Lights and The Lion, the Witch and the Wardrobe, holds that allusion and the uncanny are ...
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This chapter, which introduces the concept of the literary allusion, by first citing examples from Northern Lights and The Lion, the Witch and the Wardrobe, holds that allusion and the uncanny are both characterised by the blend of the familiar and the unfamiliar. An allusion is effected by a transgression of the barrier separating the enclosed world of the text from its various sources and intertexts. The ghost of Hamlet's father is recognisable to those who witness it, fully familiar and yet uncanny. The chapter also discusses the echo, a more neutral word which does not rule out the possibility of conscious borrowing but implies that the connection is not strong enough to prove deliberate agency or to ensure recognition in the majority of attentive readers.Less
This chapter, which introduces the concept of the literary allusion, by first citing examples from Northern Lights and The Lion, the Witch and the Wardrobe, holds that allusion and the uncanny are both characterised by the blend of the familiar and the unfamiliar. An allusion is effected by a transgression of the barrier separating the enclosed world of the text from its various sources and intertexts. The ghost of Hamlet's father is recognisable to those who witness it, fully familiar and yet uncanny. The chapter also discusses the echo, a more neutral word which does not rule out the possibility of conscious borrowing but implies that the connection is not strong enough to prove deliberate agency or to ensure recognition in the majority of attentive readers.
Jane de Gay
- Published in print:
- 2006
- Published Online:
- March 2012
- ISBN:
- 9780748623495
- eISBN:
- 9780748651849
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748623495.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
This book explores Virginia Woolf's preoccupation with the literary past and its profound impact on the content and structure of her novels. It analyses Woolf's reading and writing practices via her ...
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This book explores Virginia Woolf's preoccupation with the literary past and its profound impact on the content and structure of her novels. It analyses Woolf's reading and writing practices via her essays, diaries and reading notebooks, and presents chronological studies of eight of her novels, exploring how Woolf's intensive reading surfaced in her fiction. The book sheds light on Woolf's varied and intricate use of literary allusions; examines ways in which Woolf revisited and revised plots and tropes from earlier fiction; and looks at how she used parody as a means both of critical comment and homage. It offers fresh insights into individual works, and provides a challenging and provocative new perspective on Woolf's art as a novelist.Less
This book explores Virginia Woolf's preoccupation with the literary past and its profound impact on the content and structure of her novels. It analyses Woolf's reading and writing practices via her essays, diaries and reading notebooks, and presents chronological studies of eight of her novels, exploring how Woolf's intensive reading surfaced in her fiction. The book sheds light on Woolf's varied and intricate use of literary allusions; examines ways in which Woolf revisited and revised plots and tropes from earlier fiction; and looks at how she used parody as a means both of critical comment and homage. It offers fresh insights into individual works, and provides a challenging and provocative new perspective on Woolf's art as a novelist.
Melissa Dickson
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474443647
- eISBN:
- 9781474477055
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474443647.003.0003
- Subject:
- Literature, Criticism/Theory
Chapter 2 explores the use of the Arabian Nights as a familiar cultural narrative through which the burgeoning practices of archaeology, geology, geography and ethnography might be communicated. In ...
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Chapter 2 explores the use of the Arabian Nights as a familiar cultural narrative through which the burgeoning practices of archaeology, geology, geography and ethnography might be communicated. In this period, the imaginary voyage and adventures of the Arabian Nights, known since childhood, profoundly interacted with actual voyages above and below the ground, providing a narrative template for approaching new experiences that was already familiar to British readers. At the same time, this narrative strategy infused those emergent sciences with an enduring form of magic, or magical thinking, in the adult world, which informed processes of thinking about the physical laws of nature, the elements that comprise the globe, and new technological developments of the period. The magical possibilities and treasures of the Arabian Nights held an irresistible fascination for Western readers, who did not want to relinquish fully to the emergent discipline of science the potential meanings and possibilities of Eastern exploration.Less
Chapter 2 explores the use of the Arabian Nights as a familiar cultural narrative through which the burgeoning practices of archaeology, geology, geography and ethnography might be communicated. In this period, the imaginary voyage and adventures of the Arabian Nights, known since childhood, profoundly interacted with actual voyages above and below the ground, providing a narrative template for approaching new experiences that was already familiar to British readers. At the same time, this narrative strategy infused those emergent sciences with an enduring form of magic, or magical thinking, in the adult world, which informed processes of thinking about the physical laws of nature, the elements that comprise the globe, and new technological developments of the period. The magical possibilities and treasures of the Arabian Nights held an irresistible fascination for Western readers, who did not want to relinquish fully to the emergent discipline of science the potential meanings and possibilities of Eastern exploration.
- Published in print:
- 2006
- Published Online:
- June 2013
- ISBN:
- 9781846310324
- eISBN:
- 9781846314148
- Item type:
- chapter
- Publisher:
- Discontinued
- DOI:
- 10.5949/liverpool/9781846310324.003.0004
- Subject:
- Literature, Poetry
This chapter examines the strategies employed by Northern Irish poets who offer what Neil Corcoran has called ‘situatings, enquiries into symptoms and origins, trajectories of malaise’, and briefly ...
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This chapter examines the strategies employed by Northern Irish poets who offer what Neil Corcoran has called ‘situatings, enquiries into symptoms and origins, trajectories of malaise’, and briefly examines how poetry and politics intersect in the work of Paul Muldoon and Medbh McGuckian's most influential precursor, Seamus Heaney. It then contrasts Heaney's apprehensive use of literary allusions with Muldoon's more confident deployment of intertextuality and with McGuckian's secret embedding of quotations. In particular, the chapter focuses on how intertextual relations allow the younger poets to refer indirectly, without resorting to the extremes of either propaganda or hermeticism, both to the Troubles in Northern Ireland as well as to the wider issue of colonial inheritance.Less
This chapter examines the strategies employed by Northern Irish poets who offer what Neil Corcoran has called ‘situatings, enquiries into symptoms and origins, trajectories of malaise’, and briefly examines how poetry and politics intersect in the work of Paul Muldoon and Medbh McGuckian's most influential precursor, Seamus Heaney. It then contrasts Heaney's apprehensive use of literary allusions with Muldoon's more confident deployment of intertextuality and with McGuckian's secret embedding of quotations. In particular, the chapter focuses on how intertextual relations allow the younger poets to refer indirectly, without resorting to the extremes of either propaganda or hermeticism, both to the Troubles in Northern Ireland as well as to the wider issue of colonial inheritance.
Jean-Jacques Lecercle
- Published in print:
- 2010
- Published Online:
- March 2012
- ISBN:
- 9780748638000
- eISBN:
- 9780748652648
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748638000.003.0003
- Subject:
- Philosophy, General
This chapter focuses on Gilles Deleuze's reading of the works of Marcel Proust. It explains that in the concordance of literary allusions in Deleuze's works, the Proust entry is the longest, and that ...
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This chapter focuses on Gilles Deleuze's reading of the works of Marcel Proust. It explains that in the concordance of literary allusions in Deleuze's works, the Proust entry is the longest, and that allusions are present in practically all his books, from Proust and Signs to Essays Critical and Clinical. The chapter examines how Deleuze constructed a philosophical concept of strong reading and suggests that there are six such determinations of this concept.Less
This chapter focuses on Gilles Deleuze's reading of the works of Marcel Proust. It explains that in the concordance of literary allusions in Deleuze's works, the Proust entry is the longest, and that allusions are present in practically all his books, from Proust and Signs to Essays Critical and Clinical. The chapter examines how Deleuze constructed a philosophical concept of strong reading and suggests that there are six such determinations of this concept.
Pamela Barmash
- Published in print:
- 2021
- Published Online:
- October 2020
- ISBN:
- 9780197525401
- eISBN:
- 9780197525432
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780197525401.003.0004
- Subject:
- Religion, Biblical Studies
This chapter addresses the rich treasury of rhetorical devices the Laws of Hammurabi uses to present its message. It is structured in the form of a royal inscription, but it is not an ordinary ...
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This chapter addresses the rich treasury of rhetorical devices the Laws of Hammurabi uses to present its message. It is structured in the form of a royal inscription, but it is not an ordinary agglomeration of hackneyed bromides repeating standard wording. It is inventive and subtle in the way it fuses together a number of models from Hammurabi’s royal inscriptions, amplifying the authority of the king and demonstrating his devotion to justice. The Laws of Hammurabi incorporates a collection of statutes and presents them as being promulgated by the king immediately after his accession to the throne, rather than decades later: his pious actions are portrayed as timeless and unassailable achievements, rather than in chronological format. Verbal maps depict Hammurabi’s domination over different regions.Less
This chapter addresses the rich treasury of rhetorical devices the Laws of Hammurabi uses to present its message. It is structured in the form of a royal inscription, but it is not an ordinary agglomeration of hackneyed bromides repeating standard wording. It is inventive and subtle in the way it fuses together a number of models from Hammurabi’s royal inscriptions, amplifying the authority of the king and demonstrating his devotion to justice. The Laws of Hammurabi incorporates a collection of statutes and presents them as being promulgated by the king immediately after his accession to the throne, rather than decades later: his pious actions are portrayed as timeless and unassailable achievements, rather than in chronological format. Verbal maps depict Hammurabi’s domination over different regions.
