James Chandler
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780226034959
- eISBN:
- 9780226035000
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226035000.003.0009
- Subject:
- Literature, 18th-century Literature
This chapter analyzes the fate of the sentimental mode in the context of poetry. It suggests that many of the issues in Romantic poetry are similar those that have so far been considered, such as the ...
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This chapter analyzes the fate of the sentimental mode in the context of poetry. It suggests that many of the issues in Romantic poetry are similar those that have so far been considered, such as the characteristic features of mixed feelings, slippage of levels, and interchangeability of subject positions. It is just that these features tend to manifest differently in short works of verse.Less
This chapter analyzes the fate of the sentimental mode in the context of poetry. It suggests that many of the issues in Romantic poetry are similar those that have so far been considered, such as the characteristic features of mixed feelings, slippage of levels, and interchangeability of subject positions. It is just that these features tend to manifest differently in short works of verse.
James Chandler
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780226034959
- eISBN:
- 9780226035000
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226035000.003.0011
- Subject:
- Literature, 18th-century Literature
This chapter summarizes the preceding discussions and presents some final thoughts. The previous chapters addressed “basic problems of stance and mode” in the “composition” of the sentimental mode ...
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This chapter summarizes the preceding discussions and presents some final thoughts. The previous chapters addressed “basic problems of stance and mode” in the “composition” of the sentimental mode across fiction, poetry, cinema, and theater. It recognizes that modern literary criticism has had to overcome a programmatic institutional animosity toward cinema, dating from the modernist moment, and that, more recently, film studies has had its own suspicions about literary criticism. This book has sought to dramatize some of the many ways in which criticism in each field can benefit the other, focusing on the sentimental disposition.Less
This chapter summarizes the preceding discussions and presents some final thoughts. The previous chapters addressed “basic problems of stance and mode” in the “composition” of the sentimental mode across fiction, poetry, cinema, and theater. It recognizes that modern literary criticism has had to overcome a programmatic institutional animosity toward cinema, dating from the modernist moment, and that, more recently, film studies has had its own suspicions about literary criticism. This book has sought to dramatize some of the many ways in which criticism in each field can benefit the other, focusing on the sentimental disposition.
Mark Salber Phillips
- Published in print:
- 2013
- Published Online:
- October 2013
- ISBN:
- 9780300140378
- eISBN:
- 9780300195255
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300140378.003.0011
- Subject:
- History, Historiography
This chapter examines the sentimental mode in more popular forms of historical representation. It discusses the notion that an openly affective approach to the past is the sure mark of work written ...
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This chapter examines the sentimental mode in more popular forms of historical representation. It discusses the notion that an openly affective approach to the past is the sure mark of work written for a popular audience and suggest that one of the striking features of historical representation in the late decades of the twentieth century is the convergence of popular and academic histories on the ground of feeling. It also considers the interest of academic publishers in the so-called cross-over market of popular and academic histories.Less
This chapter examines the sentimental mode in more popular forms of historical representation. It discusses the notion that an openly affective approach to the past is the sure mark of work written for a popular audience and suggest that one of the striking features of historical representation in the late decades of the twentieth century is the convergence of popular and academic histories on the ground of feeling. It also considers the interest of academic publishers in the so-called cross-over market of popular and academic histories.
