Poetry and the Feminine from Behn to CowperUniversity of Delaware Press, 2005 - 227 ページ Poetry and the Feminine from Behn to Cowper revisits the foundations of poetic representation and value for women and men poets of the Restoration and eighteenth century including Aphra Behn, John Dryden, Anne Killigrew, Anne Finch, and Alexander Pope. The author argues that fundamental to poetic innovation in this era are poets' revisions of feminine figures such as the muse and nature. Feminine Nature serves these poets as an infinitely expandable category of form that allows them to redefine poetry and poetic subjectivity. These poetic innovations include exploring the very grounds of mimesis, dismantling the hierarchy of poetic kinds, and using sensibility to yoke aesthetic and ethical values. Using an inclusive framework, the author presents a history of poetic change through women's and men's complex dialogues with poetic contexts and conventions. Jennifer Keith is Associate Professor at the University of North Carolina at Greensboro. |
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... beginning . " Beginnings are always scandalous , " he argues , but by returning to a tradi- tional source , a " sanctified origin , " a " beginning that erupted in the remote past , " a poet can confirm authority through lineage and ...
... beginning . " Beginnings are always scandalous , " he argues , but by returning to a tradi- tional source , a " sanctified origin , " a " beginning that erupted in the remote past , " a poet can confirm authority through lineage and ...
75 ページ
... beginning of the poem , " Tis to love , as I love You , " Sidney's poem has continued to test the powers of words through a series of paradoxes , including , " It is a praise to praise , when thou art praisde . " Finch insists on the ...
... beginning of the poem , " Tis to love , as I love You , " Sidney's poem has continued to test the powers of words through a series of paradoxes , including , " It is a praise to praise , when thou art praisde . " Finch insists on the ...
98 ページ
... beginning overtly fictional , by the end of the poem , when the last shreds of pastoral ideals have vanished , the speak- er's powers are so intertwined in artifice that art can no longer be said to imitate Nature . Language is indeed ...
... beginning overtly fictional , by the end of the poem , when the last shreds of pastoral ideals have vanished , the speak- er's powers are so intertwined in artifice that art can no longer be said to imitate Nature . Language is indeed ...
目次
Introduction | 11 |
Dryden Pope and the Transformation of the Muse | 30 |
Women Poets and the Muse | 51 |
著作権 | |
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achievement aesthetic Anne Anne Finch appears approach argues asserts Augustan Behn body Cambridge century chapter character claims classical conventional Criticism Culture defines describes discussion divine Dryden early edited eighteenth Eighteenth-Century empirical England English Essays establish female feminine feminized figure Finch friendship function gender Gray History human identifies identity images imagination imitation inspiration James John Killigrew kinds labor land landscape language limits lines literary Literature male masculine material moral muse Nature notion object obscure observes Oxford pastoral person personification poem poet's poetic authority poetry political Pope Pope's position prospect reader relation religious represent representation Restoration revision rhetorical role Romantic seen sensibility sentimental serves sexual shows social soul speaker spiritual Spring structure Studies sublime suffering Swift Thomson tion tradition transformation tree turn University Press values verse virtue voice woman women poets writers York