Byron and the Limits of FictionBernard G. Beatty, Vincent Newey Liverpool University Press, 1988 - 291 sider This collection of new articles aims to answer the fundamental questions of Byron's attitude to fiction and to the limits inherent in this art form and in life itself. The book's purpose, as well as celebrating the bicentennial of Byron's birth, has been to assemble a collection of scholarly and informed articles round a particular theme. In this work the theme (given in the title) arises in two ways; first, Byron himself was passionately concerned with the nature and status of fiction and yet often sceptical of its importance. Secondly, it is a major topic of current literary criticism which is increasingly preoccupied with fictions as completely autonomous structures. Byron's poetry should be seen as a version of these concerns but also as one of the earliest deliberate challenges to them. All of Byron's major poems, together with his forays into prose fiction, are considered in this volume. Contributors pursue their own approaches but a particular emphasis of the volume as a whole is the strange immediacy of Byron's poetry, which seems to arise from both the self-consciousness of his undertaking and from his fidelity to what is rather than what is merely known or stated. The method of most contributors is to address these important topics, but substantiate their arguments by detailed reading of texts. |
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Side 42
... lyric as genre . The very name ' song ' involves an analogy with music which insists more purely than poetry on the succession of moments which gives it being . This is to assume that , though lyric is often personal , that quality is ...
... lyric as genre . The very name ' song ' involves an analogy with music which insists more purely than poetry on the succession of moments which gives it being . This is to assume that , though lyric is often personal , that quality is ...
Side 43
... lyric is manifestly able to absorb other genres , descriptive , discursive , satiric , even epic , but only from the special viewpoint of the momentary . The advantage it offers the poet is that a collection of lyrics can image the ...
... lyric is manifestly able to absorb other genres , descriptive , discursive , satiric , even epic , but only from the special viewpoint of the momentary . The advantage it offers the poet is that a collection of lyrics can image the ...
Side 66
... lyric spirit , which knows no more than it sees , stays like Kaled with what it feels through the authority of the moment , remaining ' true ' at whatever cost . The later tales , with the exception of The Island , seem both slighter ...
... lyric spirit , which knows no more than it sees , stays like Kaled with what it feels through the authority of the moment , remaining ' true ' at whatever cost . The later tales , with the exception of The Island , seem both slighter ...
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Fictions Limit and Edens Door BERNARD BEATTY I | 1 |
Lyric Presence in Byron from the Tales to | 39 |
The Orientalism of Byrons Giaour MARILYN | 78 |
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action allowed apparent Aurora become begins Byron Cain called Canto character Childe Harold Christian claims close consciousness course critics death deep Don Juan effect example existence experience eyes fact fall feeling fiction figure finally follows Giaour give given hand heart hero human imagination interest Island kind knowledge language Lara later leave less limits live London look lyric Manfred meaning mind moment moral move narrative nature never offer once pain past perhaps play poem poet poetic poetry possible present punishment question reader reading reference reflection relation Romantic satire seems seen sense separate Shelley shift simply space spirit stanza story suggest tale tell things thought truth turn verse voice whole Wordsworth writing