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Fb2 Metaromanticism: Aesthetics, Literature, Theory ePub

by Paul Hamilton

Category: History and Criticism
Subcategory: Fiction
Author: Paul Hamilton
ISBN: 0226314804
ISBN13: 978-0226314808
Language: English
Publisher: University of Chicago Press; 1 edition (July 15, 2003)
Pages: 312
Fb2 eBook: 1490 kb
ePub eBook: 1437 kb
Digital formats: rtf mobi doc lit

Paul Hamilton here redefines romanticism in terms of its philosophical habits of self-consciousness.

Paul Hamilton here redefines romanticism in terms of its philosophical habits of self-consciousness. According to Hamilton, metaromanticism, or the ways in which writers of the romantic period generalized their own practices, was fundamentally characteristic of the romantic project itself

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Metaromanticism: Aesthetics, Literature, Theory According to Paul Hamilton, metaromanticism, or the ways in which .

Metaromanticism: Aesthetics, Literature, Theory. Article in Studies in romanticism 43(4) · January 2004 with 14 Reads. How we measure 'reads'. According to Paul Hamilton, metaromanticism, or the ways in which writers of the romantic period generalized their own practices, was fundamentally characteristic of the romantic project itself. In the American poet Mark Doty’s books of the 1990s, allusions to Keats are so frequent and so pronounced as to make Keats appear a kind of presider to the poetry. Doty’s lyrics may often be elegiac in tone, but his use of Keats is neither elegiac nor nostalgic.

Semantic Scholar extracted view of "METAROMANTICISM: Aesthetics, literature, theory (Book)" by O. Murray Robinson. METAROMANTICISM: Aesthetics, literature, theory (Book). oceedings{NTICISMAL, title {METAROMANTICISM: Aesthetics, literature, theory (Book)}, author {O. Murray Robinson}, year {2004} }.

According to Paul Hamilton, metaromanticism, or the ways in which writers of the .

According to Paul Hamilton, metaromanticism, or the ways in which writers of the romantic period generalized their own practices, was fundamentally characteristic of the romantic project itself. Through a close look at the aesthetics of Friedrich Schiller and Jean-Jacques Rousseau, and key works by Samuel Taylor Coleridge, Percy and Mary Shelley, John Keats, Sir Walter Scott, Jane Austen, and many others, Hamilton shows how the romantic movement's struggle with its own tenets was not an effort to seek an alternative way of thought, but instead a way of. becoming what it already was.

in the realm of ethics, politics, aesthetics it was the authenticity and sincerity of the pursuit of inner goals that mattered; this applied equally to individuals and groups-states, nations, movements. The painter, the poet, the composer do not hold up a mirror to nature, however ideal, but invent; they do not imitate (the doctrine of mimesis), but create not merely the means but the goals that they pursue; these goals represent the self-expression of the artist's own unique, inner vision, to set aside which in response to the demands.

Adorno's Aesthetic Theory is not the first book you want to grab if you neither have a solid foundation in the basics of the German philosophical tradition, nor have spent some time reading other, more simplistic texts on aesthetics. This book is paratactic - some paragraphs run for several pages. This is intentional; Adorno's hope is to force the reader to think in a radial fashion, returning, like a spiral, back to ideas already presented, but framed differently.

The book Metaromanticism: Aesthetics, Literature, Theory, Paul Hamilton is published by University of Chicago Press. Through a close look at the aesthetics of Friedrich Schiller and Jean-Jacques Rousseau, and key works by Samuel Taylor Coleridge, Percy and Mary Shelley, John Keats, Sir Walter Scott, Jane Austen, and many others, Hamilton shows how the romantic movement’s struggle with its own tenets was not an effort to seek an alternative way of thought, but instead a way of. And yet, as he reveals, the romanticists were still not content with their own self-consciousness.

Hamilton, Paul (2003) Metaromanticism: Aesthetics, Literature, Theory (Chicago: University of Chicago Press). Hartman, Geoffrey (1970) Beyond Formalism (New Haven: Yale University Press). Hertz, Neil (1985) The End of the Line: Essays on Psychoanalysis and the Sublime (New York: Columbia University Press).

This bracing study redefines romanticism in terms of its philosophical habits of self-consciousness. According to Paul Hamilton, metaromanticism, or the ways in which writers of the romantic period generalized their own practices, was fundamentally characteristic of the romantic project itself. Through a close look at the aesthetics of Friedrich Schiller and Jean-Jacques Rousseau, and key works by Samuel Taylor Coleridge, Percy and Mary Shelley, John Keats, Sir Walter Scott, Jane Austen, and many others, Hamilton shows how the romantic movement's struggle with its own tenets was not an effort to seek an alternative way of thought, but instead a way of becoming what it already was. And yet, as he reveals, the romanticists were still not content with their own self-consciousness. Pushed to the limit, such contemplation either manifested itself as self-disgust or found aesthetic ideas regenerated in discourses outside of aesthetics altogether.
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