Romantic Poets and the Culture of PosterityThis 1999 book examines the way in which the Romantic period's culture of posterity inaugurates a tradition of writing which demands that the poet should write for an audience of the future: the true poet, a figure of neglected genius, can be properly appreciated only after death. Andrew Bennett argues that this involves a radical shift in the conceptualization of the poet and poetic reception, with wide-ranging implications for the poetry and poetics of the Romantic period. He surveys the contexts for this transformation of the relationship between poet and audience, engaging with issues such as the commercialization of poetry, the gendering of the canon, and the construction of poetic identity. Bennett goes on to discuss the strangely compelling effects which this reception theory produces in the work of Wordsworth, Coleridge, Keats, Shelley and Byron, who have come to embody, for posterity, the figure of the Romantic poet. |
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Page 5
... articulation of the idea of posthumous recogni- tion and the disturbances and dislocations it produces in poetry written under its auspices . In part 1 of this book I present an account of the configuration of pos- terity in Romantic ...
... articulation of the idea of posthumous recogni- tion and the disturbances and dislocations it produces in poetry written under its auspices . In part 1 of this book I present an account of the configuration of pos- terity in Romantic ...
Page 6
... articulations of the culture of posterity are themselves sites of desire and fascination for future readers . Above ... articulation of the culture of pos- terity . And yet here again there are particular divergencies and inflections to ...
... articulations of the culture of posterity are themselves sites of desire and fascination for future readers . Above ... articulation of the culture of pos- terity . And yet here again there are particular divergencies and inflections to ...
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... articulated in the texts of the major , canonical poets and , rather differently , in the poetics of the ' feminine ' which I explore in chapter 3 – has a crucial place in my argument , since it is in the space of internal conflict ...
... articulated in the texts of the major , canonical poets and , rather differently , in the poetics of the ' feminine ' which I explore in chapter 3 – has a crucial place in my argument , since it is in the space of internal conflict ...
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... articulate the possibility of death as the precondition for certain forms of writing known as ' literature ' . I suggest ... articulation of this desire in Romantic writing . To put it simply , if neoclassicism may be said to involve the ...
... articulate the possibility of death as the precondition for certain forms of writing known as ' literature ' . I suggest ... articulation of this desire in Romantic writing . To put it simply , if neoclassicism may be said to involve the ...
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aesthetic afterlife argues articulation assertion audience body Byron canon Chatterton Clarendon Coleridge Coleridge's concern constitutes contemporary context criticism culture of posterity D'Israeli dead death declares Derrida desire discourse dissolution Don Juan Dorothy Dorothy Wordsworth eighteenth century English ephemeral epitaph essay example fact Felicia Hemans figure future Gender ghosts Harold Bloom haunting Hazlitt Hemans human Ibid imagination immortality involves Isaac D'Israeli Jacques Derrida John Keats Keats's Keatsian language Leo Bersani letter lines literal literary Literature living London mortal noise Oxford University Press paradox PBSL poem poet's poetic poetry posthumous fame posthumous recognition present Prose published quoted readers reading reception redemptive remembered reputation Robert Southey Romantic culture Romantic period Romantic poets Romantic posterity Romanticism sense Shakespeare Shelley Shelley's sound Southey speaker stanza suggest survival Talker theory Thomas thought Tintern Abbey tion trans voice William William Wordsworth women poets word Wordsworth writing