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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... turn out to be some of the hardest to write. In full knowl- edge of such difficulties, I would nevertheless like to thank a number of people. Michael Bradshaw, Nicholas Roe and the two readers for Cambridge University Press read an ...
... turn out to be some of the hardest to write. In full knowl- edge of such difficulties, I would nevertheless like to thank a number of people. Michael Bradshaw, Nicholas Roe and the two readers for Cambridge University Press read an ...
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... turn , generates deferred reception since the original poem is defined as one which cannot ( immediately ) be read . The original poem is both new and before its time . Indeed , it is before its time precisely because it is new . The ...
... turn , generates deferred reception since the original poem is defined as one which cannot ( immediately ) be read . The original poem is both new and before its time . Indeed , it is before its time precisely because it is new . The ...
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... turns ' ephemeral life into personal immortality ' ( pp . 38 , 39 ) . According to Rank , then , the artist has an ambivalent relationship with his own work - one which explains , for example , ' writer's block ' – since the ' totality ...
... turns ' ephemeral life into personal immortality ' ( pp . 38 , 39 ) . According to Rank , then , the artist has an ambivalent relationship with his own work - one which explains , for example , ' writer's block ' – since the ' totality ...
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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