Critical discourses of the fantastic, 1712 - 1831:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Farnham [u.a.]
Ashgate
2011
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | 191 S. |
| ISBN: | 9781409428626 |
Internformat
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents
Acknowledgments
vii
Introduction: Romanticism as the Origin and End of the Fantastic
1
1
The Fairy Way of Writing
7
2
Interlocked Definitions: The Fantastic, the Sublime, the Uncanny
17
3
The Sublime and Fantastic: Joseph Addison, Longinus,
Edmund Burke
33
4
Romantic Wildness and Fantastic Modernity in Anti-Apparition
Writings, the Ballad Controversy, and Romance Criticism
47
5
The Fantastic and the Fabulous Past: Richard
Hurd
and James Bcattic
63
6
Gothick Pasts and Gothick Futures: Horace Walpole and
Mary Shelley
71
7
This Wild Strain of Imagination : Samuel Johnson and
John Hawkesworth on Wonder
8
1
8
Fairy Unexplained in Ann Radcliffe s The Mysteries ofUdolpho
91
9
Supernatural Modernity in Walter Scott s Redgauntlet and
James Hogg s The Private Memoirs and Confessions of a
Justified Sinner
107
10
The Floating Corpse of Fairyland: William Wordsworth and
Fable s Dark Abyss
117
1
1
On Two Faults in a Work of Such Pure Imagination : Samuel
Taylor Coleridge and Anna Letitia Barbauld on The Rime of the
Ancient Mariner
129
12
Faery Lands Forlorn and the Failure of the Imagination:
John Keats Perilous Realm of Faery
147
Afterword: A Typology of the Fantastic: Dispossession, Fragmentation,
Domestication, and Possession
159
Appendix: A Chronology of Early Critical Sources on the Fantastic
173
Bibliography 1
75
index
189
Challenging literary histories that locate the emergence of fantastic literature in the Romantic
period, David Sandner shows that tales of wonder and imagination were extremely popular
throughout the eighteenth century. Sandner engages contemporary critical definitions-and
defenses of eighteenth- and early nineteenth-century fantastic literature, demonstrating that
a century of debate and experimentation preceded the Romantics interest in the creative
imagination. In The Fairy Way of Writing/ Joseph Addison first defines the literary use of
the supernatural in a modern and rational age. Other writers like Richard
Hurd,
James
Beattie, Samuel Johnson, James Percy, and Walter Scott influence the shape of the fantastic
by defining and describing the modern fantastic in relation to a fabulous and primitive past.
As the genre of the purely imaginary, Sandner argues, the fantastic functions as a discourse
of the sublime
imagination,
albeit a contested discourse that threatens to disrupt any attempt
to ground the sublime in the realistic or sympathetic imagination. His readings of works by
authors such as Ann Radcliffe, William
Beckford,
Horace
Walpole, Mary
Shelley, Walter Scott,
and James Hogg not only redefine the antecedents of the fantastic but also offer a convincing
account of how and why the fantastic came to be marginalized in the wake of the Enlightenment,
|
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| language | English |
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| title | Critical discourses of the fantastic, 1712 - 1831 |
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| title_short | Critical discourses of the fantastic, 1712 - 1831 |
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