Romantic Horizons: Aspects of the Sublime in English Poetry and Painting, 1770-1850, Volume 10 |
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Page 13
aspects of the sublime in English poetry and painting, 1770-1850 James B. Twitchell. Longinus was supposedly the first to discuss the sublime, but in fact he said precious little about what was to be considered sublimity.
aspects of the sublime in English poetry and painting, 1770-1850 James B. Twitchell. Longinus was supposedly the first to discuss the sublime, but in fact he said precious little about what was to be considered sublimity.
Page 14
aspects of the sublime in English poetry and painting, 1770-1850 James B. Twitchell. tion, and so on.13 It is this second group we are interested in, and it is, of course, Edmund Burke who is here the most important for hjs ...
aspects of the sublime in English poetry and painting, 1770-1850 James B. Twitchell. tion, and so on.13 It is this second group we are interested in, and it is, of course, Edmund Burke who is here the most important for hjs ...
Page 223
Aspects of the Sublime in English Poetry and Painting, 1770-1850 James B. Twitchell ... and natural supernaturalism , 187–88 Abstract Expressionism : and sublime , 188 , 201 , 207 Adams , Hazard : on The Mental Traveller , 44-45 , 50-51 ...
Aspects of the Sublime in English Poetry and Painting, 1770-1850 James B. Twitchell ... and natural supernaturalism , 187–88 Abstract Expressionism : and sublime , 188 , 201 , 207 Adams , Hazard : on The Mental Traveller , 44-45 , 50-51 ...
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Contents
William Blake The Arlington Court Picture | 52 |
Evening | 78 |
W Turner The Slave Ship | 101 |
Copyright | |
8 other sections not shown
Common terms and phrases
achieved aesthetic Ancient appear artists attempt awareness beautiful became become Blake Byron called cave central century clearly clouds Coleridge color concerned consciousness considered Constable Constable's continue cosmic Cozens critics Cynthia daemons described earth edge effect elevated Endymion English especially eternal ethereal exist experience explain fact feel finally forms give heaven higher horizon human imagination important interest interpretations John Keats kind landscape light liminal lines look Manfred Martin matter meaning mind mountains nature never nineteenth objects once organized painters painting picture play pleasure poem poet poetry Prometheus psychological refers result romantic scene seems seen sense Shelley side soul space spirits structure Study sublime things thought threshold tion tradition trees turn Turner Unbound understanding universe vision visual Wordsworth