Romantic Horizons: Aspects of the Sublime in English Poetry and Painting, 1770-1850, Volume 10 |
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Page 16
14 1 hope to show by looking at visual and verbal texts (romantic "handwriting") that this is not entirely true. The surpassing of limits does "throw the mind back on itself," but the experience does not become inexplicable, ...
14 1 hope to show by looking at visual and verbal texts (romantic "handwriting") that this is not entirely true. The surpassing of limits does "throw the mind back on itself," but the experience does not become inexplicable, ...
Page 15
It is visual first , then visionary . It is literally spectacular . This " displaced Protestantism , " as Bloom has called it , suggests that a higher consciousness is possible , that the spiritual unity denied to mankind in the Fall is ...
It is visual first , then visionary . It is literally spectacular . This " displaced Protestantism , " as Bloom has called it , suggests that a higher consciousness is possible , that the spiritual unity denied to mankind in the Fall is ...
Page 113
Byron saw the sublime for himself ; Martin saw it through others , but it was visual and spectacular for them both . Martin Meisel explains this compatibility : The dematerialization of the sublime , its translation into subjective ...
Byron saw the sublime for himself ; Martin saw it through others , but it was visual and spectacular for them both . Martin Meisel explains this compatibility : The dematerialization of the sublime , its translation into subjective ...
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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