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Author: Tom Marshall
Publisher: Springer Nature
ISBN: 3030527301
Category : Literary Criticism
Languages : en
Pages : 217
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Book Description
This book re-evaluates the philosophical status of Samuel Taylor Coleridge by providing an extended comparison between his work and the phenomenological theory of Edmund Husserl. Examining Coleridge’s accounts of the imagination, perception, poetic creativity and literary criticism, it draws a systematic and coherent structure out of a range of Coleridge’s philosophical writing. In addition, it also applies the principles of Coleridge’s philosophy to an interpretation of his own poetic output.
Author: Tom Marshall
Publisher: Springer Nature
ISBN: 3030527301
Category : Literary Criticism
Languages : en
Pages : 217
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Book Description
This book re-evaluates the philosophical status of Samuel Taylor Coleridge by providing an extended comparison between his work and the phenomenological theory of Edmund Husserl. Examining Coleridge’s accounts of the imagination, perception, poetic creativity and literary criticism, it draws a systematic and coherent structure out of a range of Coleridge’s philosophical writing. In addition, it also applies the principles of Coleridge’s philosophy to an interpretation of his own poetic output.
Author: Kiran Toor
Publisher: Cambridge Scholars Publishing
ISBN: 1443827630
Category : Literary Criticism
Languages : en
Pages : 270
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Book Description
This book is an attempt to assess the creative potential of alchemy as a master trope in Coleridge’s conception of authorship and imagination. It begins with a challenge to the idea that an autonomous author is at the centre of a literary work. This idea is crucial to the reception of literature and to the way in which concepts of “originality” and “authorship” are typically understood. Against this marking out of an author as a singular, autonomous, and uniquely privileged “self,” it is posited that, for Coleridge, authorship occurs in a transformative or alchemical interspace between the desire for self-expression and the necessarily other-determined nature of creativity. Offering an alternative trajectory for the author, Coleridge elaborates an imaginative strategy in which the dislocation of the self from itself is the truest path to self-expression, and the author must become other in order to become more fully himself. Demonstrating a unique link between plagiarism and creativity, this book suggests that alchemy, better than any other system, accounts for Coleridge’s propensity for plagiarism and for an aesthetic of artifice. In an attempt to trace Coleridge’s familiarity with Hermetic and alchemical discourses throughout his life, it has been necessary to review works as varied as those of Plato, Marsilio Ficino, Ralph Cudworth, Jacob Boehme, Herman Boerhaave, and F. W. J. Schelling. It is then suggested how Coleridge appropriates alchemical terminology to his own aesthetic and imaginative ends. Unable to resolve the desire for aesthetic autonomy with the impossibility of asserting the self in one’s own voice, Coleridge “plays” in the hermeneutic interspace between selfhood and otherness, creativity and counterfeit, authority and artifice in order to arrive at an entirely unique strategy of alchemical self-exposition. Arriving at authorial selfhood through the odyssey of alterity, Coleridge’s “play”giarisms, in this view, do not violate the principles of originality, but redefine them. The book ends with a consideration of the necessarily negotiated fiction of all acts of imagination and authorship.
Author: Karen Petroski
Publisher: Taylor & Francis
ISBN: 1000852628
Category : Literary Criticism
Languages : en
Pages : 175
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Book Description
Does fiction enhance reality, or threaten our sense of what is real? What, if anything, is special about experiencing fictional works and worlds? Today we speak casually of parallel universes and virtual reality; how much do we really know about what these phenomena involve? In Fictionality, Karen Petroski explains how philosophers and literary theorists have approached these questions in the Western literary tradition, from Greek antiquity to the present day. The book introduces readers to both long-running and contemporary debates about: The value and dangers of engagement with fiction The origins of fictional artworks, especially literary works, in Western literature The role played by imagination in engaging with fiction The peculiarities of fictional "worlds" The structure of linguistic reference within fictional artworks The functions of fictionality in non-linguistic artworks such as film and television The role played by fictionality outside artworks, for example, in philosophy, law, and politics Fictionality offers an accessible and comprehensive introduction to this field of increasing critical and theoretical interest. Bringing together theoretical insights from a variety of perspectives, it will be an essential resource for anyone studying fictionality.
Author: Louis Armand
Publisher: Northwestern University Press
ISBN: 0810123606
Category : Literary Criticism
Languages : en
Pages : 428
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Book Description
Exploring the boundaries of one of the most contested fields of literary study—a field that in fact shares territory with philology, aesthetics, cultural theory, philosophy, and even cybernetics—this volume gathers a body of critical writings that, taken together, broadly delineate a possible poetics of the contemporary. In these essays, the most interesting and distinguished theorists in the field renegotiate the contours of what might constitute "contemporary poetics," ranging from the historical advent of concrete poetry to the current technopoetics of cyberspace. Concerned with a poetics that extends beyond our own time, as a mere marker of present-day literary activity, their work addresses the limits of a writing "practice"—beginning with Stéphane Mallarmé in the late nineteenth century—that engages concretely with what it means to be contemporary. Charles Bernstein's Swiftian satire of generative poetics and the textual apparatus, together with Marjorie Perloff's critical-historical treatment of "writing after" Bernstein and other proponents of language poetry, provides an itinerary of contemporary poetics in terms of both theory and practice. The other essays consider "precursors," recognizable figures within the histories or prehistories of contemporary poetics, from Kafka and Joyce to Wallace Stevens and Kathy Acker; "conjunctions," in which more strictly theoretical and poetical texts enact a concerted engagement with rhetoric, prosody, and the vicissitudes of "intelligibility"; "cursors," which points to the open possibilities of invention, from Augusto de Campos's "concrete poetics" to the "codework" of Alan Sondheim; and "transpositions," defining the limits of poetic invention by way of technology.
Author: Ewan James Jones
Publisher: Cambridge University Press
ISBN: 1107068444
Category : Literary Criticism
Languages : en
Pages : 261
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Book Description
This book argues that Coleridge's most important philosophical ideas were expressed not through theoretical argument but through his poems.
Author:
Publisher: R. R. Bowker
ISBN:
Category : Reference
Languages : en
Pages : 1360
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Book Description
Author: Johannes Riquet
Publisher:
ISBN: 0198832400
Category : History
Languages : en
Pages : 370
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Book Description
This volume studies the spatial poetics of islands as depicted in literature, the journals of explorers and scientists, and in film. It shows how voyages of discovery posed challenges to the experience of space and how such challenges were negotiated via poetic engagement with islands.
Author: Rob Pope
Publisher: Routledge
ISBN: 1134273525
Category : Literary Criticism
Languages : en
Pages : 321
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Book Description
Creativity: Theory, History, Practice offers important new perspectives on creativity in the light of contemporary critical theory and cultural history. Innovative in approach as well as argument, the book crosses disciplinary boundaries and builds new bridges between the critical and the creative. It is organised in four parts: Why creativity now? offers much-needed alternatives to both the Romantic stereotype of the creator as individual genius and the tendency of the modern creative industries to treat everything as a commodity defining creativity, creating definitions traces the changing meaning of 'create' from religious ideas of divine creation from nothing to advertising notions of concept creation. It also examines the complex history and extraordinary versatility of terms such as imagination, invention, inspiration and originality dreation as myth, story, metaphor begins with modern re-tellings of early African, American and Australian creation myths and – picking up Biblical and evolutionary accounts along the way – works round to scientific visions of the Big Bang, bubble universes and cosmic soup creative practices, cultural processes is a critical anthology of materials, chosen to promote fresh thinking about everything from changing constructions of 'literature' and 'design' to artificial intelligence and genetic engineering. Rob Pope takes significant steps forward in the process of rethinking a vexed yet vital concept, all the while encouraging and equipping readers to continue the process in their own creative or 're-creative' ways. Creativity: Theory, History, Practice is invaluable for anyone with a live interest in exploring what creativity has been, is currently, and yet may be.
Author: Modern Language Association of America
Publisher:
ISBN:
Category : Languages, Modern
Languages : en
Pages : 3174
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Book Description
Vols. for 1969- include ACTFL annual bibliography of books and articles on pedagogy in foreign languages 1969-
Author: Mario Slugan
Publisher: Bloomsbury Publishing
ISBN: 1786725401
Category : Performing Arts
Languages : en
Pages : 233
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Book Description
Noël Carroll is one of the most prolific, widely-cited and distinguished philosophers of art, but how, specifically, has cinema impacted his thought? This book, one of the first in the acclaimed 'Film Thinks' series, argues that Carroll's background in both cinema and philosophy has been crucial to his overall theory of aesthetics. Often a controversial figure within film studies, as someone who has assertively contested the psychoanalytic, semiotic and Marxist cornerstones of the field, his allegiance to alternative philosophical traditions has similarly polarised his readership. Mario Slugan proposes that Carroll's defence of the notions of truth and objectivity provides a welcome antidote to 'anything goes' attitudes and postmodern scepticism towards art and popular culture, including film. Carroll's thinking has loosened the grip of continental philosophers on cinema studies - from Maurice Merleau-Ponty to Gilles Deleuze and Jacques Lacan - by turning to cognitive and analytical approaches. Slugan goes further to reveal that Carroll's methods of evaluation and interpretation in fact, usefully bridge gaps between these `opposing' sides, to look at artworks anew. Throughout, Slugan revisits and enriches Carroll's definitions of popular art, mass art, horror, humour and other topics and concludes by tracing their origins to this important thinker's relationship with the medium of cinema.
