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- Author: Chris Townsend
- Publisher: Cambridge University Press
- ISBN-10: 100922297X
- ISBN-13: 9781009222976
- Format: 15.2 x 22.9 x 0.4 cm, minkšti viršeliai
- Language: English
- SAVE -10% with code: EXTRA
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Description
Neoclassical and Romantic verse cultures are often assumed to sit in an oppositional relationship to one another, with the latter amounting to a hostile reaction against the former. But there are in fact a good deal of continuities between the two movements, ones that strike at the heart of the evolution of verse forms in the period. This Element proposes that the mid-eighteenth-century poet Mark Akenside, and his hugely influential Pleasures of Imagination, represent a case study in the deep connections between Neoclassicism and Romanticism. Akenside's poem offers a vital illustration of how verse was a rival to philosophy in the period, offering a new perspective on philosophic problems of appearance, or how the world 'seems to be'. What results from this is a poetic form of knowing: one that foregrounds feeling over fact, that connects Neoclassicism and Romanticism, and that Akenside called the imagination's 'pleasures'.
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- Author: Chris Townsend
- Publisher: Cambridge University Press
- ISBN-10: 100922297X
- ISBN-13: 9781009222976
- Format: 15.2 x 22.9 x 0.4 cm, minkšti viršeliai
- Language: English English
Neoclassical and Romantic verse cultures are often assumed to sit in an oppositional relationship to one another, with the latter amounting to a hostile reaction against the former. But there are in fact a good deal of continuities between the two movements, ones that strike at the heart of the evolution of verse forms in the period. This Element proposes that the mid-eighteenth-century poet Mark Akenside, and his hugely influential Pleasures of Imagination, represent a case study in the deep connections between Neoclassicism and Romanticism. Akenside's poem offers a vital illustration of how verse was a rival to philosophy in the period, offering a new perspective on philosophic problems of appearance, or how the world 'seems to be'. What results from this is a poetic form of knowing: one that foregrounds feeling over fact, that connects Neoclassicism and Romanticism, and that Akenside called the imagination's 'pleasures'.
Reviews