Ваша оценкаЦитаты
innashpitzberg18 апреля 2013 г.The gothic influence pervaded the English novel and shorter fiction throughout the same period. Sir Walter Scott gave it respectability by linking it to Scottish folk backgrounds and offering it a home in the fashionable neighbourhood of the historical novel. It stimulated the work of the Brontë sisters as it shaped the characterization of the heroes of Wuthering Heights (1848), Jane Eyre (1847) and Villette (1853) and haunted the novels’ settings.
81- innashpitzberg18 апреля 2013 г.
Concerned chiefly with effect, Edgar Allan Poe used gothic material—ghastly settings, Byronic characters, atmosphere and mood—to create the emotional response characteristic of the genre from its inception. His Tales of the Grotesque and Arabesque (1840), in which ‘The Fall of the House of Usher’ appeared, stands as the classic example of American gothic fiction.
81 - innashpitzberg18 апреля 2013 г.
The lure of the Middle Ages, the traditional setting of the gothic, extended from the uninhibited curiosity of antiquarians to the sophisticated critical writing of Bishop Richard Hurd’s Letters on Chivalry and Romance (1762), the seeking out of medieval ballads, and the revised reputation of Spenser’s Faerie Queene.
80 - innashpitzberg18 апреля 2013 г.Читать далее
Not even the most myopic scholar ever believed that the gothic novel came naked into the world in 1764, prancing forth fully grown from Horace Walpole’s imagination and unattended by handmaidens from the muses of the sister arts. At the very least it was recognized that Walpole’s Castle of Otranto, gothic fiction in its infancy, wore the swaddling clothes fabricated from the architectural interests expressed in his building at Strawberry Hill and the antiquarian experiences evident in his historical works on English authors and painters.
83 - innashpitzberg8 апреля 2013 г.
George Eliot’s egoists, like Dickens’s characters, are too encumbered by flesh and blood and daily living; but unlike Dickens’s more evanescent narrator, hers provides for a complex populous universe of metaphoric articulation: a kind of flexible, provoking, sustained awareness that holds together into a single medium the roll and pitch of the temporal sequence and is essentially coextensive with it.
80 - innashpitzberg24 февраля 2013 г.
Verlaine thus practises the same kind of human Symbolism as Baudelaire. But he differs from the older poet in that the transcendental aspect of Symbolism is largely absent from his work. He lacks Baudelaire’s sustained imaginative power and his ability to create a compelling picture of the heaven, or hell, awaiting him. He prefers to indulge his particular and peculiar genius for conveying his feelings in a few swift strokes sketching out the objects or events which symbolize those feelings.
80 - innashpitzberg23 февраля 2013 г.
Where did the category of the grotesque come from? During the 1840s John Ruskin was working on Modern Painters, developing a new aesthetic, implicitly a democratic aesthetic, by which the works of Turner could be appreciated. He broke off from these volumes to write Stones of Venice, and in the third and last of these volumes (1853) he elaborated the category of the grotesque, one of the characteristics of Gothic art, devoting a long chapter to it (chapter 3).
80 - innashpitzberg23 февраля 2013 г.
Browning came of a dissenting Congregationalist family. Dissenters were excluded from certain privileges and powers (unlike Tennyson, for instance, Browning could not have been admitted to one of the older universities) and they tended to form their own centres of power and thought.
80 - innashpitzberg23 февраля 2013 г.Читать далее
Blake was of an older generation than Wordsworth and Coleridge, though he actually outlived Byron, Shelley and Keats and was writing major poetry several years after Wordsworth and Coleridge had stopped doing so. He was largely isolated from the other writers (the possibility of a direct influence on Shelley is one of the great unsolved mysteries of literary history); but he has come to be treated by later twentieth-century scholars as a romantic—rather than the outstanding late eighteenth-century eccentric to be classed along with (if immeasurably above) Thomas Chatterton and James Macpherson—because of his anticipation of central romantic concerns.
80 - innashpitzberg23 февраля 2013 г.
Furthermore, in spite of recent questionings of the traditional English literary canon, ‘Romantic poetry’ still means primarily the work of six great poets: William Blake (1757-1827), William Wordsworth (1770-1850), Samuel Taylor Coleridge (1772-1834), Lord Byron (1788-1824), Percy Bysshe Shelley (1792-1822) and John Keats (1795-1821).
81