scispace - formally typeset
Search or ask a question
Book

Formal Charges: The Shaping of Poetry in British Romanticism

01 Jan 1997-
TL;DR: The formings of simile: Coleridge's 'comparing power' 4. Revision as form: Wordsworth's drowned man 5. Teasing form: the crisis of Keats's last lyrics 7. Social form: Shelley and the determination of reading Notes Index.
Abstract: Abbreviations 1. Formal intelligence: formalism, romanticism, and formalist criticism 2. Sketching verbal form: Blake's Political Sketches 3. The formings of simile: Coleridge's 'comparing power' 4. Revision as form: Wordsworth's drowned man 5. Heroic form: couplets, 'self', and Byron's Corsair 6. Teasing form: the crisis of Keats's last lyrics 7. Social form: Shelley and the determination of reading Notes Index.
Citations
More filters
Journal ArticleDOI
TL;DR: This article examined two forms of self-implication in literary reading: simile and metaphor, and found that simile is more similar to the way a reader identifies with a part of the world of the text, usually the narrator or a character.
Abstract: Literary reading has the capacity to implicate the self and deepen self- understanding, but little is known about how and when these effects occur. The present article examines two forms of self-implication in literary reading. In one form, which functions like simile, there is explicitly recognized similarity between personal memories and some aspect of the world of the text (A is like B). In another form, which functions like metaphor, the reader becomes identified with some aspect of the world of the text, usually the narrator or a character (A is B). These forms of self-implication can be differentiated within readers' open-ended comments about their reading experiences.The results of a phenomenological study indicate that such metaphors of personal identification are a pivotal feature of expressive enactment, a type of reading experience marked by (1) explicit descriptions of feelings in response to situations and events in the text, (2) blurred boundaries between oneself and the narrator of the text, and (3) active and iterative modification of an emergent affec- tive theme. The self-modifying feelings characteristic of expressive enactment give it a fugal form, manifest as thematic developments that move toward saturation, rich- ness, and depth. The results of an experimental study suggest that expressive enact- ment occurs frequently among individuals who remain depressed about a signifi- cant loss that occurred some time ago. Together with the phenomenological study,

147 citations

Journal ArticleDOI
TL;DR: For example, the authors argues that the form of the literary artifact is by no means simply an aftereffect of the real; it may itself promise or predict a new reality, and that the "historical or ideological subtext... is not immediately present as such, not some common-sense external reality," but rather must itself always be (re) constructed after the fact.
Abstract: ince the demise of the New Criticism, literary critics have struggled to articulate links between literary forms and social formations. From Georg Lukaics to Pierre Macherey and Fredric Jameson, Marxists have been inclined to understand literary forms as expressions of social and economic realities. To be sure, literary forms do not reflect economic arrangements in any simple way in this critical tradition. In The Political Unconscious (1981) -perhaps the most sustained articulation of a Marxist incorporation of formalist concerns-Jameson defines an attention to the ideology of form as an effort to grasp the "symbolic messages transmitted to us by the coexistence of various sign systems which are themselves traces or anticipations of modes of production" (76). Traces or anticipations: for Jameson, the form of the literary artifact is by no means simply an aftereffect of the "real"; it may itself promise or predict a new reality. Urging us to move beyond political readings that focus on a text's content-its representation of class relations, for example -Jameson argues that the "historical or ideological subtext ... is not immediately present as such, not some common-sense external reality," but "rather must itself always be (re) constructed after the fact" (81). Thus it is literary forms, read in their rich complexity as struggles among conflicting sign systems, that bear witness to a dialectical social agon, offering us our best access to both existent and emergent systems of social relations. Foucauldian and New Historicist critics, too, have argued that literary forms do not merely reflect social relationships but may help bring them into being. Powerfully influential accounts of the

93 citations

Journal ArticleDOI
TL;DR: A controversial argument or discussion; argumentation against some opinion, doctrine, etc.; aggressive controversy; in pl. adj. of or pertaining to controversy; controversial; disputatious B. as mentioned in this paper.
Abstract: polemic: [Gr. war] A. adj. of or pertaining to controversy; controversial; disputatious B. sb. 1. A controversial argument or discussion; argumentation against some opinion, doctrine, etc.; aggressive controversy; in pl. the practice of this, especially as a method of conducting theological controversy; opposed to irenics. 1638 Drumm. of Hawth. Irene Wks. (1711) 172 Unhappy we, amidst our many and diverse contentions, furious polemicks, endless variances, . . . debates and quarrels! —Oxford English Dictionary

68 citations

Book
Andrew Franta1
01 Jan 2007
TL;DR: In this article, the regime of publicity from Burke to Byron is considered and the right of private judgement is discussed in the context of political poetry and the art of printing and the law of libel.
Abstract: Acknowledgements Introduction: the regime of publicity 1. Public opinion from Burke to Byron 2. Wordsworth's audience problem 3. Keats and the review aesthetic 4. Shelley and the politics of political poetry 5. The art of printing and the law of libel 6. The right of private judgement Notes Bibliography Index.

60 citations

Book
01 Mar 2000
TL;DR: In the early nineties, the New York Times published an article entitled "Cracking the Dress Code: How a School Uniform Becomes a Fashion Statement" as mentioned in this paper, focusing on the subculture of teenage fashion.
Abstract: As the winter of the Starr inquiry daily dissolved the Clinton presidency into scandals involving Gap dress and power tie, the New York Times offered relief with a foray into the subculture of teenage fashion. “Cracking the Dress Code: How a School Uniform Becomes a Fashion Statement” provided a less lurid moment of cultural formation.1 “It’s how you want to look,” said one student, unflapped by the prescription at the School of the Incarnation for white blouse, navy skirt, or slacks for girls, white shirt and navy slacks for boys. With the dressers performing as both critics and artists, the basic material proved negotiable, the dress code itself an inspiring resource. Subtle accessorizing ( just cautious enough to evade a bust) was one route, a use of artful supplement, perhaps so artful that only the wearer knew for sure. The school uniform itself proved multiform, its deformation the syntax of fashion-statement: the arrangement of collars and cuffs, the interpretation of white, the use or nonuse of sweater buttons, the number of rolls to take in a skirt waistband, form-fitting to baggyslouching pants, knotting the tie, indulging the frisson of unseen underwear—all opportunities to perform with and within the uniform. One student’s gloss on this material culture casually and cannily fell into the form of an irregular couplet (I render the lines):

60 citations