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The cult of decadence is usually dismissed as an eccentricity of French literature, a final twitter of Romantic neurosis, convulsing the lunatic fringe of letters during the last third of the nineteenth century. However, the nineteenth century's preoccupation with decadence provides us with a key to the secret places of its thought, to all the obscure passages and backstairs behind the triumphant façade. Between 1814 and 1914, there was no sense of disaster, no tragic sense. Civilization had become a habit, a side product of political constitutions and applied science. History was viewed pragmatically: of what use were such traditional symbols as throne and altar? Both are essentially propitiatory, evidence of man's uneasy knowledge that power is dangerous and destiny implacable. And both seemed anachronisms in a world where (it was thought) human reason had solved or would solve all the old problems. The theory of decadence is very largely a protest against this comfortable belief. Had the decadents not written, we should hardly suspect that the nineteenth century suffered from the same doubts and hesitations as all other ages, before and since.
French literature --- Decadence in literature. --- History and criticism.
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Time in literature. --- Peguy, Charles, --- Claudel, Paul, --- Criticism and interpretation.
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Andrey Bely, novelist, essayist, theoretician, critic, and poet, was a central figure in the Russian Symbolist movement of the 1920s, the most important literary movement in Russia in this century. Bely articulated a Symbolist aesthetic and originated a new approach to the study of Russian metrics and versification, giving rise to a new scholarly discipline that still thrives in the West.Although regarded by some critics, including Vladimir Nabokov, as the author of the greatest Russian novel of this century, Bely has been nearly forgotten in his native country for ideological reasons. In the
Bely, Andrey, --- Criticism and interpretation --- Congresses. --- Russia --- In literature
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What is the precise relation between the "Pope" of the poems and the Pope of history? Seeking to clarify the nature of the intimate link between the historical self and the idealized self of the poetry, Dustin Griffin examines the various ways in which Pope's poems may be said to be self-expressive. He brings a sensitive critical reading of the texts and an impressive knowledge of the poet's life and writings to his discussion of poems from the entire range of the poet's career. The author argues that Pope is present in his poems as a private person whose special imaginative and psychological concerns emerge because they are expressed publicly. In some poems, Pope confronts quite openly his fervent moral idealism with his powerful aggressive feelings, and he explores his conflicting impulses toward retirement and engagement. In others, he reveals impulses and attractions that he would not admit to full consciousness in his letters. Pope is also present as poet-protagonist, self-consciously attempting to present and master a body of poetic material. Professor Griffin's study recovers some of the personal energy that invigorates Pope's greatest poems and makes them strikingly self-expressive products of an imagination intrigued and often at odds with itself and, yet more sharply, with the world.Originally published in 1979.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Autobiography in literature. --- Poets in literature. --- Pope, Alexander, 1688-1744 -- Criticism and interpretation. --- Self in literature. --- Autobiography in literature --- Poets in literature --- Self in literature --- English --- Languages & Literatures --- English Literature --- Pope, Alexander --- Poètes anglais --- -Pope, Alexander --- Contributions in autobiography --- Pope, Alexander, --- Criticism and interpretation. --- Poets, English --- Poètes anglais --- Biography --- Biographies --- Popiĭ, Aleksandr, --- Barnivelt, Esdras, --- Poup, Aleksandr,
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Narration (Rhetoric) --- Ambivalence in literature. --- Symbolism in literature. --- Myth in literature. --- Signs and symbols in literature --- Symbolism in folk literature --- History --- Storm, Theodor, --- Shih-tu-mo, Tʻe-ao-to-erh, --- Storm, Hans Theodor Woldsen, --- Criticism and interpretation. --- Rhetoric --- Discourse analysis, Narrative --- Narratees (Rhetoric)
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The essays in this volume were originally presented at a workshop held at the University of Calgary on August 1–5, 1977 and sponsored by the Calgary Institute for the Humanities. The phrase “the new land” underwent careful scrutiny and reassessment during the course of the conference, and the insights that resulted from the readings and discussions were of considerable value to participants and observers alike. Chronologically and thematically the essays cover a wide range: from La Nouvelle France as seen by the early missionaries and by the French Romantic writer Chateaubriand to variations on the new land theme in present-day Qußbec; from the Prairies as seen by an early homesteader-novelist from France, Constantin-Weyer, to the Manitoba of Gabrielle Roy, which in turn is contrasted to the Nebraska of Willa Cather; from a historical recreation of the Saskatchewan landscape and history by a gifted contemporary novelist Rudy Wiebe, to a paradisal celebration of British Columbia reflected in the later works of Malcolm Lowry. What emerged from all of this, among other things, was the articulation of a mythology about the new land that was far more complex and expansive than the one derived originally through an old–world perspective.
Canadian literature --- French-Canadian literature --- Themes, motives --- Congresses. --- North America --- In literature --- Canadian literature (English) --- English literature --- Canadian literature (French) --- French literature --- Turtle Island (Continent)
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Engels: literatuur --- American fiction --- Social problems in literature. --- History and criticism. --- Sociale problemen in de literatuur --- Fiction --- American literature --- anno 1900-1999 --- Social problems in literature --- Roman américain --- Problèmes sociaux dans la littérature --- History and criticism --- Histoire et critique --- 20th century --- Pynchon, Thomas --- Criticism and interpretation
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Old French literature --- Comparative literature --- History of Europe --- anno 500-1499 --- Outsiders in literature --- Literature, Medieval --- Civilization, Medieval --- Social isolation --- Congresses --- History and criticism --- Languages & Literatures --- Literature - General --- -Literature, Medieval --- -Outsiders in literature --- -Social isolation --- -Exclusion, Social --- Isolation, Social --- Social exclusion --- Social psychology --- Alienation (Social psychology) --- Social distance --- European literature --- Medieval literature --- Medieval civilization --- Middle Ages --- Civilization --- Chivalry --- Renaissance --- -Congresses --- History --- Congresses. --- Exclusion, Social --- History and criticism&delete& --- Outsiders in literature - Congresses --- Literature, Medieval - History and criticism - Congresses --- Civilization, Medieval - Congresses --- Social isolation - Congresses --- exclusion --- marginaux
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American writer Julien Green's (1900--1998) origins, artistic motivation, and identity was a source of mystery and confusion even for those that most fêted him. The first non-French national to be elected to the Académie française, Green authored several novels ( The Dark Journey, The Closed Garden, Moira, Each Man in His Darkness, and the Dixie trilogy), a four-volume autobiography ( The Green Paradise, The War at Sixteen, Love in America and Restless Youth), and his famous Diary.In this study, John. M Dunaway begins with an examination of the autobiographical context of Julien Green's wor
Self in literature. --- Psychological fiction, French --- History and criticism. --- Green, Julien, --- Green, Julien --- Green, Julian --- Grin, Z'ulyen --- Irland, David, --- Green, Julian Hartridge --- Delaporte, Théophile --- Criticism and interpretation.
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