Titlebook: Coleridge and the Concept of Nature; Raimonda Modiano Book 1985 Raimonda Modiano 1985 Coleridge.concept.nature.Samuel Taylor Coleridge

調(diào)味品

Kaleidoscope

Davide Lorenzoli,George Spanoudakisat, to the contrary, objects must conform to the constitution and function of our cognitive faculties, and that ‘we can know . of things only what we ourselves put into them’ (Preface to the Second Edition, pp. 22–3). Second, metaphysics had lost its main claim to scientific status when it aligned i

adhesive

Spartan

牛馬之尿

The Divided Path 7 August 1826 indicates that, while in his later years Coleridge may still respond deeply to a landscape, he becomes increasingly reluctant to abandon himself to the contemplation of sensory objects.

Vertical

Chivalry or Contest? Coleridge, Wordsworth and ‘The Goddess Nature’‘The Giant Wordsworth’ (., ., 391) remained for Coleridge an intimidating example of personal success that far outweighed anything Coleridge thought he had accomplished. While Wordsworth’s poetic star was rising, his was setting, and Coleridge saw himself increasingly pushed into the inferior role o

amphibian

MUTE

Coleridge’s Philosophy of Symbolismeridge’s experience of love and helped him work out personal problems in his relationship with Sara Hutchinson. Moreover, they indicate that nature loses much of its importance for Coleridge the more he links the symbol with increasingly higher goals, such as the unity ofconsciousness and the mind’s

POWER

健談的人

The Typology of the Sublime in English and German Aestheticsempirically-based doctrine, he was not as eager to abandon nature as Kant or Schiller, or to use a confrontation with nature as a means of bolstering the mind’s sense of its own power. In his representation of the sublime Coleridge tried to grant nature a positive role, without denying the subjectiv