Titlebook: Coleridge, Language and the Sublime; From Transcendence t Christopher Stokes Book 2011 Palgrave Macmillan, a division of Macmillan Publishe

綁架

Erythropoietin

‘My Soul in Agony’: the Terrors of Subjectivity in ‘The Rime of the Ancient Mariner’he poem not just fundamentally incoherent, but exorbitantly so.. We might read the phrase as a kind of self-multiplying and self-deepening tautology: more obscure (Dutch) than obscure (German) obscurity (sublimity).

Optic-Disk

‘What never is but only is to be’: the Ontology of the Coleridgean Sublime come to dominate our thinking of the non-presentable in a paralysing and limited way, ‘a(chǎn)s if “God” were in fragments, an Osiris dismembered throughout all our discourse’.. Philosophy, he goes on to argue, should reappropriate the possibility of this thought from its theological history. In this cha

河潭

‘A Specimen of the Sublime dashed to pieces’: Sublimity in the , and the Limbo Constellationed in the Limbo poems. Fragmentary and self-interrupting, it is a text of finitude and non-absoluteness. The relationship between the two texts may be emblematic for the double-sidedness of Coleridge — and of the sublime — on which I have insisted throughout. I close the chapter by comparing my conc

說不出

o have a compelling position in an ongoing conversation about finitude. Drawing on close readings of both his?poetry and prose, it depicts Coleridge as a thinker of ‘the limit‘ with contemporary force.978-1-349-32593-1978-0-230-29506-3

Orgasm

Service Research and Innovation a logic which reads off divine presence through signs of authorship which speak out in the landscape. As Raimonda Modiano and Seamus Perry have both noted, this version of the sublime wants to bring nature itself along in the sublime movement of transcendence, not negate it as in Kant.

背帶

‘Ye signs and wonders of the element! Utter forth God’: Divine Presence and Divine Withdrawal in the a logic which reads off divine presence through signs of authorship which speak out in the landscape. As Raimonda Modiano and Seamus Perry have both noted, this version of the sublime wants to bring nature itself along in the sublime movement of transcendence, not negate it as in Kant.

考古學(xué)

CARK

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