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

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Mahboobeh Moghaddam,Joseph G. Davisit very simply as ‘a(chǎn) kind of eminence or excellence of discourse’.. Although the Longinian sublime has now receded somewhat from view, it was formerly central, as one can see from Theodore Wood’s classic survey of usage or a representative anthology like that edited by Andrew Ashfield and Peter de B

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Teuku Aulia Geumpana,Fethi Rabhi,Liming Zhuo the Departing Year’ — as exemplary of a sublime mode in his early poetic output. Stylistically, Axcelson emphasises the ‘grand, world historical approach … [and] extravagant rhetoric’ of these texts, a set of characteristics echoed by Peter Kitson in singling out ‘The Destiny of Nations’ as articu

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Amin Beheshti,Mustafa Hashmi,Wei Emma Zhangard eighteenth-century terror-sublime. We may see this by beginning with obscurity. Obscurity had an established affinity with the sublime, as we find, for example, in Burke’s preference for perceptions that were dim, indeterminate or irregular. However, in turning to Coleridge’s ‘The Rime of the An

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Service Research and Innovationandscape that would become prototypical in Romantic literary and visual culture, as well as being the . of Kant’s discussion in the .. Hence, any discussion of sublimity in Coleridge’s work must turn at some point to this poem, the writing and revision of which encompassed the period of Coleridge’s

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Service Research and Innovationithdrawal from the world, mirroring Kant’s analysis of the Judaic interdiction on idols and the veil of Isis. Far from asserting reconciliation between the sensible and the transcendent (as Coleridge’s visionary aesthetic demanded), the name marked its own inadequacy of reference in a complex, . ges

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https://doi.org/10.1007/978-3-030-32242-7the famous final pages of the first volume of the . and the strange, compelling poetry found in the ., usually anthologised in fragments under titles such as ‘On Donne’s First Poem’ or ‘Limbo’. Treating the deduction of the imagination in terms of aesthetics, I argue that Coleridge makes a common Ro

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