Titlebook: Romantic Satanism; Myth and the Histori Peter A. Schock Book 2003 Palgrave Macmillan, a division of Macmillan Publishers Limited 2003 Percy

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書目名稱Romantic Satanism影響因子(影響力)




書目名稱Romantic Satanism影響因子(影響力)學(xué)科排名




書目名稱Romantic Satanism網(wǎng)絡(luò)公開度




書目名稱Romantic Satanism網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Romantic Satanism被引頻次




書目名稱Romantic Satanism被引頻次學(xué)科排名




書目名稱Romantic Satanism年度引用




書目名稱Romantic Satanism年度引用學(xué)科排名




書目名稱Romantic Satanism讀者反饋




書目名稱Romantic Satanism讀者反饋學(xué)科排名

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Introduction,th all his great qualities, be the instrument of a very small portion of benefit.’. Midway through this barren set of propositions, Godwin suddenly shifts register to offer a startling illustration of circumstantially thwarted greatness:

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s to Paradise Lost that voice Satan‘s solitary defiance. The first full-length treatment of its subject, Romantic Satanism explores this literary phenomenon as a socially produced myth exhibiting the response of writers to their milieu. Through contextualized readings of the major works of Blake, Sh

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Base and Aristocratic Artificers of Ruin: Plebeian Blasphemy and the Satanic School,ent assault on the authority of the Bible. Reviewers took the dramatic character Lucifer, the first murderer’s mentor, to be the author’s iconoclastic mouthpiece. This response to Byron’s supremely notorious performance as a Satanist is revealing, because it ties the diabolical elements of the play

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Ironic Modes of Satanism in Byron and Shelley,ry and criticism. One kind is based in ontological and epistemological skepticism: Romantic irony as defined by Anne Mellor refers to the artist’s recognition and embrace of the fictiveness of ideas of order. The art of the Romantic ironist embodies an ‘enthusiastic response to process and change,’

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