Andrew Marvell's Liminal Lyrics: The Space Between
Autor Joan Fausten Limba Engleză Paperback – 10 iun 2014
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Specificații
ISBN-13: 9781611495201
ISBN-10: 1611495202
Pagini: 235
Ilustrații: black & white illustrations
Dimensiuni: 154 x 228 x 19 mm
Greutate: 0.37 kg
Editura: Bloomsbury Publishing
Colecția University of Delaware Press
Locul publicării:New York, United States
ISBN-10: 1611495202
Pagini: 235
Ilustrații: black & white illustrations
Dimensiuni: 154 x 228 x 19 mm
Greutate: 0.37 kg
Editura: Bloomsbury Publishing
Colecția University of Delaware Press
Locul publicării:New York, United States
Cuprins
List of Illustrations
Acknowledgments
Chapter 1: Introduction
Chapter 2: The Concept of Liminality and Marvell's Liminal Life
Chapter 3: "Upon Appleton House": Marvell's Portrait of a Liminal Realm
Chapter 4: Blending the Arts in the Act of Creation: "The Garden"
Chapter 5: In-Between Life and Art: Marvell's Mower and Nymph
The Mower Poems
"The Nymph Complaining for the Death of her Fawn"
Chapter 6: Smoke and Mirrors:
"On a Drop of Dew,"
"Eyes and Tears" and "Mourning"
"The Gallery"
Chapter 7: In-Between Concept and Understanding: "The Definition of Love"
Chapter 8: Marvell's "Soul" and "Body": The Dialogue Continues
About the Author
Bibliography
Primary Sources
Secondary Sources
Acknowledgments
Chapter 1: Introduction
Chapter 2: The Concept of Liminality and Marvell's Liminal Life
Chapter 3: "Upon Appleton House": Marvell's Portrait of a Liminal Realm
Chapter 4: Blending the Arts in the Act of Creation: "The Garden"
Chapter 5: In-Between Life and Art: Marvell's Mower and Nymph
The Mower Poems
"The Nymph Complaining for the Death of her Fawn"
Chapter 6: Smoke and Mirrors:
"On a Drop of Dew,"
"Eyes and Tears" and "Mourning"
"The Gallery"
Chapter 7: In-Between Concept and Understanding: "The Definition of Love"
Chapter 8: Marvell's "Soul" and "Body": The Dialogue Continues
About the Author
Bibliography
Primary Sources
Secondary Sources
Recenzii
Faust (Southeastern Louisiana Univ.) draws on the anthropological concept of the liminal to analyze 13 of Andrew Marvell's lyric poems. She concludes that appreciation of these poems' liminal nature enables readers to cease seeking definitive understandings of Marvell's life and works and to "revel in Marvell's own appreciation of the process, the potential, the doorway, the space between." The "liminality" she perceives in the poems includes a wide variety of "in-between places." For example, "Upon Appleton House" reflects Lord Fairfax's own liminal state; "The Nymph Complaining for the Death of Her Fawn" reflects the liminal state between life and art; dialogue itself is liminal in "A Dialogue between the Soul and Body"; and in "The Definition of Love" it is the reader rather than the speaker who is "left in the liminal area of uncertainty." In short, "liminality" is a net cast widely, broadly describing Marvell's well-known complexity and ambiguity. The book includes 20 illustrations and endnotes after each chapter. Summing Up: Recommended. Upper-division undergraduates through faculty.
Professor Faust's goal is clearly to open a productive "space," as her title suggests, for discussing Marvell's strange, powerful poetics. At this she succeeds, and in this regard Magritte's thoughts on representation really are provocative. Indeed, I might add that they are a welcome provocation to those of us who rest a little too easy in the confidence that our own historical approach gives us the correct perspective on Marvell and his culture, only to discover occasionally that we share a viewpoint with the observer of Magritte's La Conditionne humaine. In that painting, as Faust notes, the "real" landscape turns out to be the combined product of artistic representation and our own imaginations. In such a space, backward and forward, Marvell seems fully at home.
[T]he most illuminating approach to Marvell's work that I've found. . . .Faust is to be commended for her superb marshaling of secondary sources.
Professor Faust's goal is clearly to open a productive "space," as her title suggests, for discussing Marvell's strange, powerful poetics. At this she succeeds, and in this regard Magritte's thoughts on representation really are provocative. Indeed, I might add that they are a welcome provocation to those of us who rest a little too easy in the confidence that our own historical approach gives us the correct perspective on Marvell and his culture, only to discover occasionally that we share a viewpoint with the observer of Magritte's La Conditionne humaine. In that painting, as Faust notes, the "real" landscape turns out to be the combined product of artistic representation and our own imaginations. In such a space, backward and forward, Marvell seems fully at home.
[T]he most illuminating approach to Marvell's work that I've found. . . .Faust is to be commended for her superb marshaling of secondary sources.