White elise (18 Ergebnisse)

Zustand: Good. 1st THUS. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Good. 1st THUS. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages. Verplancke, Elise (illustrator).

Couverture souple. Zustand: Bon. Harlequin, 1999. 1 volume broché(s) format In-12 bon.

Unknown. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Very Good. 1st Edition. Author-signed first printing. Volume, measuring approximately 6" x 9", is bound in blue cloth, with stamped silver lettering to spine. Book displays very light shelfwear. Binding is firm. Note in ink appears at the top of rear flyleaf. Interior is otherwise clean and bright. Inscription on front flyleaf reads "For Geoffrey - / with love / and gratitude / Deborah". Dust jacket exhibits light shelfwear. 227 pages. ""Romantic Returns" explores the theorization and operation of imagination in pre-romantic and romantic writing. Drawing on the poetry and prose of William Collins, William Hazlitt, and Percy Bysshe Shelley, it shows the continuing importance of their understanding of imagination for contemporary debates about the historicity of literature. Historicist readings of romanticism have done much to establish how and why romantic aesthetics is ideological, an illusory if effective evasion of its material conditions. "Romantic Returns" challenges this position by arguing that romantic aesthetics is, rather, critical, a reflective if problematic articulation of those conditions. The argument foregrounds the ways in which the aesthetics of romanticism inform its political and economic speculations. The book opens with an examination of mid-eighteenth-century debates about the role of superstition in the constitution of a national literary tradition. It considers, in particular, how Collins's odes figure Scotland as the site of a superstitious poetry that must be assimilated into British history even as Collins questions the very framework of assimilation. This ambiguous defense of superstition in the national polity is rewritten by romanticism as a defense of imagination. For the romantics, the concept of imagination involves an explicit theorization of how the mind's projections play a constitutive role in what appear to be social norms and economic facts. Hazlitt clarifies this position in his "Essay on the Principles of Human Action." The Essay develops a rhetorical theory of imagination in order to deconstruct the entire metaphysical basis of self-interest on which eighteenth- and nineteenth-century political economy is based. Hazlitt's political pamphlets bring this argument to bear on his analysis of the economic interests fueling the Napleonic wars. Despite Hazlitt's enormous and widely acknowledged influence, his writings have been little studied on their own account. Romantic Returns underlies their centrality to the romantic articulation of aesthetics and politics. The final sections of the book engage Shelley's complex interrogation of the contradictions involved in just such articulations. In both his poetry and prose, Shelley turns to law and history as fields in which these contradictions can be negotiated or even resolved. But Shelley, who once called poets unacknowledged legislators, suggests that violence may be unavoidable in any imaginative legislation that attempts to realize itself in properly historical action. The passage from poetry to politics cannot evade the problem of force. Tracing the crossings between superstition, imagination, and history in all three of these writers, "Romantic Returns" shows how difficult it is to maintain such crossings. In doing so, it shows, too, the continuing challenge of romanticism to contemporary historicism.". Inscribed by Author(s).…

Hardcover. Zustand: Brand New. 142 pages. 5.00x0.50x8.00 inches. In Stock.

Zustand: New. In English.

Paperback. Zustand: Brand New. 224 pages. 9.00x6.00x1.00 inches. In Stock.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New. In English.

Hardcover. Zustand: Brand New. 1st edition. 227 pages. 8.50x5.75x0.75 inches. In Stock.

Couverture souple. Zustand: bon. RO90123910: 1994. In-16. Broché. Bon état, Couv. convenable, Dos satisfaisant, Quelques rousseurs. 376 pages. . . . Classification Dewey : 843.085-Le roman sentimental.

Gebunden. Zustand: New. Romantic Returns explores the theorization and operation of imagination in pre-romantic and romantic writing. Drawing on the poetry and prose of William Collins, William Hazlitt, and Percy Bysshe Shelley, it shows the continuing importance of their unders.

Hardcover. Zustand: Brand New. 216 pages. 9.25x6.25x0.75 inches. In Stock.

New York, Bloomsbury Academic, 2022. VI,216 pp. Hardcover. Haiti's Literary Legacies unpacks the theoretical, historical, and political resonance of the Haitian revolution across a multiplicity of European and American Romanticisms, including Haitian, British, French, and German traditions. Often referred to as the only successful slave uprising in history, the Haitian revolution at once fulfilled and surpassed Enlightenment conceptions of freedom and universality in ways that were crucial to global Romanticism, and yet these effects are only beginning to be studied by scholars and historians of Romanticism. This volume works at the intersection of Romantic and Caribbean studies to outline the myriad ways that the politicized literature of Romantic period engages the revolution in Haiti. Demonstrating the centrality of the Haitian revolution to the larger configuration of transnational Romantic writing, this collection articulates a literary legacy that speaks to our contemporary moment and our ongoing attempts to come to terms with the political, historical, and ecological genealogies of the present [Publisher].…

Buch. Zustand: Neu. Neuware - Romantic Returns explores the theorization and operation of 'imagination' in pre-romantic and romantic writing. Drawing on the poetry and prose of William Collins, William Hazlitt, and Percy Bysshe Shelley, it shows the continuing importance of their understanding of imagination for contemporary debates about the historicity of literature. Historicist readings of romanticism have done much to establish how and why romantic aesthetics is ideological-an illusory if effective evasion of its material conditions. Romantic Returns challenges this position by arguing that romantic aesthetics is, rather, critical-a reflective if problematic articulation of those conditions. The argument foregrounds the ways in which the aesthetics of romanticism inform its political and economic speculations. The book opens with an examination of mid-eighteenth-century debates about the role of superstition in the constitution of a national literary tradition. It considers, in particular, how Collins's odes figure Scotland as the site of a 'superstitious' poetry that must be assimilated into British history even as Collins questions the very framework of assimilation. This ambiguous defense of superstition in the national polity is rewritten by romanticism as a defense of imagination. For the romantics, the concept of imagination involves an explicit theorization of how the mind's projections play a constitutive role in what appear to be social norms and economic facts. Hazlitt clarifies this position in his Essay on the Principles of Human Action. The Essay develops a rhetorical theory of imagination in order to deconstruct the entire metaphysical basis of self-interest on which eighteenth- and nineteenth-century political economy is based. Hazlitt's political pamphlets bring this argument to bear on his analysis of the economic interests fueling the Napleonic wars. Despite Hazlitt's enormous and widely acknowledged influence, his writings have been little studied on their own account. Romantic Returns underlies their centrality to the romantic articulation of aesthetics and politics. The final sections of the book engage Shelley's complex interrogation of the contradictions involved in just such articulations. In both his poetry and prose, Shelley turns to law and history as fields in which these contradictions can be negotiated or even resolved. But Shelley, who once called poets 'unacknowledged legislators,' suggests that violence may be unavoidable in any imaginative legislation that attempts to realize itself in properly 'historical' action. The passage from poetry to politics cannot evade the problem of force. Tracing the crossings between 'superstition,' 'imagination,' and 'history' in all three of these writers, Romantic Returns shows how difficult it is to maintain such crossings. In doing so, it shows, too, the continuing challenge of romanticism to contemporary historicism.…