Power and Self-consciousness in the Poetry of ShelleyMacmillan, 1986 - 234 sider |
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Side 84
... mind became an easy excuse for dismissal . Animal magnetism interested Coleridge , as it interested Shelley , on the contrary , precisely by its suggestion that at the primary level the mind or imagination might not be the inert ...
... mind became an easy excuse for dismissal . Animal magnetism interested Coleridge , as it interested Shelley , on the contrary , precisely by its suggestion that at the primary level the mind or imagination might not be the inert ...
Side 100
... mind and world , and convey his sense of the mind as an active agent . Whereas Locke regarded knowledge as passive reception , Shelley's poetry portrays the mind in the process of transformation , modifying existing forms and ...
... mind and world , and convey his sense of the mind as an active agent . Whereas Locke regarded knowledge as passive reception , Shelley's poetry portrays the mind in the process of transformation , modifying existing forms and ...
Side 121
... mind's passivity given by Hume and Locke , whose arguments had persuaded Shelley that ' Mind cannot create , it can only perceive'.46 And Shelley makes it plain that there is nothing in his celebration of natural glory to compel us ...
... mind's passivity given by Hume and Locke , whose arguments had persuaded Shelley that ' Mind cannot create , it can only perceive'.46 And Shelley makes it plain that there is nothing in his celebration of natural glory to compel us ...
Indhold
the Painted Veil | 1 |
Contrary Landscapes | 8 |
Literary Powers | 26 |
Copyright | |
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Power and Self-Consciousness in the Poetry of Shelley Andrew J Welburn,Thomas Heinzen Begrænset visning - 1986 |
Power and Self-Consciousness in the Poetry of Shelley Andrew J Welburn,Thomas Heinzen Ingen forhåndsvisning - 2014 |
Almindelige termer og sætninger
achievement Ahrimanic already appears attempt awareness Beauty become begin believe Blake Caleb Williams called century characters Christian Coleridge Complete conception consciousness continued critics daemonic dark death depths doubt effect elements emotion example existence experience fear feeling figure final forces Gothic hope human ideal ideas imagination important individual influence intellectual intense interest Italy knowledge landscape later light limits literary living London look magic magnetism man's material means Metaphysics mind moral move mysterious nature novel objects occult once original painted veil passage perception perhaps philosophical poem poet poetic poetry possible present Prometheus Unbound reality reason remains response Romantic scepticism seems sense Sensibility sentimental shapes Shelley Shelley's sometimes soul Speculations spirit suggests terror things thought tradition truth turn ultimate understanding universe vision visionary whole writing