Keats and Negative Capability (Continuum Liteary Studies) by Li Ou

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By Li Ou

Deals a transparent research of this key idea in literary reviews and aesthetics, that is necessary to the examine of Romanticism and English poetic culture mostly. 'Negative capability', the time period John Keats used just once in a letter to his brothers, is a well known yet strangely unexplored suggestion in literary feedback and aesthetics. This booklet is the 1st book-length research of this primary inspiration in seventy years. in addition to clarifying the that means of the time period and giving an anatomy of its key elements, the e-book provides an entire account of the background of this concept. It strains the narrative of ways the word first grew to become recognized and steadily received forex, and explores its fundamental assets in prior writers, largely Shakespeare and William Hazlitt, and its leader Modernist successors, W. B. Yeats and T. S. Eliot. in the meantime, the time period can also be utilized to Keats' personal poetry, which manifests the evolution of the belief in Keats' poetic perform. a few of the comparative readings of the appropriate texts, together with "King Lear", light up the interconnections among those significant writers. The e-book is an unique and demanding piece of scholarship in this celebrated inspiration.

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And Gio Pomodoro, though you never will be to my taste, that was no excuse for behaving like a fat-mouthed provincial! — unkillable and infamous words! Just let me take this knife and . . 4 2 T h e E s s e n t i a l N ew A rt E xaminer But no. ) Already I feel a little better . . So back to you, Profession of Art Writing, whose fool I’ve been: who needs you anyhow? What loosens the purse strings of the journalism business to finance the bad conscience of louts like me? The imperatives of commerce, is it?

Rich Chicagoans went first to Europe and then to New York to obtain the art that adorned their North Shore mansions. A book on culture in Chicago written in 1953 reported that Knoedler and other galleries had closed their Chicago branches after World War II when they discovered they sold roughly four times more paintings to Chicagoans for Chicago collections out of New York than out of Chicago even though similar works were available in both places. By 1955 few galleries remained and with one or two exceptions those that did stay showed only out of town works.

You might also feel that though the makers spoke of the feelings that motivated their works, the works themselves merged into an impersonal stream of flashing light which refused to yield up either the individuality of the makers nor the feelings they saw incorporated into their films. You would probably conclude that there were some fairly massive rites of passage before you could see M I C H A E L R A B I G E R Letter to Aspiring Filmmakers 37 in the way the initiates saw. You might find the emphasis on personal values, the unwillingness to pass value judgments, and the atmosphere of tolerance, of sincerity and genuine desire to strike in new directions, and the atmosphere of avant garde research all very attractive.

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