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Shelley, Stevens, and the non-ideali...

Endo, Paul.

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Shelley, Stevens, and the non-idealist sublime.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Shelley, Stevens, and the non-idealist sublime./
作者:	Endo, Paul.
面頁冊數:	301 p.
附註:	Adviser: Eleanor Cook.
Contained By:	Dissertation Abstracts International55-03A.
標題:	Language, General. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NN86277
ISBN:	9780315862777

Shelley, Stevens, and the non-idealist sublime.
Endo, Paul.

Shelley, Stevens, and the non-idealist sublime. - 301 p.

Adviser: Eleanor Cook.

Thesis (Ph.D.)--University of Toronto (Canada), 1993.

Discussions of the sublime often resort to an "idealist" language: the sublime is regarded as an intrusion, from some transcendental order, of the timeless into time. The poetry of Shelley and Stevens, even while challenging such presuppositions, continues to nonetheless produce passages of undeniable sublimity. By attending to these passages, we can re-formulate the sublime affect--its disjunctive power--in intrasubjective, non-idealist terms. The dislocating force of the sublime, more precisely, coincides with a shift within the self from repetition, from the same, into difference: a kind of complacency or mental inertia yields to a qualitative sharpening of perception. In Shelly and Stevens, this sublime movement corresponds with that moment when the "fading coal" of metaphor is resuscitated, when reality and imagination balance in a "precise equilibrium"--when, that is, meaning is recreated through a fresh apprehending.

ISBN: 9780315862777Subjects--Topical Terms:

1018089
Language, General.

Shelley, Stevens, and the non-idealist sublime.
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500 $a Source: Dissertation Abstracts International, Volume: 55-03, Section: A, page: 0547.
502 $a Thesis (Ph.D.)--University of Toronto (Canada), 1993.
520 $a Discussions of the sublime often resort to an "idealist" language: the sublime is regarded as an intrusion, from some transcendental order, of the timeless into time. The poetry of Shelley and Stevens, even while challenging such presuppositions, continues to nonetheless produce passages of undeniable sublimity. By attending to these passages, we can re-formulate the sublime affect--its disjunctive power--in intrasubjective, non-idealist terms. The dislocating force of the sublime, more precisely, coincides with a shift within the self from repetition, from the same, into difference: a kind of complacency or mental inertia yields to a qualitative sharpening of perception. In Shelly and Stevens, this sublime movement corresponds with that moment when the "fading coal" of metaphor is resuscitated, when reality and imagination balance in a "precise equilibrium"--when, that is, meaning is recreated through a fresh apprehending.
520 $a As a force or crossing from repetition into difference, the non-idealist sublime is a temporal phenomenon and not some sudden, inexplicable intercession. If in "Mont Blanc" and "The Auroras of Autumn" the sublime continues to intimate the transcendental--to descend like a "thunder-bolt"--this effect is built up within time. As a force, moreover, the non-idealist sublime is visible only through mediations; yet it cannot be identified with any single appearance per se. In Prometheus Unbound and "Notes toward a Supreme Fiction," the sublime proves "in itself" neutral and apolitical: "repetition" and "difference" are like variables in a differential equation, floating values within the same economy. Difference presupposes repetition, a norm; they are diacritical terms, and must be co-apprehended. The sublime, in other words, must be regarded as a passage, as a single event spanning both repetition and difference. In Adonais, therefore, the sublime coincides with Shelley's acceptance of Keats' death, his recognition of life and death. Similarly, the muted sublimity of Stevens' late self-elegies originates in the desire, not to round off his life, but to return to a threshold state in which all has been cleared away, and he can catch difference at the very point of its inception.
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