Titlebook: Coleridge, Language and the Sublime; From Transcendence t Christopher Stokes Book 2011 Palgrave Macmillan, a division of Macmillan Publishe

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蒸发

Mahboobeh Moghaddam,Joseph G. Davis, poetry that seized its readers’ imaginations with no uncertain violence: this was just as much the core of the sublime for an early eighteenth-century reader as any thought of mountains or storms. It is thus important, I think, to be faithful to this history, and to give the matter of language and

漫不经心

inundate

Teuku Aulia Geumpana,Fethi Rabhi,Liming Zhudisturbing gothic touches and a foreboding sense of hostility and danger.. If we were to look for literary analogues, it would not be in the fantastic excess of Milton (invoked by Kitson), but rather something like Friedrich Schiller’s .. As a young Coleridge wrote in 1794, in a note appended to an

Humble

Amin Beheshti,Mustafa Hashmi,Wei Emma Zhanghe poem not just fundamentally incoherent, but exorbitantly so.. We might read the phrase as a kind of self-multiplying and self-deepening tautology: more obscure (Dutch) than obscure (German) obscurity (sublimity).

女上瘾

女上瘾

https://doi.org/10.1007/978-3-030-32242-7ed in the Limbo poems. Fragmentary and self-interrupting, it is a text of finitude and non-absoluteness. The relationship between the two texts may be emblematic for the double-sidedness of Coleridge — and of the sublime — on which I have insisted throughout. I close the chapter by comparing my conc

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chance