Titlebook: Landscape and Literature 1830-1914; Nature, Text, Aura Roger Ebbatson Book 2013 Palgrave Macmillan, a division of Macmillan Publishers Limi

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maladorit

The Machine in the Wheatfield: Steam-Power in the Victorian Countrysidelossian views on the impact of the industrial revolution. He conceded that ‘I have…given my support to doctrines which I now think erroneous’.. He had originally postulated that the ‘class of labourers’ would be ‘benefited by the use of machinery, as they would have the means of buying more commodit

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Axillary

The Spiritual Geography of Edward Thomasns to obliterate the mysteries of the natural world. As we have seen, the culmination of this tendency would be a globalising technology which, with its aim of ‘limitless domination’, might be tragically epitomised by the cataclysmic events of the Great War. The dialectic which Heidegger perceives b

Negligible

‘Impassioned Song’: Arthur Hallam and Lyric Poetryg in that pervasive sense of melancholy which, he claims, ‘so evidently characterises the spirit of modern poetry’ with the characteristic ‘return of the mind upon itself (ibid., 91). Hallam suggests, a propos this creative problematic, ‘that the diffusion of poetry must necessarily be in the direct

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‘The Northern Farmer’: Language and Homelandstematic dialect study in England. Indeed, he was alert to the new models of classification, accuracy and mapping, remarking for instance of ‘The Northern Farmer’,.When I first wrote ‘The Northern Farmer’ I sent it to a solicitor of ours in Lincolnshire. I was afraid I had forgotten the tongue and h

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Corporeal

‘In Front of the Landscape’: Spectral ,erved, the ‘oceanic rhythm’ functions as ‘a clear metaphor for a psychological state of mind’.. In the 1980s, in the heyday of deconstruction, this poem was subjected to a virtuoso interpretation by Hillis Miller, who notes the paradoxical dialectic whereby ‘What should be there in the present is re

gruelling

‘A Singer Asleep’: Hardy’s Envoi to Decadence’, and closing with a striking yet dismissive image as ‘the daylight gleam declines/Upon the capes and chines’. This beautiful act of closure performs the Benjaminian fading out of the aura of the work of art in modernity, that fading process to which the . sought irresolutely to respond. The Decade