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Titlebook: Shelley‘s Ambivalence; Christine Gallant Book 1989 Palgrave Macmillan, a division of Macmillan Publishers Limited 1989 knowledge.landscape

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书目名称Shelley‘s Ambivalence
编辑Christine Gallant
视频video
丛书名称Studies in Romanticism
图书封面Titlebook: Shelley‘s Ambivalence;  Christine Gallant Book 1989 Palgrave Macmillan, a division of Macmillan Publishers Limited 1989 knowledge.landscape
描述A study of Shelley‘s poetry, approaching it from the viewpoint of contemporary Jungian analytical psychology that incorporates the theories of Melanie Klein and D.W. Winnicott. Material that relates to the earliest stages of the ego‘s development - to the pre-Oedipal situation - are used.
出版日期Book 1989
关键词knowledge; landscape; love
版次1
doihttps://doi.org/10.1007/978-1-349-20324-6
isbn_ebook978-1-349-20324-6Series ISSN 2947-2385 Series E-ISSN 2947-2393
issn_series 2947-2385
copyrightPalgrave Macmillan, a division of Macmillan Publishers Limited 1989
The information of publication is updating

书目名称Shelley‘s Ambivalence影响因子(影响力)




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The Maternal Landscape,e chain of events that began with Shelley’s manoeuvrings in August to return Allegra from Byron to her mother Claire Clairmont. These events in late 1818 and 1819 deeply affected Shelley, and marked a change in the direction of his poetry as well.
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The Triumph of Life, one … disposes of Shelley’s body.. Yet his critics quite often do ‘dispose of Shelley’s body’ by completing the ‘Vision [that] on [his] brain was rolled’ (40). The consensus is that Shelley was beginning a new line of development with this poem, and the disagreement … which is considerable … centres around the meaning of that ‘Vision’.
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Memories in Feeling,nto the Generation of Decay & Death’ ., 1.4.4–5), and in his major prophecies he entered into that dissociation with a sympathetic identification. But he did not have Shelley’s horrified sense of involvement — complicity, really — in what he found. For Shelley’s own ‘fall’ meant not only a self-divi
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Love, Hate and Reparation,ction, or person not our own. A man, to be greatly good, must imagine intensely and comprehensively; he must put himself in the place of another and of many others; the pains and pleasures of his species must become his own. Shelley, ‘A Defence of Poetry’
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