In this volume nineteen contributors, in as many essays, discuss various aspects of critical and aesthetic development in the late seventeenth and the eighteenth centuries, from the time of Dryden to Wordsworth. This was a period in which traditional lite.
The argument of Delirious Milton is that Milton's creative power is drawn from a rift at the center of his consciousness over the question of creation itself. This rift forces the poet to oscillate deliriously between two incompatible perspectives, at once affirming and denying …
Gordon Teskey concludes that the modern artist, far from being characterised by what Benjamin (after Baudelaire) called 'loss of the aura,' is invested, as never before, with a shamanistic spiritual power that is mediated through art.
Gordon Teskey concludes that the modern artist, far from being characterised by what Benjamin (after Baudelaire) called 'loss of the aura,' is invested, as never before, with a shamanistic spiritual power that is mediated through art.
Gordon Teskey concludes that the modern artist, far from being characterised by what Benjamin (after Baudelaire) called 'loss of the aura,' is invested, as never before, with a shamanistic spiritual power that is mediated through art.