Auto-poetica: Representations of the Creative Process in Nineteenth-century British and American FictionDarby Lewes The nineteenth-century Kunstlerroman self-consciously addresses the devices of fiction and in doing so, tends toward irony and self-reflection, and prefigures postmodernism. A work of art written about an artist creating a work of art is, in a sense, a novel in which the author is a character. The essays in this collection examine the work of major nineteenth century authors that attempted to merge fiction and reality into a unified whole. These novels paved the way for postmodernists who would use the artist-novel to self-conciously focus on the genre's particular conventions, to parody those conventions in order to accentuate the work's fictionality, and to expose the oppositions between fiction and reality. This collection thus reveals not only material concerns, but the underlying anxieties, drives, and joys, which are so profoundly linked to the creative process." |
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Page 93
... Smith's Interior Other Laura Alexander The relationship between subject and object in Charlotte Smith's Elegiac Sonnets ( 1797 ) remains a complex one scholars have most often examined in Smith's open- ing sonnet , addressed to the ...
... Smith's Interior Other Laura Alexander The relationship between subject and object in Charlotte Smith's Elegiac Sonnets ( 1797 ) remains a complex one scholars have most often examined in Smith's open- ing sonnet , addressed to the ...
Page 98
... Smith's reinvention of the Petrarchan sonnet and use of melancholy , see Mary Moore , who suggests that Smith appropriates Petrarchan “ deictic gestures " ( 151 ) to strengthen her poetic authority . 2. Karen Weisman , for example ...
... Smith's reinvention of the Petrarchan sonnet and use of melancholy , see Mary Moore , who suggests that Smith appropriates Petrarchan “ deictic gestures " ( 151 ) to strengthen her poetic authority . 2. Karen Weisman , for example ...
Page 99
... Smith's adaptation of form as her tendency to give her audience the Shakespearian and Petrarchan forms they expected . While Zim- merman acknowledges Smith's importance to other Romantic writers and argues that her radicalism mirrors ...
... Smith's adaptation of form as her tendency to give her audience the Shakespearian and Petrarchan forms they expected . While Zim- merman acknowledges Smith's importance to other Romantic writers and argues that her radicalism mirrors ...
Contents
Herman Melville and the Crafting of Pierre | 3 |
Making Selling and Living the Fictitious | 15 |
The Business of Storytelling in Nathaniel | 39 |
Copyright | |
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