Orientalist Poetics : the Islamic Middle East in Nineteenth-Century English and French Poetry.

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Bibliographic Details
Call Number:Libro Electrónico
Main Author: Haddad, Emily A.
Other Authors: Shattock, Joanne
Format: Electronic eBook
Language:Inglés
Published: Florence : Taylor and Francis, 2002.
Series:Nineteenth Century Series.
Subjects:
1800-1899
English poetry > Oriental influences.
English poetry > 19th century > History and criticism.
French poetry > 19th century > History and criticism.
French poetry.
Poésie anglaise > 19e siècle > Histoire et critique.
Poésie française > 19e siècle > Histoire et critique.
English poetry
English poetry > Oriental influences
French poetry
Literature
Middle East > In literature.
Middle East
Criticism, interpretation, etc.
Online Access:Texto completo
Table of Contents:
  • Cover
  • Half Title
  • Title Page
  • Copyright Page
  • Contents
  • Acknowledgments
  • Introduction
  • 1 To instruct without displeasing: Percy Shelley's The Revolt of Islam and Robert Southey's Thalaba the Destroyer
  • Instruction in The Revolt of Islam
  • Tyranny: the Orient's chief export
  • Tyranny's comrades: religion and sexism
  • Orientalism and Shelley's poetics
  • Morals vs. materials: instruction and pleasure in Thalaba the Destroyer
  • The desert, Islam: foreignness as a hermeneutic category
  • Foreignness general and particular: character as archetype
  • Extremes: too many notes?
  • Southey and his readers: delighted, informed, or distressed
  • Representation and the "Arabesque ornament"
  • 2 Representing, misrepresenting, not representing: Victor Hugo's Les Orientates and Alfred de Musset's "Namouna"
  • Hugo's preface: poetic ideals and the Orient as subject
  • "La Douleur du pacha": the Orient as origin or as end
  • "Adieux de l'hôtesse arabe": stasis
  • "Novembre": returning to Paris, the self, and mimesis
  • Hugo's critics: E.J. Chételat
  • George Gordon Byron's Don Juan: "But what's reality?"
  • "Namouna": fragmentary representation
  • No narrative, no representation
  • Authority, referents, and representation
  • The Middle East: "impossible à décrire"
  • 3 Orientalist poetics and the nature of the Middle East
  • William Wordsworth and the nature of the Middle East
  • Felicia Hemans's ambivalence
  • Truth in illustrating Robert Southey and Thomas Moore
  • Leconte de Lisle: "Le Désert," "le désert du monde"
  • Théophile Gautier: the composite desert
  • "In deserto": European nature in absentia
  • Out of the desert: Byron's "Turkish Tales"
  • Matthew Arnold in Bukhara: nature in the Middle Eastern city
  • Alfred Tennyson's Basra: natural phenomena and urban construction
  • Orientalist poetics, Oscar Wilde.
  • 4 The Orient's art, orienting art
  • A confederation of the Middle East and art: Wordsworth
  • The Middle East as a source of art: Leconte de Lisle
  • Middle Eastern art and Gautier's imagination
  • Nightingales and roses I: Walter Savage Landor and oriental literature
  • Nightingales and roses II: Moore and the Orient as an ideal
  • Hemans's Middle Eastern models
  • Grounding a poetics in the 1001 Nights: Tennyson
  • The Orient and Tennyson's p(a)lace of art
  • Gautier's orientalist poetics and art for art's sake
  • Orientalist poetics, Oscar Wilde: culmination
  • Bibliography
  • Index.

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