: America's Sketchbook: The Cultural Life of a Nineteenth-Century Literary Genre . Kristie Hamilton.

1999 ◽  
Vol 54 (3) ◽  
pp. 408-410
Author(s):  
Haskell Springer
Keyword(s):  
Nineteenth Century ◽  
Literary Genre ◽  
Cultural Life

America's sketchbook: the cultural life of a nineteenth-century literary genre

1998 ◽  
Vol 36 (02) ◽  
pp. 36-0802-36-0802
Keyword(s):  
Nineteenth Century ◽  
Literary Genre ◽  
Cultural Life

Pater's Parerga: Framing the Imaginary Portraits

2013 ◽  
Vol 3 (2) ◽  
pp. 119-135
Author(s):  
Giles Whiteley
Keyword(s):  
Nineteenth Century ◽  
Formal Structure ◽  
Literary Genre ◽  
Late Nineteenth Century ◽  
Liminal Space ◽  
Critical Attention ◽  
Similar Operation ◽  
Late Nineteenth ◽  
The Relationship

Walter Pater's late-nineteenth-century literary genre of the imaginary portrait has received relatively little critical attention. Conceived of as something of a continuum between his role as an art critic and his fictional pursuits, this essay probes the liminal space of the imaginary portraits, focusing on the role of the parergon, or frame, in his portraits. Guided by Pater's reading of Kant, who distinguishes between the work (ergon) and that which lies outside of the work (the parergon), between inside and outside, and contextualised alongside the analysis of Derrida, who shows how such distinctions have always already deconstructed themselves, I demonstrate a similar operation at work in the portraits. By closely analysing the parerga of two of Pater's portraits, ‘Duke Carl of Rosenmold’ (1887) and ‘Apollo in Picardy’ (1893), focusing on his partial quotation of Goethe in the former, and his playful autocitation and impersonation of Heine in the latter, I argue that Pater's parerga seek to destabilise the relationship between text and context so that the parerga do not lie outside the text but are implicated throughout in their reading, changing the portraits constitutively. As such, the formal structure of the parergon in Pater's portraits is also a theoretical fulcrum in his aesthetic criticism and marks that space where the limits of, and distinctions between, art and life become blurred.

Voices of Thunder

2019 ◽  
pp. 36-83
Author(s):  
Cheryl A. Wall
Keyword(s):  
Nineteenth Century ◽  
African American ◽  
Literary Genre ◽  
Rhetorical Strategies ◽  
Oral Performance ◽  
Men And Women ◽  
David Walker ◽  
And Performance ◽  
Written Word ◽  
Maria Stewart

This chapter accounts for the centrality of nineteenth-century black oral culture to the development of the essay as a distinct African American literary genre. The author illustrates how the sermons and orations of nineteenth-century men and women such as David Walker, Maria Stewart, Henry Highland Garnet, Frances Harper, and Fredrick Douglass laid the foundation for the African American essay. It is shown how these authors combined accounts of their personal experience with traditions of oral performance. Because the line between the spoken and written word was blurred by nineteenth-century conventions, these authors blended various rhetorical and performance strategies to shape the art of the essay. In doing so, these writers became “voices of thunder.”The essayists discussed in this chapter used biblical references and appropriated democratic discourse to advance anti-slavery agendas. They appropriated the rhetoric of the founding documents of the American republic and remade them into the rhetoric of counterrevolution. Their works emphasized the material realities of life in America for blacks, both enslaved and free. Their expressions of freedom, and the rhetorical strategies they modelled informed the work of their literary descendants.

Introducing the Prose Poem

Prose Poetry ◽  
2020 ◽  
pp. 3-27
Author(s):  
Paul Hetherington ◽  
Cassandra Atherton
Keyword(s):  
Nineteenth Century ◽  
English Language ◽  
Literary Form ◽  
Prose Poetry ◽  
Literary Genre ◽  
Prose Poem ◽  
Nineteenth Century France ◽  
The Common ◽  
Common Observation ◽  
Intense Emotion

This chapter traces prose poetry's development in nineteenth-century France and its early reception and subsequent critical views about the form. The prose poem in English is now established as an important literary form in many countries at a time when the composition and publication of poetry is thriving. However, while poetry generally continues to be recognized as a literary genre highly suited to expressing intense emotion, grappling with the ineffable and the intimate, and while lineated lyric poetry is widely admired for its rhythms and musicality, the main scholarship written about English-language prose poetry to date defines the form as problematic, paradoxical, ambiguous, unresolved, or contradictory. The common observation that the term “prose poetry” appears to contain a contradiction is not surprising given that poetry and prose are often understood to be fundamentally different kinds of writing. The chapter then defines the prose poem's main features and discusses the challenge prose poetry presents to established ideas of literary genre.

The Queen and the Arts: Cultural Life in Nineteenth-Century Cincinnati

1991 ◽  
Vol 9 (3) ◽  
pp. 314
Author(s):  
Samuel F. Pogue ◽  
Robert C. Vitz
Keyword(s):  
Nineteenth Century ◽  
Cultural Life ◽  
The Arts
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