| |
|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910780762503321 |
|
|
Autore |
Glickman Susan <1953-> |
|
|
Titolo |
The picturesque and the sublime [[electronic resource] ] : a poetics of the Canadian landscape / / Susan Glickman |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
Montreal [Que.], : McGill-Queen's University Press, c1998 |
|
|
|
|
|
|
|
ISBN |
|
1-282-85508-5 |
9786612855085 |
0-7735-6722-4 |
|
|
|
|
|
|
|
|
Descrizione fisica |
|
1 online resource (225 p.) |
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
Canadian poetry - History and criticism |
Landscape in literature |
Picturesque, The, in literature |
Sublime, The, in literature |
Nature in literature |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Note generali |
|
Bibliographic Level Mode of Issuance: Monograph |
|
|
|
|
|
|
Nota di bibliografia |
|
Includes bibliographical references and index. |
|
|
|
|
|
|
Nota di contenuto |
|
Front Matter -- Contents -- Preface -- An Introductory Ramble through the Picturesque and the Sublime -- Canadian Prospects -- "After the Beauty of Terror the Beauty of Peace" -- The Waxing and Waning of Susanna Moodie's "Enthusiasm" -- "The Keen Stars' Conflicting Message" -- New Provinces? or, In Acadia, No Ego -- Song to the Rising Sun -- Notes -- Index |
|
|
|
|
|
|
|
|
Sommario/riassunto |
|
Glickman argues that early immigrants to Canada brought with them the expectation that nature would be grand, mysterious, awesome - even terrifying - and welcomed scenes that conformed to these notions of sublimity. She contends that to interpret their descriptions of nature as "negative," as so many critics have done, is a significant misunderstanding. Glickman provides close readings of several important works, including Susanna Moodie's "Enthusiasm," Charles G.D. Roberts's Ave, and Paulette Jiles's "Song to the Rising Sun," and explores the poems in the context of theories of nature and art. Instead of projecting backward from a modernist perspective, Glickman reads forward from the discovery of landscape as a legitimate artistic subject |
|
|
|
|
|
|
|
|
|
|
in seventeenth-century England and argues that picturesque modes of description, and a sublime aesthetic, have governed much of the representation of nature in this country. |
|
|
|
|
|
| |