Early in Thoreau's career, he became obsessed with the problem of getting to be at home in the world. This ambitious book relates that obsession to his way of fostering at-homeness: "inscribing" ...himself not only through words but through such occupations as the making of books, houses, and tracks in the woods. Frederick Garber reveals that a complex fable endemic in Thoreau and perceptible from his earliest major writings puts inscribing and the quest for at-homeness in terms of a search for a home of homes, a quest that Thoreau realized must be ultimately unsuccessful. Focusing on Thoreau's major works, particularly on A Week on the Concord and Merrimack Rivers, Garber explores the rich intertextual dialogue arising from this fable and Thoreau's concerns about at-homeness and inscribing. Garber discloses Thoreau's conviction that human lives are radically open-ended, at least in terms of what we can know in the present. All our modes of inscribing are inadequate, even though we can glimpse the possibility of ultimate words and sentences saying all that ever needed to be said.
Originally published in 1991.
ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Frederick Garber takes up in detail several problems of the self broached in his previous book,The Autonomy of the Self from Richardson to Huysmans(Princeton, 1982). Using patterns in Byron's canon ...as models, he focuses on the relations of self-making and text-making as a central Romantic issue. For Byron and many of his contemporaries, putting a text into the world meant putting a self there along with it, and it also meant that the difficulties of establishing the one inevitably reflect the parallel difficulties in the other.
Professor Garber discusses some of Byron's key texts and shows how their development leads to an impasse involving both self and text. Byron's way out of these dilemmas was the mode of Romantic irony, of which he is one of the greatest exemplars. The study then moves into broader areas of Anglo-European literature, its ultimate purpose being to argue not only for the efficacy of such irony but for its position as something more than a mere alternative to Romantic organicism.
Originally published in 1988.
ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Frederick Garber studies in a wide range of English, French, German, and American literary texts instances of the struggle for the self's autonomy during the period preceding modernism. In tracing a ...pattern that changes from the unsettling of bourgeois conditions in Richardson to the collapse of that challenge in the Decadents, he demonstrates that this period is characterized by a pervasive dialectic of aloofness and association.
Originally published in 1982.
ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Romantic Irony Garber, Frederick
1988, 1988-01-01, Letnik:
8
eBook
This is the first collaborative international reading of irony as a major phenomenon in Romantic art and thought. The volume identifies key predecessor moments that excited Romantic authors and the ...emergence of a distinctly Romantic theory and practice of irony spreading to all literary genres. Not only the influential pioneer German, British, and French varieties, but also manifestations in northern, eastern, and southern parts of Europe as well as in North America, are considered. A set of concluding "syntheses" treat the shaping power of Romantic irony in narrative modes, music, the fine arts, and theater - innovations that will deeply influence Modernism. Thus the cross-cultural and interdisciplinary approach elaborated in the twenty chapters of Romantic Irony, as lead volume in the five-volume Romanticism series, establishes a significant new range for comparative literature studies in dealing with a complex literary movement.SPECIAL OFFER: 30% discount for a complete set order (5 vols.).The Romanticism series in the Comparative History of Literatures in European Languages is the result of a remarkable international collaboration. The editorial team coordinated the efforts of over 100 experts from more than two dozen countries to produce five independently conceived, yet interrelated volumes that show not only how Romanticism developed and spread in its principal European homelands and throughout the New World, but also the ways in which the affected literatures in reaction to Romanticism have redefined themselves on into Modernism. A glance at the index of each volume quickly reveals the extraordinary richness of the series' total contents. Romantic Irony sets the broader experimental parameters of comparison by concentrating on the myriad expressions of "irony" as one of the major impulses in the Romantic philosophical and artistic
revolution, and by combining cross-cultural and interdisciplinary studies with special attention also to literatures in less widely diffused language streams. Romantic Drama traces creative innovations that deeply altered the understanding of genre at large, fed popular imagination through vehicles like the opera, and laid the foundations for a modernist theater of the absurd. Romantic Poetry demonstrates deep patterns and a sharing of crucial themes of the revolutionary age which underlie the lyrical expression that flourished in so many languages and environments. Nonfictional Romantic Prose assists us in coping with the vast array of writings from the personal and intimate sphere to modes of public discourse, including Romanticism's own self-commentary in theoretical statements on the arts, society, life, the sciences, and more. Nor are the discursive dimensions of imaginative literature neglected in the closing volume, Romantic Prose Fiction, where the basic Romantic themes and story types (the romance, novel, novella, short story, and other narrative forms) are considered throughout Europe and the New World. This enormous realm is seen not just in terms of Romantic theorizing, but in the light of the impact of Romantic ideas and narration on later generations. As an aid to readers, the introduction to Romantic Prose Fiction explains the relationships among the volumes in the series and carries a listing of their tables of contents in an appendix. No other series exists comparable to these volumes which treat the entirety of Romanticism as a cultural happening across the whole breadth of the "Old" and "New" Worlds and thus render a complex picture of European spiritual strivings in the late eighteenth and the nineteenth centuries, a heritage still very close to our age.
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Early in Thoreau's career, he became obsessed with the problem of getting to be at home in the world. This ambitious book relates that obsession to his way of fostering at-homeness: ...inscribing himself not only through words but through such occupations as the making of books, houses, and tracks in the woods. Frederick Garber reveals that a complex fable endemic in Thoreau and perceptible from his earliest major writings puts inscribing and the quest for at-homeness in terms of a search for a home of homes, a quest that Thoreau realized must be ultimately unsuccessful. Focusing on Thoreau's major works, particularly on A Week on the Concord and Merrimack Rivers, Garber explores the rich intertextual dialogue arising from this fable and Thoreau's concerns about at-homeness and inscribing. Garber discloses Thoreau's conviction that human lives are radically open-ended, at least in terms of what we can know in the present. All our modes of inscribing are inadequate, even though we can glimpse the possibility of ultimate words and sentences saying all that ever needed to be said.
Originally published in 1991.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
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Parity and Proportion FREDERICK GARBER
The Autonomy of the Self from Richardson to Huysmans,
07/2014
Book Chapter
Rousseau’s exemplary conditions were among the finest instances of adequacy, of what it was possible to do when what one wanted, and what one could have, matched in full comfort. His autonomy fit so ...snugly into its enclosure, and the enclosure offered so precisely what that autonomy required, that all the possibilities of privilege—at least as Rousseau would define them—were thoroughly realized. With him it was rarely a matter of mastering the self in order to achieve these possibilities. Rather, it was a question of context, and though he managed to manipulate context more often and more successfully
ORIGINS AND ENDS FREDERICK GARBER
Thoreau's Fable of Inscribing,
07/2014
Book Chapter
THE “SUNDAY” chapter ofA Weekbegins with their first morning out on the river, and it establishes conditions and suggestions that were to characterize the beginnings of most of the subsequent ...chapters. “Covered with a dense fog, through which the smoke of their fire curled up like a still subtiler mist,” the area seems self-enclosed, as though the world were beginning again and this were all there was so far (43). The tonality of this Sunday intensified the effect, making it seem as though those conditions dated from “earlier than the fall of man” and were still pristine enough
Lucid Contours FREDERICK GARBER
Self, Text, and Romantic Irony,
07/2014
Book Chapter
Toward the end ofManfred,the protagonist, waiting for his death in a condition of unaccustomed calm, is confronted by the abbot of St. Maurice. This surrogate of a transpersonal order comes into ...Manfred’s life near its close, not to ease his soul out of its casing—the priest has no idea that Manfred is waiting for the devil—but to bring Manfred back to “the true church, and through the church to Heaven”(3.1.51). Manfred’s sharp reaction is against the church as a mediating institution, an organized betweenness that would stand as agent for both himself and the transcendental in
