Coleridge, Form and Symbol, Or The Ascertaining VisionAshgate Publishing, Ltd., 2006 - Всего страниц: 189 In his convincingly argued book, Nicholas Reid shows just how central Coleridge's theories of imagination, form, and symbol were to Coleridge's metaphysics. What distinguishes Reid's book is the admirable way he takes up the thorny issues of perception and image, and their relation to language, and makes successful use of both cognitive science and recent philosophical writings to show the continuing relevance of Coleridge's views. Reid draws on recent work in the theory of mind by Damasio, Lakoff, and others, and also goes back to the work of Susanne Langer and L. A. Reid, to demonstrate the centrality of concrete form for Coleridge, giving an integrated account of Coleridge's theory (including terms like 'symbol' and 'organic form') and also situating these central Coleridgean concerns within a contemporary realist and non-theistic aesthetic. In addition, he offers a clear account of Schelling's place in the development of Coleridge's thinking. |
Содержание
Introduction | 1 |
2 | 18 |
3 | 43 |
4 | 58 |
5 | 81 |
6 | 105 |
8 | 138 |
Coleridge Language and Imagination | 151 |
9 | 164 |
Другие издания - Просмотреть все
Часто встречающиеся слова и выражения
Absolute abstract actual aesthetic Akenside Akenside's albatross Ancient Mariner apostasy apostatic argues argument Biographia chapter claim Coleridge says Coleridge's thought Coleridge's views concept concrete consciousness context conventional language conversation poems Creation Dejection dialectic distinction divine embodiment emerges emphasis entity epistemology eternal evil exist finite formal Frost at Midnight fundamental gloss Ground Higher Critical human idea Ideal imagination immanence interpretation intuition kind Kubla Khan L.A. Reid Langer later linguistic logic Logos Mariner's Mark Akenside meaning merely meta-logic metaphysics mind myth natura naturata nature neoplatonic notebook Opus Maximum original perception philosophy Pleroma poem's Poesy or Art poetry polarity potential primary principle prothesis qualia qualities reader reading reflects Reid reified relation role Romanticism Samuel Taylor Coleridge Schelling Schelling's self-as-object self-consciousness sense sensuous soul Spirit subject and object suggest Susanne Langer symbol Tetractys transcendental Trinity understanding unity Version Victoria College vision words