Here Ekbert Faas examines the complex interrelationships among the fields of early psychiatry, poetry, and aesthetics through an in-depth study of the Victorian dramatic monologue and its Romantic antecedents. Discussing the work of over thirty major and minor poets, he focuses on what Victorian critics viewed as an unprecedented psychological school of poetry related to early psychiatry and rooted in the poetic "science of feelings" (Wordsworth). This broad historical perspective enables Faas to redefine our current ...
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Here Ekbert Faas examines the complex interrelationships among the fields of early psychiatry, poetry, and aesthetics through an in-depth study of the Victorian dramatic monologue and its Romantic antecedents. Discussing the work of over thirty major and minor poets, he focuses on what Victorian critics viewed as an unprecedented psychological school of poetry related to early psychiatry and rooted in the poetic "science of feelings" (Wordsworth). This broad historical perspective enables Faas to redefine our current terminology regarding the dramatic monologue and to document the extent to which early psychiatry shaped the poetry, poetics, and general frame of mind of the Victorians. "In the nineteenth century, English poetry began to explore the psyche in ways contemporaries recognized as new. Wordsworth and Coleridge pioneered what Arnold, Tennyson, and Browning continued. Professor Faas painstakingly documents this, and reactions to it, with reference to simultaneous psychiatric work. Fascinating."--Encounter Originally published in 1989. 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 editions preserve the original texts of these important books while presenting them in durable paperback and hardcover 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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Seller's Description:
Very Good in Very Good jacket. Size: 6x1x10; Publisher's hardback in better than very good condition: firm and square, no scuffs, no cracks. Complete with original dustjacket, not showing any tears or chips. Contents tight and clean; no pen-marks. Not from a library so no such stamps or labels. Thus a tidy book in very presentable condition.
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Good-Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name-GOOD Standard-sized.
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Very Good in Very Good dust jacket. 0691067481. A tight copy. Edges of dustjacket are lightly rubbed and have a few tiny tears.; 1 x 10 x 6.5 Inches; 312 pages.
Faas's text is an analysis of Victorian lyric and dramatic monologue. He argues that each genre models a type of subjectivity that was becoming more and more interesting as psychology developed as a field. Lyric was a spontaneous revelation of the self, valued for its transparency. Dramatic monologue was a case study of a speaker who is somehow outside the realm of sanity; this genre is valued for its capacity to safely contain mental perversity (e.g. Browning's "Porphyria's Lover"), like a textual Bedlam.
The book does a great job of providing background of the Victorian mental scientists and their field, and of drawing connections from there to the period's poetry. The poets covered extensively include Tennyson, Browning, Arnold, and Swinburne. Faas also traces the British fascination with poetry of interiority back to Shakespeare. A valuable text for scholars and anyone interested in Victorian poetry and/or psychology.