Wordsworth and Word-Preserving Arts

By looking at the later Wordsworth's ekphrastic writings about visual art and his increased awareness of the printed dimension of his work, Simonsen calls attention to what is uniquely exciting about this neglected body of work, and argues that it complicates traditional understandings of Wordsworth based on his so-called Great Decade.

'Through sustained passages of subtle and often illuminating close textual reading, the visual and material nature of the later Wordsworth's ekphrastic and inscriptional poetry is disclosed.' - Francesca Cauchi, Philosophy Quarterly

Autorentext

PETER SIMONSEN received his PhD from the University of Copenhagen, Denmark. He is currently Assistant Professor in the Department of English at the University of Southern Denmark.

Klappentext

By looking at the later Wordsworth's ekphrastic writings about visual art and his increased awareness of the printed dimension of his work, Simonsen calls attention to what is uniquely exciting about this neglected body of work, and argues that it complicates traditional understandings of Wordsworth based on his so-called Great Decade.

Inhalt
List of Illustrations Acknowledgements List of Abbreviations Introduction The Return of the Visible and Romantic Ekphrasis: Wordsworth in the Visual Art Culture of Romanticism Typographic Inscription: The Art of 'Word-Preserving' in Wordsworth's Later Inscriptions 'If Mine Had Been the Painter's Hand': Wordsworth's Collaboration with Sir George Beaumont The Sonnet as Visual Poetry: Italics in 'After-Thought' The Book of Ekphrasis: Yarrow Revisited, And Other Poems 'The Marble Index of a Mind': Frontispiece Portraiture and the Image of Late Wordsworth Bibliography Index