9780199242597 - Coleridge, Wordsworth, and the Language of Allusion (oxford English Monographs) by Newlyn, Lucy (28 results)
- Softcover
Seller: Anybook.com, Lincoln, United KingdomAnybook.com
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£ 4.63
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Condition: Fair. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In fair condition, suitable as a study copy. Library sticker on front cover. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,500grams, ISBN:9780199…242597.
- Softcover
Seller: Anybook.com, Lincoln, United KingdomAnybook.com
Contact seller5-star sellerCondition: Used - Fair
£ 5.76
£ 13.60 shippingShips from United Kingdom to U.S.A.Quantity: 1 available
Condition: Fair. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In fair condition, suitable as a study copy. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,500grams, ISBN:9780199242597.
- Softcover
Seller: ThriftBooks-Atlanta, AUSTELL, GA, U.S.A.ThriftBooks-Atlanta
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Paperback. Condition: Very Good. No Jacket. Former library book; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.
- Softcover
Seller: Magus Books Seattle, Seattle, WA, U.S.A.Magus Books Seattle
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Trade Paperback. Condition: VG-. used trade paperback edition. lightly shelfworn, corners perhaps slightly bumped. pages and binding are clean, straight and tight. there are no marks to the text or other serious flaws. minor light brown staining to the top of the page block.
- Softcover
Seller: Prometei Books, New Rochelle, NY, U.S.A.Prometei Books
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Soft cover. Condition: Fine. From publisher's library. Faint shelfwear on paperback covers. Library marking on the jacket. Bookplate on inside cover and library stamp. Otherwise, book is new and unread. Pages clean and crisp, spine unbroken. 1025B.
- Softcover
Seller: Sequitur Books, Boonsboro, MD, U.S.A.Sequitur Books
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Condition: Used - As new
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Paperback. Condition: As New. Softcover. Good binding and cover. Minor shelf wear. Clean, unmarked pages. xxxiv, 274 pages, 22 cm.
- Softcover
Seller: GreatBookPrices, Columbia, MD, U.S.A.GreatBookPrices
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- Softcover
Seller: GreatBookPrices, Columbia, MD, U.S.A.GreatBookPrices
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Condition: As New. Unread book in perfect condition.
- Softcover
Seller: GreatBookPricesUK, Woodford Green, United KingdomGreatBookPricesUK
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Condition: New.
- Softcover
Seller: Chiron Media, Wallingford, United KingdomChiron Media
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PF. Condition: New.
- Softcover
Seller: Ria Christie Collections, Uxbridge, United KingdomRia Christie Collections
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- Softcover
Seller: GreatBookPricesUK, Woodford Green, United KingdomGreatBookPricesUK
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£ 66.97
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Condition: As New. Unread book in perfect condition.
- Softcover
Seller: Kennys Bookshop and Art Galleries Ltd., Galway, GY, IrelandKennys Bookshop and Art Galleries Ltd.
Contact seller5-star sellerCondition: New
£ 80.04
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Condition: New. In this study of two creative minds, Lucy Newlyn offers a version of the Coleridge-Wordsworth interaction during its most crucial years: 1797-1807. Newlyn argues that it is only on the surface that each poet appears the other's ideal audience. Below the surface, there were radical differences. Num Pages: 274 page…s, black & white illustrations. BIC Classification: 2AB; DSBF; DSC. Category: (P) Professional & Vocational. Dimension: 217 x 139 x 16. Weight in Grams: 378. . 2001. Revised ed. paperback. . . . .
- Softcover
Seller: THE SAINT BOOKSTORE, Southport, United KingdomTHE SAINT BOOKSTORE
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Paperback / softback. Condition: New. New copy - Usually dispatched within 4 working days.
- Softcover
Seller: Kennys Bookstore, Olney, MD, U.S.A.Kennys Bookstore
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£ 97.37
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Condition: New. In this study of two creative minds, Lucy Newlyn offers a version of the Coleridge-Wordsworth interaction during its most crucial years: 1797-1807. Newlyn argues that it is only on the surface that each poet appears the other's ideal audience. Below the surface, there were radical differences. Num Pages: 274 page…s, black & white illustrations. BIC Classification: 2AB; DSBF; DSC. Category: (P) Professional & Vocational. Dimension: 217 x 139 x 16. Weight in Grams: 378. . 2001. Revised ed. paperback. . . . . Books ship from the US and Ireland.
- Softcover
- Print on Demand
Seller: Brook Bookstore On Demand, Napoli, NA, ItalyBrook Bookstore On Demand
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£ 60.28
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Condition: new. Questo è un articolo print on demand.
- Softcover
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Seller: PBShop.store US, Wood Dale, IL, U.S.A.PBShop.store US
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£ 73.93
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PAP. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.
- Softcover
- Print on Demand
Seller: PBShop.store UK, Fairford, GLOS, United KingdomPBShop.store UK
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£ 69.03
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PAP. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.
- Softcover
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Seller: Grand Eagle Retail, Bensenville, IL, U.S.A.Grand Eagle Retail
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Paperback. Condition: new. Paperback. In this study of two creative minds, Lucy Newlyn offers a new version of the Coleridge-Wordsworth interaction during its most crucial years: 1797-1807. Rejecting all those accounts (including the poets' own) which have sought to construe difference as compatibility, Newlyn argues that it is…only on the surface that each poet appears the other's ideal audience. Below the surface, there were radical differences, of a theoretical and imaginative kind, which led tomisunderstanding. It is the central argument of Coleridge, Wordsworth, and the Language of Allusion that such 'misunderstanding' was creative and, for both poets, a means of self-definition. The key tothis interpretation is in the poets' private language: they were not only 'men speaking to men', but poets speaking to poets, and it is in their use of literary allusion that their tacit opposition emerges. Indeed, by examining the range of strategies open to any writer using private allusion, Newlyn's study reveals this mode to be potentially the most aggressive of literary forms. In this study of two creative minds, Lucy Newlyn offers a new version of the Coleridge-Wordsworth interaction during its most crucial years: 1797-1807. It is only on the surface, she argues, that each poet appears the other's ideal audience. Below the surface, radical differences led to misunderstanding. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
- Softcover
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Seller: THE SAINT BOOKSTORE, Southport, United KingdomTHE SAINT BOOKSTORE
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£ 78.97
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Paperback / softback. Condition: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.
- Softcover
- Print on Demand
Seller: Majestic Books, Hounslow, United KingdomMajestic Books
Contact seller4-star sellerCondition: New
£ 105.81
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Condition: New. Print on Demand pp. 276 1:B&W 5.5 x 8.5 in or 216 x 140 mm (Demy 8vo) Perfect Bound on Creme w/Gloss Lam.
- Softcover
- Print on Demand
Seller: Books Puddle, New York, NY, U.S.A.Books Puddle
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Condition: New. Print on Demand pp. 276.
- Softcover
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Seller: AussieBookSeller, Truganina, VIC, AustraliaAussieBookSeller
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Paperback. Condition: new. Paperback. In this study of two creative minds, Lucy Newlyn offers a new version of the Coleridge-Wordsworth interaction during its most crucial years: 1797-1807. Rejecting all those accounts (including the poets' own) which have sought to construe difference as compatibility, Newlyn argues that it is…only on the surface that each poet appears the other's ideal audience. Below the surface, there were radical differences, of a theoretical and imaginative kind, which led tomisunderstanding. It is the central argument of Coleridge, Wordsworth, and the Language of Allusion that such 'misunderstanding' was creative and, for both poets, a means of self-definition. The key tothis interpretation is in the poets' private language: they were not only 'men speaking to men', but poets speaking to poets, and it is in their use of literary allusion that their tacit opposition emerges. Indeed, by examining the range of strategies open to any writer using private allusion, Newlyn's study reveals this mode to be potentially the most aggressive of literary forms. In this study of two creative minds, Lucy Newlyn offers a new version of the Coleridge-Wordsworth interaction during its most crucial years: 1797-1807. It is only on the surface, she argues, that each poet appears the other's ideal audience. Below the surface, radical differences led to misunderstanding. This item is printed on demand. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.
- Softcover
- Print on Demand
Seller: CitiRetail, Stevenage, United KingdomCitiRetail
Contact seller5-star sellerCondition: New
£ 73.99
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Paperback. Condition: new. Paperback. In this study of two creative minds, Lucy Newlyn offers a new version of the Coleridge-Wordsworth interaction during its most crucial years: 1797-1807. Rejecting all those accounts (including the poets' own) which have sought to construe difference as compatibility, Newlyn argues that it is…only on the surface that each poet appears the other's ideal audience. Below the surface, there were radical differences, of a theoretical and imaginative kind, which led tomisunderstanding. It is the central argument of Coleridge, Wordsworth, and the Language of Allusion that such 'misunderstanding' was creative and, for both poets, a means of self-definition. The key tothis interpretation is in the poets' private language: they were not only 'men speaking to men', but poets speaking to poets, and it is in their use of literary allusion that their tacit opposition emerges. Indeed, by examining the range of strategies open to any writer using private allusion, Newlyn's study reveals this mode to be potentially the most aggressive of literary forms. In this study of two creative minds, Lucy Newlyn offers a new version of the Coleridge-Wordsworth interaction during its most crucial years: 1797-1807. It is only on the surface, she argues, that each poet appears the other's ideal audience. Below the surface, radical differences led to misunderstanding. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.
- Softcover
- Print on Demand
Seller: moluna, Greven, Germanymoluna
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£ 73.15
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Condition: New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. In this study of two creative minds, Lucy Newlyn offers a version of the Coleridge-Wordsworth interaction during its most crucial years: 1797-1807. Newlyn argues that it is only on the surface that each poet appears t…he other s ideal audience. Below the sur.
- Softcover
- Print on Demand
Seller: Biblios, frankfurt am main, HESSE, GermanyBiblios
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Condition: New. PRINT ON DEMAND pp. 276.
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Seller: preigu, Osnabrück, Germanypreigu
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Taschenbuch. Condition: Neu. Coleridge, Wordsworth and the Language of Allusion | Lucy Newlyn | Taschenbuch | Kartoniert / Broschiert | Englisch | 2001 | OUP Oxford | EAN 9780199242597 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu Print on Demand.
- Softcover
- Print on Demand
Seller: AHA-BUCH GmbH, Einbeck, GermanyAHA-BUCH GmbH
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£ 89.26
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Taschenbuch. Condition: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - In her study of two creative minds, Lucy Newlyn offers a startlingly new version of the poetic interaction between Coleridge and Wordsworth during the critical years from 1797 to 1807. Rejecting the traditional accounts, even those given… by the poets themselves, which have minimized the differences between the two, Newlyn demonstrates that it is only on the most superficial level that each poet seemed to be the other's ideal audience. Below that surface, she insists, there were radical dissimilarities between the two which led to a kind of 'creative' misunderstanding by which each artist clearly defined himself in relation to the other. Because it is in the poet's 'private language' of allusion that these differences are most clearly seen, the book concludes that this 'private language' spoken by artists amongst themselves may in fact be the most aggressive of literary forms.
