By Bruce Mitchell, Fred C. Robinson
Publish 12 months note: First released 1964
A finished advent to previous English, combining uncomplicated, transparent philology with the simplest literary works to supply a compelling and available beginners' guide.
• offers a finished creation to outdated English
• makes use of a realistic process suited for the desires of the start student
• gains choices from the best works of outdated English literature, prepared from uncomplicated to tougher texts to maintain velocity with the reader
• encompasses a dialogue of Anglo-Saxon literature, historical past, and tradition, and a bibliography directing readers to valuable courses at the subject
• up to date all through with new fabric together with the 1st 25 traces from Beowulf with distinct annotation and an evidence of Grimm's and Verner's laws
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Extra resources for A Guide to Old English (8th Edition)
Ultimately, we are dealing not with the aestheticization of life but with the reduction of life to aesthetics and, specifically, to a determinate alienated bourgeois aesthetics. A genuine transposition of aesthetic categories to life would mean the realization of aesthetics in life, that is, the imaginative, defetishized subject/object unity that is peculiar to art. 39 It would take the form of the conscious relation of concrete individuals to themselves, to other people, and to human objectifications in a world remade on aesthetic-ethical-scientific principles by a conscious and self-conscious humanity.
3 ‘Life imitates Art far more than Art imitates Life. It follows, as a corollary from this, that . . ’44 If Wilde can combine his sparkling but impoverished aesthetic with a general humanism, as Raymond Williams argues,45 then that is an example of the specific contradiction I noted earlier:46 a contradiction whose primary aspect is the cultural fetish which presupposes the abrogation of historical praxis and the resignation to the isolation of culture, and conversely, to the immutability of social reality.
Like mythic parataxis, the simultaneity principle is, on the ontological level, mired in immediacy. On the epistemological level, it stumbles among appearances. On the ethical level, it disguises the choices from the past that keep the present to its course, and deflects the choices that would link the present to a new future. And on the metaphysical level, it is a search for order within the given facts of the world. This brings us to Eliot’s famous ‘dissociation of sensibility’ which, in this phrase he borrowed from Rimy de Gourmont, has seemed to become a fixed star in the constellations of modern theory.
A Guide to Old English (8th Edition) by Bruce Mitchell, Fred C. Robinson