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Thomas De Quincey, Confessions of an English Opium-Eater, and Other Writings
Published 2014-09-01Get full text
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Vitesse, réseau, vision : La malle poste-anglaise de Thomas de Quincey
Published 2015-06-01“…Usually linked to Opium, the visionary romantic aesthetic of Thomas De Quincey, can also be refered to the technological mutations of the emerging industrial modernity. …”
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Poétisation et déréalisation de la ville au XIXème siècle : les tropes d’une littérature hantée
Published 2009-12-01“…Yet, because of the way they were represented, cities were paradoxically derealized—even in supposedly realistic texts—and turned into dreamlike or fantasy entities with Gothic or mythical qualities.The fact the city was so omnipresent and disturbing while at the same time so familiar or even commonplace probably accounts for the writers’ keeping it at a distance, through derealizing techniques whose stylistic modalities shall here be examined, namely the use in prose works of literary devices that belong to poetic writing—such as metaphors, hypallages and metonymies—in Thomas De Quincey’s The Confessions of an English Opium-Eater (1821) and Poe’s "The Man of the Crowd" (1840). …”
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L’excès dans la fiction de Wilkie Collins
Published 2006-12-01“…All these variations on the gothic pattern of persecution enacted in « the secret theatre of home » serve to expose and denounce social and family diseases.Physical and mental disease is of course a central concern for two major male (though sexually ambiguous) Collinsian figures, namely Ezra Jennings in The Moonstone—an opium (ab)user like Thomas De Quincey (a strong influence in the novel) and like Collins himself—and Miserrimus Dexter (associated with a Romantic intertext of excess) in The Law and The Lady. …”
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More than Mounts the Eye: Coleridge, Byron, De Quincey
Published 2008-05-01“…Gêné par la disproportion trop voyante qui existait entre ses sentiments exaltés et "nos humbles montagnes", Coleridge reniait ces dernières et leur préférait la recréation imaginaire du Mont Blanc sublime. Thomas De Quincey fait le cheminement inverse dans Recollections of the Lakes and the Lake Poets (1838-1840), lorsqu’il affirme que ces "humbles montagnes", peuplées de montagnards humbles mais d’une grande force morale, bien qu’ayant la préférence de Wordsworth, méritent toute l’attention critique possible.Les deux parties devraient converger autour de la question suivante: pourquoi les romantiques de la première génération ont-ils dû de façon répétée repousser les accusations de modération et d’esprit de clocher, quand il n’était que trop évident de voir que le rang éminent de leurs productions dépassait de loin la prétendue "humilité" de leur cadre indigène ?…”
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