Coleridge

Table of contents:

Remerciements
Avant-propos
Introduction. Réfléchir (sur) la sensation (Lucie Lagardère, Anne-Laure de Meyer, Marina Poisson)
PREMIÈRE PARTIE : PHILOSOPHIE ET ART
Chapitre 1.
La couleur : de la sensation à la création. Turner et Locke. (Maxime Chapuis)
Chapitre 2.
Regards croisés entre Hume et Bramante : la sensation humienne face au Christ à la colonne. (Florence D'Aupias d'Alcochète)
DEUXIÈME PARTIE : HISTOIRE ET REPRÉSENTATION
Chapitre 3.
La sensation comme outil politique : les représentations anglaises de l'exécution de Charles Ier au XVIIe siècle (Anne-Laure de Meyer)
TROISIÈME PARTIE : LITTÉRATURE ET CRÉATION
Chapitre 4.
Feeling et construction imaginative chez S.T. Coleridge. (Lucie Lagardère)
Chapitre 5.
La sensation dans The Scarlet Letter : de l'oppression du sujet à la création libératrice. (Marina Poisson)
Chapitre 6.
Le dérèglement des sens dans Naked Lunch de William S. Burroughs. (Edouard Marsoin)

This book examines literary representations of human and non-human animality in British Romanticism, a period in which scientific, political, and industrial revolutions radically transformed the status of the human and redefined the concept of species. Its novel approach lies in its focus on the role that aesthetic taste played in the Romantic understanding of the animal. Concentrating on the discourses of the sublime, the beautiful, and the ugly, Heymans argues that the Romantics’ aesthetic views of animality influenced and were influenced by their moral, scientific, political, and theological judgment. He shows how feelings of environmental alienation and disgust played a positive moral role in animal rights poetry, why ugliness presented such a major problem for Romantic-period scientists and theologians, and how in political writings the violent yet awe-inspiring power of exotic species came to symbolize the beauty and terror of the French Revolution. Linking the works of Wordsworth, Blake, Coleridge, Byron, the Shelleys, Erasmus Darwin, and William Paley to the theories of Immanuel Kant and Edmund Burke, this book reveals the importance of animality in the Romantic imagination as well as the crucial role of the aesthetic in late eighteenth- and early nineteenth-century conceptions of species. Its wide-ranging investigation of the problematic relationship between beauty, truth, morality, and biology brings an original and fascinating perspective to the fields of ecocriticism, animal studies, and literature and science studies.

https://www.routledge.com/books/details/9780415507301/


CONTENTS


Introduction: The Aesthetics of Species


Part 1

1. The Environmental Ethics of Alienation: The Ecological Sublime
2. Green Masochism: Coleridge’s “The Rime of the Ancient Mariner”
3. Hunting for Pleasure: Wordsworth’s Ecofeminism


Part 2

4. Humans and Other Moving Things: Wordsworth Visits London (with Deleuze and Guattari)
5. The Cute and the Cruel: Taste, Animality and Sexual Violence in Burke and Blake
6. A Problem of Waste Management: Frankenstein and the Visual Order of Things


Part 3

7. Revelation, Reason, Ridicule: The Scientific Sublime
8. A Taste of God: Natural Theology and the Aesthetics of Intelligent Design
9. Beauty with a Past: Evolutionary Aesthetics in Erasmus Darwin’s The Temple of Nature""

To most, Charles Darwin's story is simply the birth of the Theory of Evolution. In reality, the story of how Darwin came to this theory, and the many people who would shape his destiny, is itself a story that needs to be told. Like many superhero movies of the 21st century, Darwin has a " back story " , the tale of how Darwin became Darwin. Darwin's story can appeal to many readers on different levels. On the purely academic level the work traces the influence of Alexander von Humboldt, Goethe and Wordsworth, in addition to Erasmus Darwin, on the development of Charles Darwin's theory of natural and sexual selection. On another level is the story of the development of Darwin's imagination and how this enabled his theories to evolve during the Victorian era when it was difficult to express them, yet at the same time in an era which encouraged them. This was a very contradictory time in history indeed. Charles Darwin's Debt to the Romantics is an attempt to mirror Darwin's own narrative, in which, through his imagination, he engages in conversation with the reader on a journey to discover the laws behind the process in which life evolves. These traces in time, moving both backwards into the past and forwards into the future, are like footprints in the sand, some of which get washed away never to be seen again. What drew me to this research was the Romantic notion of the imagination in which the self is so very much a part of Nature. We try very hard to observe nature objectively, but we can never get away from being subjectively part of it at the same time, just through the very act of observing it through our senses or through the act of remembering what we have seen, or think we have seen. And these footprints, or recreated memories of our past, are there for us to see today in fossils or archaeological remains — a mental map of our descent. What makes all of this so Romantic is the almost terrifying or sublime notion that mind has come from matter — that mind evolved and originated from that which was not mind. This is surely one of the greatest mysteries of our very existence — that science, poetry, literature, language, thought and culture have all ultimately evolved from inorganic nature (and this, of course, is only part of the story, as inorganic nature evolved before this).

My theme is ‘life-writing’, understood as the shaping of one's life through the contemplation of values, although this activity is mostly unreflective. To become an art so that one's life can be shaped in greater accord with clearly held values, this process must become reflective. These values have an inescapably ethical dimension, because as we necessarily poetize our surrounding world, we contribute to our personal and communal ethos the character that arises from the culturally shaping power of guiding ideals. Even the immoralist cultivates life within an ethos where obscure feelings connect with some thing or other, whereby certain aims will then appear more valuable than others.

To understand how we cannot help but shape our lives according to dimly or clearly intuited values, I compare Coleridge’s primary imagination, the ‘shaping spirit’ ‘necessary for all human perception’ with Kant’s ‘blind though indispensible function of the soul, without which we would have no cognition at all, yet of which we are scarcely ever conscious’. With Coleridge, we find in imagination an impulse to connect profound but obscure presentiments and ideas with our surroundings. This impulse propels great art and everyday aesthetics alike. Whether we pursue merely what attracts us, or seek value beyond this, all lives are freely shaped, without excuses, as the existentialists say, but not always in the most pellucid consciousness. Our choices inevitably engage us in the poetic art of life-writing. Cast in medias res, we necessarily improvise. But this is no argument against lives being moral-aesthetic works, spontaneous compositions in value.

From an Orientalist viewpoint, Coleridge and his poems were shaped by the discursive web of the 18 th century culture, and he was not free from the worldliness of historical forces. However, it is not difficult to see resistance towards dominant ideologies in his poems. One example is Coleridge's sentiment towards the systematicallymisrepresented Islam and its prophet. Coleridge's radical interpretation of Islam in the 1790s made him feel the need, with Southey, for a model of moral regeneration after observing European corruption and having lost his radical interest in the millennial politics of the French Revolution. The radical act of composing "Mahomet" signifies Coleridge's endeavor to change the distorted image of Mahomet and Islam that to him was the beginning of the Unitarian revolution and the symbol of the revolutionary France. However, he perpetuates the prejudice of Christianity's superiority over Islam as a deviation of the true religion introduced by Christ. Coleridge's approach is imaginative reconciliation of Christo-Islamic inspirations to offer his political thoughts and avoid identification with English Unitarianism.

The poems that pose the subject of discussion in this article allow themselves to be understood as manifestations of the Wanderer for more than one reason. Most contain a form derived from the verb to wander, sometimes in particularly prominent settings. The Rime of the Ancient Mariner does not contain the word wanderer but a consideration of the poem's import and themes evokes references to "the Wanderer" and "the Wandering Jew" in a noted work of literary criticism by G.H. Hartman. The very mention of the wandering Jew, Cain, a pilgrimage and the Prodigal Son -all closely associated with treatments of the wanderer motif -implies a recall of tradition. It remains to be shown to what extent the Romantic poems alluded to elements found in the works of Shakespeare, Milton, Daniel Defoe and Edward Young by the very use of a word derived from the verb to wander. The English Romantic poets were not only subject to the power of native tradition. They were deeply impressed by works written by a dominant figure in the domain of contemporary German literature, Johann Wolfgang von Goethe, who had promoted the word Wanderer to a place of honour in German poetry. I anticipate a number of objections to the thesis I am proposing.

The aim of my essay is to illustrate the functions and representations of Romantic imagination through Kubla Khan, by Samuel Taylor Coleridge. I shall use Coleridge’s definitions of imagination and its types, as portrayed by himself in his work, Biographia Literaria, particularly in the thirteenth chapter, On the imagination, or esemplastic power (Coleridge).

Coleridge, in his poems, has successfully presented to his readers a “nature and supernatural” blend that is considered very amazing. Coleridge perceives nature something that surrounds man and considers it a privilege to interpret it. “The Rime of The Ancient Mariner” is although composed in romantic tradition, it contains a high imagination of the poet and covers supernatural elements for which it is regarded a masterpiece of supernatural poetry. At the same time, it contains moral lessons for its readers; that whether big or small, no crime can go unpunished. The paper analyzes Coleridge’s treatment of Nature and Supernatural in this poem.

Coleridge's "Kubla Khan" has a very coherent structure. Two movements of the poem are each divided into three sections; in both cases the middle of those three in turn has three subsections and again, the middle of the middle has three subsections. The first movement ends with "A sunny pleasure-dome with caves of ice," a line which is then repeated at the structural midpoint of the second movement. This structure encompasses both semantics and sound, uniting both in a single coherent mental act. The semantics of the poem’s first movement involves a series of cognitive blends in which the neural self provides one input while Xanadu imagery provides the other. The semantics of the second movement involves manipulating the reality status of successive mental spaces. Underlying the entire poem is a “walk” by core brain mechanisms tracing territorial, sexual, and attachment patterns through the poem’s semantics. Coleridge’s 1816 preface embodies an abstract pattern  that paradoxically asserts and denies the poem’s validity. On the internal evidence, the poem is whole and complete.

Diyalojik ilişki kurduğu metinlerle yalnızca olay örgüleri ve ideolojik bakış açıları olarak değil, metni yaratan yazar poetikasının temeliyle de güçlü söyleşmeler kurulmuş gibidir. Bahtin’in “Dostoyevski Poetikasının Sorunları” ve diğer yapıtlarında Dostoyevski’nin çoksesli roman yapısı içinde görünür kıldığı çoksesli biçem, bilinçli bir şekilde metne taşınmış gibidir. Mitolojik, tasavvufçu, karnavalesk karışımı Doğulu metinlerinden esinlenilmiş parodik söylem olay örgüsüyle taçlandırılmış, bir tür yeniden doğuşa uğratılarak Rene Gerard’ın metafizik arzunun kaynaklarına yönelmiş “Romantik Yalan, Romansal Hakikat” adlı yapıtına ilişkin ipuçları veren kuramsal bir söyleme dönüştürülmüştür. Ancak, söylemin bir tür tekrar, yineleme sanısının yerleşmeye başladığı anda, bütüne katılma ya da bir başkası olma yöneliminin karşısına, varoluşçuluğun varlığı özden önceye taşımaya çabalayan bireyci öznelciliği, “kendisi olma kaygısı” konmuştur.
Bahtin’in ve Rene Gerard’ın ilgili yapıtları Kara Kitap’ın yayınlandığı 1990 yılından çok daha sonra yayınlanacaklardır. Orhan Pamuk, yaratıcı yazar gözlemciliğiyle, okuduğu, kendi söylemine parodileştrerek kattığı diğer metinlerin ruhuna ulaşmayı başarmış, özel ve özgün bir poetika kurmuştur.

This article tells about how Coleridge, one of the best poets of Romantic Age, treated the supernatural in his poem entitled The Rime of the Ancient Mariner. In treating the supernatural, Coleridge is different from the writers of the past. Coleridge put more emphasis on the influence of the supernatural beings or objects than the image of the supernatural creatures or objects, whereas the writers of the previous times were quite the opposite; they put more emphasis on the image or description of the supernatural creatures of objects. This article reveals how Coleridge has skillfully blended the natural things or phenomena with supernatural one that the supernatural things or phenomena eventually look natural. Coleridge's expertise in combining these two things constitute his privilege.

By recasting Vygotsky's account of language acquisition in neural terms we see that language itself functions as a transitional object in Winnicott's sense. This allows us to extend the Schwartz-Holland account of literature as existing in Winnicottian potential space and provides a context in which to analyze Coleridge's "This Lime-Three Bower." The attachment relationship (between Caretaker and Child) provides the poem's foundation. The poet plays the Child role with respect to Nature and the Caretaker role with respect to his friends. The friends, Charles in particular, play the mediating the role of transitional object in the first movement while Nature becomes a mediator between one person and another in the second movement. The first movement starts with the poet being differentiated and estranged from Nature and concludes in an almost delusional fusion of poet, friends, and Nature. The second movement starts with the poet secure in Nature's presence and moves to an adult differentiation between poet, friends, and Nature.

The aim of this study is to explore the paradox of loneliness in company with nature in Coleridge's Trio and "Dejection: An Ode." Loneliness plays the role of vital connector between nature and the poet or between nature and the characters within the poems under study. This loneliness leads to a communion between the poet and nature, and, consequently, the poet is able to create and be illuminated by a better understanding of himself and others. However, loneliness could not always bring the poet and nature into communion, and so there is sometimes a failure in connection. This success and failure reflect the fluctuations in the poet's life as a creator. This communion represents the organic relationship between the romantic poet and nature, which is a vital part of his survival as a poet. Nature is a container for the romantic poet, but a relationship with it cannot be established without loneliness.

The name Samuel Taylor Coleridge calls forth, in most people's minds, The Rhyme of the Ancient Mariner, Kubla Khan, Christabel, and other such great poems. Coleridge was, however, also a philosopher, although he is not often recognized as such outside of scholarly circles. Besides poetry, Coleridge also authored a series of scholarly works such as Biographia Epistolaris, Biographia Literaria, Logic, On the Constitution of the Church and State, Theological and Political Notes, Philosophical Lectures, and Formation of a More Comprehensive Theory of Life, amongst others. In his philosophical works, he made a serious attempt to develop a systematic Christian "Logosophia" of nature, religion, philosophy, and science. Coleridge, in his philosophy of nature, attempted to reconcile two very different systems of thought by which he was greatly influenced. These were Christian theology and the dynamic Naturphilosophie of such philosophers as Schelling, Fichte, and Steffens. He w...

Using a model of literary tradition derived from T. S. Eliot and mediated by J. L. Borges, this paper proposes a tradition of creative failure which would enable the work of Beckett to be read through that of S. T. Coleridge, and vice-versa. Two texts by Coleridge are briefly considered in this context, and the problematic of creative failure in which they are implicated is related to key claims in Beckett’s THREE DIALOGUES. A concluding statement suggests the benefits of reading Coleridge and Beckett within the common perspective of a literary tradition, the perception of which the two writers both shape and are shaped by.

This is a dialog between a Naturalist Literary Critic and a Sympathetic Techno-Wizard about the interaction of symbols and neural nets in understanding "Kubla Khan," which has an extraordinary structure. Each of two parts is like a matryoshka doll nested three deep, with the last line of the first part being repeated in the middle of the second. They start talking about traditional symbol processing, with addressable memory, and nested loops, and end up talking about a pair of interlinked neural nets where one (language forms) is used to index the other (meaning).

There are scholars who, mostly for sake of brevity, deem Maurice to be a member of the Broad Church party within the Anglican Church.  This conclusion is in direct conflict with Maurice's own repeated denials throughout his works. My goal is not to situate Maurice within another party within the Anglican Church, but to accord him his proper place. By way of Coleridge, the Alexandrian Fathers, and his own deeply-held faith, Maurice is an Anglican with Platonic tendencies.

The focus of this article is " The Ballad of the Dark Ladie, " a short fragment by the English Romantic poet Samuel Taylor Coleridge (1772-1834). Critics often overlook the piece in their reading of Coleridge although it has an interesting story between the lines. Besides enriching the unfinished surface one, the submerged tale carries significant revelations about Coleridge " s literary relationship with foreign cultures and elements, the Dark Lady in this particular case. The present study intends to divulge the hidden tale in the text and to use its revealed construct to throw light on Coleridge " s engagement with the Other in his literary experience. It employs a formalist reading of the text and pays attention to point of view. It also invokes culture and allegory in the process of eliciting the significance of the embedded tale. My reading intimates that Coleridge " s imaginative aspiration towards the exotic Other is more congenial to his poetic creativity than other modes of the imagination. It also suggests that this Other might as well be the Orient. However, despite such harmony, Coleridge has his own personal concerns about his romantic quest of the Orient.

John Beer draws a sweeping parallel between Luther’s vision after a period of ‘intense thinking’ and the state of the ‘Author’ in the preface to ‘Kubla Khan’ to argue that the poem’s images were ‘the subject of intense thought on Coleridge’s part’. In fact, both ‘Kubla Khan’ (c.1797) and the introductory note Coleridge attached to it in 1816 can be productively reread in the context of Coleridge’s essay on Luther and Rousseau in The Friend. The ‘Author’, like Luther, has a ‘vision in a dream’: falling asleep over Purchas’s Pilgrimage, he has a vision of Kubla’s dome, while Luther, falling asleep over the Bible, has a hallucination of the devil. I will argue that apart from the fact that Coleridge speaks about Luther very much as he does of himself in the preface, both the poem supplemented by the preface and the essay on Luther and Rousseau offer commentaries on the political implications of the relationship between hallucinatory reading, poetic vision, and the potentially dangerous, daemonic power of words. For Luther’s hallucinatory reading is also linked, in Coleridge’s mind, to his being a ‘great poet’. However, being ‘possessed’ by his visions, and ‘acting’, rather than ‘writing’ poems, he also resembles, according to Coleridge, the ‘crazy Rousseau’, whose words had ‘direful’ consequences (F II 110-121). Associating possession with the dangerous power of words, the essay on Luther and Rousseau can thus bring into focus the political potentials of the ‘Author’s’ original vision, the performative character of Kubla’s speech act, as well as the historical implications of the ecstatic ‘I’ of the last stanza. It may eventually suggest that the introductory note to ‘Kubla Khan’ can be read as a second ‘decree’, a written declaration that can distance the conservative Coleridge from his own poem. It may indicate that the Coleridge of 1816 (as opposed to Luther, Rousseau, Kubla Khan, and the ‘Author’ of 1797 described in the preface) is a poet-critic, someone who re-reads his own poem in an attempt to avert its potentially ‘direful’ consequences.

Book Jacket blurb, for what it's worth: "A sharply focused analysis of how and why romantic writers drew on gothic conventions whilst, at the same time, denying their influence in order to claim critical respectability. He shows how the reception of gothic writing, including its institutional and commercial recognition as a form of literature, played a fundamental role in the development of romanticism as an ideology. In doing so he examines the early history of the romantic movement and its assumptions about literary value, and the politics of reading, writing, and reception at the end of the eighteenth century. As a whole the book makes an original contribution to our understanding of genre, tracing the impact of reception, marketing, and audience on its formation."

Students and colleagues, please feel free to request a courtesy pdf of this essay ([email protected]).

This article develops a Coleridgean theory of two main forms of mystical experience occurring at what Coleridge called the poles of our 'Mental Powers', at 'Sense' and 'Reason'. While the article presents a theory of mystical experience as actually or in principle occurrent (depending on the individual) at the perimeter of human experience, it also emphasizes Coleridge's cautions against confusing personal idiosyncrasy for spiritual reality. Coleridge's own position on noetic and on sensual contemplation is argued to develop from his Plotinian reading of and reaction against Kant's philosophy of experience and the limits of knowledge. I show how Coleridge proposes 'Reason' as the space of truth, law, and 'living powers' on the objective side, and of noetic, pure contemplation on the subjective side. Consistent with his polar philosophy, I then develop a theory of what I call inchoate contemplation, occurring at the level of 'Sense', infusing, for some, a bright joy into everyday perception when experienced with extraordinary intensity,  but which may also, especially when exacerbated in fancy, bring darkness and dread. Gentler and more usual than either extreme are the moments of secular grace in nature and quotidian life.

I submit for your consideration the following hypothesis: a text cannot belong to no genre, it cannot be without or less a genre. Every text participates in one or several genres, there is no genreless text; there is always a genre and genres, yet such participation never amounts to belonging. Jacques Derrida, "The Law of Genre" (212) N THE LAST two decades, critics like Stuart Curran, Jacques Derrida, and Tzvetan Todorov have stated in various ways that genre "is the driving force of [. ..] all literary history"-that "there is no genreless text." This essay seeks to focus on the less-acknowledged corollary of such assertions: that generic classification also depends on readerspublishers, critics, and the public-who ultimately determine a text's identity and value. The interplay between writers and readers drives not only Derrida's caution concerning "participation" and "belonging" but also Fredric Jameson's definition of genre as a "social contract" between any "writer and a specific reading public" (160). If both formulations give significant importance to readers, they still present genre as an instance of friendly socialization or negotiation, where various parties combine to determine textual meaning and where all must agree on the nature of a text's participation before any act of belonging, however temporary, can occur.

Though far more often remembered as a poet, Coleridge's theory of ideas was spectacular in its originality and bold reach. Samuel Taylor Coleridge (1772–1834) stands tall in the cultural pantheon for a few world-famous poems. It is less well known that in his own lifetime, and in the decades following his death, this canonical poet had an equal reputation as a philosopher. This article introduces key elements of Coleridge's philosophy in outline, including his theory of ideas, the polar philosophy, and his dynamic idealism, which sees matter as arising from a clash of opposed forces, themselves derived from more originary powers or ideas.

Coleridge rarely mentions Hegel in his philosophical writings and seems to have read very little of Hegel's work. Yet I argue that Coleridge's criticisms of Schelling's philosophy—as recorded in letters and marginalia—betray remarkable intellectual affinities with his nearly exact contemporary Hegel, particularly in their shared doubts about Schelling's foundationalist intuitionism. With this background in place, I seek to demonstrate that volume one of Coleridge's Biographia Literaria is a radically self-undermining text: its philosophical argument, far from slavishly recapitulating Schelling's philosophy, remains haunted by a quasi-Hegelian skepticism toward intuition even as it advances intuition as the foundation of its theoretical edifice.

'Christabel’ and ‘The Eve of St. Agnes’ have many striking similarities. Throughout both poems, the two women are constantly referred to as pure, innocent, generally good girls.  They are praised by the other characters and by the narrators.  However, both women engage in behavior that defies their descriptions.  Occasionally, this behavior even disrupts gender roles, and the position of the girls in their respective texts in question.
        The topic of concern is with a specified text in question so there is a limit to what extent this topic expands. The comparison is between the two leading females of their respective texts. The similarities that I want to point out to are limited to the leading female characters only and not to the entire Poems in concern.

"Re/Minding the Modern traces a small number key concepts of humanistic inquiry (will – person – judgment – action) from antiquity through the early nineteenth century. Its main contention is that under conditions of modernity, both of these conceptions become gradually incoherent and eventually unintelligible. As a result, our grasp of the nature and function of concepts is decisively altered, which in turn compromises our understanding of humanistic inquiry itself.

Part I explores the genesis of the concept of the Will in Aristotle's and the Stoics' theory of judgment and then moves on to its consolidation in St. Augustine's De Trinitate and in Aquinas' Summa. Subsequent chapters focus on the increasing tension between willing and cognition, and on the ascent of voluntarist and irrational models of human agency in Ockham, Hobbes, and Locke.  They are followed by chapters exploring the gradual dissolution of the concept of the Will and its displacement onto eighteenth-century models of the "passions." The focus here is on Shaftesbury, Mandeville, Hutcheson, Hume, and A. Smith.

Part II explores the later Coleridge’s philosophical theology, especially his unique and ambitious retrieval of conceptions of Person and Will via neo-Platonic philosophy and Trinitarian theology. The objective here is to trace how humanistic concepts and the Basisphänomene (as Ernst Cassirer calls them) they seek to elucidate acquire meaning and significance only inasmuch as we are prepared positively to engage (rather than “historicize”) their previous usages.  Concepts like will and person are essentially interpretive, which is to say, not neutral tools but evaluative, heuristic frameworks that afford us orientation even as they are subject to continual re-interpretation. Readings in this second part take on Coleridge's Aids to Reflection, his later Notebooks, as well as the fragments associated with his Opus Maximum.  From these texts, the argument leaps back to the emergent conception of human personhood in the Cappadocian Fathers, St. Augustine, Boethius, Richard of St. Victor, as well as forward to post-Coleridgean, Judaic models of personhood as constituted in the I-Thou relationship (in M. Buber and E. Levinas).
"

This paper seeks to contrast Kant's strong belief that morality is the ultimate aim of religion with Coleridge's statement in Aids to Reflection that morality is merely a step in the ascent towards a spiritual religion. The issues to be discussed are the relationships between emotion and grace on the one hand, and theism and Christology, on the other hand. While Kant believes the core of religion to be that of doing one's duty in this world (because fulfilling one's duty may be a sign of divine election), Coleridge understands Kant's rendering of morality as a reduction of religion to the mere role of moral religion. Coleridge also believes that morality is the body, while the soul of the Christian religion is faith in Christ. Résumé Ce document vise à contraster la forte conviction de Kant que la moralité est l'objectif ultime de la religion avec la déclaration de Coleridge dans « Aids to Reflection » où la moralité est seulement un pas dans l'ascension vers une religion spirituelle. Les questions à examiner sont : les relations entre l'émotion et la grâce, d'une part, et le théisme et christologie, d'autre part. Tandis que Kant crois que le coeur de la religion c'est de faire notre devoir dans ce monde (parce que si on a réussi faire notre devoir, il peut être interprété comme un signe d'élection divine), Coleridge entend l'interprétation de Kant sur la moralité comme une réduction de la religion au simple rôle de religion morale. Coleridge croit aussi que la moralité représente le corps, pendant que l'âme de la religion chrétienne est la fois en Christ.

Entry on Samuel Taylor Coleridge fot the 3 volume 'Thoemmes Dictionary of British Classicists' (Bloomsbury/Thoemmes 2004).

The entry focuses on Coleridge's classical scholarship as influenced by his wider metaphysical views of the importance of language and philological research as the keys to understanding western culture. Particular attention is given to the ways in which Coleridge's philosophy of language mediated his theological views and his understanding of both myth and race.

This essay, a contribution to the study of secularisation, explores
conditions under which a new genre, the lay sermon, emerged
early in the nineteenth century. It does so through a reading of
the texts that inaugurate the genre, Samuel Taylor Coleridge’s Lay
Sermons (1817). In particular, the essay examines Coleridge’s Lay
Sermons’ historical context, that is, to the beginnings of liberal
politics. And it also pays attention to Coleridge’s relation to the
heritage of religious sermons, especially seventeenth- century
sermons. It argues that the lay sermon, unlike the religious
sermon, tends to be directed to particular social groups or
formations rather than, more broadly, to Christians of a particular
denomination.

This paper presents an exploratory account of contemplation and meditative experience as found in Coleridge’s ‘Meditative Poems’ and in the nature writing recorded in his notebooks. In these writings, we see the importance of meditative thinking as an exercise concerned with spiritual transformation towards the true, the good, and the beautiful. Sometimes meditation is used as a practical device to stimulate the imagination. At other times it is used as a method to map and
follow a train of thought outside the head, as it were, in the immediate landscape, which process is related to the communing with nature as that Coleridge and Wordsworth pursued. I examine Coleridge’s ‘Meditative Poems’ and notebooks in order to situate his approach to imagination and Idea as applied in his poetic thought.

Analyse du poème Ulysse (1933) de Benjamin Fondane dans son ultime version. L'Odyssée fondanienne subvertit le cercle homérique conduisant au retour. L'Odyssée catastrophique de Fondane est sans retour et vise un-au-delà de la connaissance, tout en dialoguant avec des Ulysse transgressifs de l'histoire de la littérature (Dante, Tennyson).
L'errance du juif errant, revisitée à travers une intertextualité avec le texte grec, est mise en tension dans un cadre théorique qu'il importe de mettre en relation avec la crise ontologique inhérente à la philosophie chestovienne.