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100 1 $aTeskey, Gordon,$d1953-$eauthor.
245 10 $aDelirious Milton :$bthe fate of the poet in modernity /$cGordon Teskey.
264 1 $aCambridge, Massachusetts :$bHarvard University Press,$c2006.
264 4 $c©2006
300 $a1 online resource (vi, 214 pages)
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504 $aIncludes bibliographical references (pages 203-210) and index.
505 0 $a1. Artificial paradises -- 2. Milton's halo -- 3. Milton and modernity -- 4. Why, this is chaos, nor am I out of it -- 5. God's body : concept and metaphor -- 6. A bleeding rib : Milton and classical culture -- 7. Milton's choice of subject -- 8. Revolution in Paradise regained -- 9. Samson and the heap of the dead.
506 $3Use copy$fRestrictions unspecified$2star$5MiAaHDL
533 $aElectronic reproduction.$b[Place of publication not identified] :$cHathiTrust Digital Library,$d2010.$5MiAaHDL
538 $aMaster and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002.$uhttp://purl.oclc.org/DLF/benchrepro0212$5MiAaHDL
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520 $a"Composed after the collapse of his political hopes, Milton's great poems Paradise Lost, Paradise Regained, and Samson Agonistes are an effort to understand what it means to be a poet on the threshold of a post-theological world. The argument of Delirious Milton, inspired in part by the architectural theorist Rem Koolhaas's Delirious New York, is that Milton's creative power is drawn from a rift at the center of his consciousness over the question of creation itself. This rift forces the poet to oscillate deliriously between two incompatible perspectives, at once affirming and denying the presence of spirit in what he creates. From one perspective the act of creation is centered in God and the purpose of art is to imitate and praise the Creator. From the other perspective the act of creation is centered in the human, in the built environment of the modern world. The oscillation itself, continually affirming and negating the presence of spirit, of a force beyond the human, is what Gordon Teskey means by delirium. He concludes that the modern artist, far from being characterized by what Benjamin (after Baudelaire) called 'loss of the aura, ' is invested, as never before, with a shamanistic spiritual power that is mediated through art."--$cProvided by publisher
545 0 $aGordon Teskey, Professor of English at Harvard University, is a preeminent scholar of Spenser and Milton.
546 $aIn English.
588 0 $aPrint version record.
600 10 $aMilton, John,$d1608-1674$xAesthetics.
600 10 $aMilton, John,$d1608-1674$xCriticism and interpretation.
650 0 $aCreation (Literary, artistic, etc.)$xHistory$y17th century.
650 0 $aPoetry$xAuthorship$xHistory$y17th century.
650 0 $aPoetry$xAuthorship$xPsychological aspects.
650 0 $aHallucinations and illusions in literature.
650 0 $aDelirium in literature.
650 0 $aAesthetics, British.
650 7 $aPOETRY$xEnglish, Irish, Scottish, Welsh.$2bisacsh
650 7 $aLITERARY CRITICISM$xEuropean$xEnglish, Irish, Scottish, Welsh.$2bisacsh
600 17 $aMilton, John,$d1608-1674.$2fast$0(OCoLC)fst00029106
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776 08 $iPrint version:$aTeskey, Gordon, 1953-$tDelirious Milton.$dCambridge, Mass. : Harvard University Press, 2006$w(DLC) 2005052542$w(OCoLC)61229829
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