 | Li-fen Chen - 2000 - 178 頁
...immediacy of "fancy"; the former "dissolves, diffuses, dissipates, in order to re-create" while the latter "has no other counters to play with but fixities and definites," the mere "aggregative and associate power" to transcribe objects of the senses. 21 Again it is in the context... | |
 | Hans Werner Breunig - 2002 - 356 頁
...to unify. It is essentially vital, even as all objects (as objects) are essentially fixed and dead. FANCY, on the contrary, has no other counters to play...Memory emancipated from the order of time and space; and blended with, and modified by that empirical phenomenon of the will, which we express by the word... | |
 | Frank Mehring - 2001 - 194 頁
...Emerson, „Gnothi Seauton". VI, 52-57. 306 Vgl. Wellek, History of Modern Criticism. Vol. 2. S. 391. FANCY, on the contrary, has no other counters to play with, but fixities and deflnites. The Fancy is indeed no other than a mode of Memory emancipated frorn the order of time and... | |
 | Martin Travers - 2001 - 372 頁
...to unify. It is essentially vital, even as all objects (as objects) are essentially fixed and dead. Fancy, on the contrary, has no other counters to play with but fixities and defmites. The fancy is indeed no other than a mode of memory emancipated from the order of time and... | |
 | Bernadette Malinowski - 2002 - 468 頁
...to unify. It is essentially vital, even as all objects (as objects) are essentially fixed and dead. FANCY, on the contrary, has no other counters to play...Memory emancipated from the order of time and space; and blended with, and modified by that empirical phenomenon of the will, which we express by the word... | |
 | John Allison - 2003 - 180 頁
...and unify. It is essentially vital, even as all obfects (as objects) are essentially fixed and dead. Fancy, on the contrary, has no other counters to play...memory emancipated from the order of time and space; and blended with, and modified by that empirical phenomenon of the will which we express by the word... | |
 | Farhat Iftekharuddin, Joseph Boyden, Mary Rohrberger, Jaie Claudet - 2003 - 298 頁
...craft of writing. In his Biographia Literaria, Samuel Taylor Coleridge offers this felicitous claim: "The fancy is indeed no other than a mode of Memory emancipated from the order of time and space" (305). We might say that fiction and creative nonfiction operate on a continuum of memory, with fuller... | |
 | Marius Buning - 2003 - 292 頁
...I AM." He also defines Fancy as having "no other counters to play with. hut fixities and dcfinites. The Fancy is indeed no other than a mode of Memory emancipated from the order of time and space" 1Coleridge. 304-3051. In this. Coleridge places Fancy in contrast with Imagination. Yet. while Fancy... | |
 | Sanja Sostaric - 2003 - 364 頁
...definition in Biographia Literaria by pointing out that fancy plays with "fixities and definities", being "no other than a mode of Memory emancipated from the order of time and space" (CW 7,1: 305). Only in the last phase of the process was the poet to some extent enabled to participate... | |
 | Barry Mazur - 2004 - 292 頁
...Biographia Literaria between what he calls the imagination and its less daring sibling fancy, which "is indeed no other than a mode of memory emancipated from the order of time and space."17 In some circles, the concept of the imaginative faculty (or, at least, the idea that you... | |
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The fancy is indeed no other than a mode of memory emancipated from the order of time and space, while it is blended with, and modified by, that empirical phenomenon of the will which we express by the word choice. But equally with the ordinary memory... 
