Academic literature on the topic '1608-1674;Paradise lost'
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Journal articles on the topic "1608-1674;Paradise lost"
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Murgia-Elizalde, Mario. "De utopía y paraíso: presencias de Tomás Moro en John Milton." La Colmena, no. 105 (March 13, 2020): 13. http://dx.doi.org/10.36677/lacolmena.v0i105.12969.
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Se exploran las posibilidades intertextuales existentes entre la Utopía de Tomás Moro (1478-1535) y algunos textos en prosa y verso del poeta y polemista John Milton (1608- 1674). La discusión se da a partir de la novela Milton in America, del británico Peter Ackroyd (1949), en la que se sugieren ciertas relaciones (y controversias) confesionales, literarias e ideológicas entre los pensadores. A partir de ahí, se hace una revisión de pasajes en los que la presencia de Moro en la obra de Milton, tema casi inexplorado académicamente, resulta más evidente. Se propone aquí que, a pesar de las diferencias entre ambos, Milton abrevó en las ideas utópicas de su predecesor para construir una idea de 'lugar ideal' o 'no lugar' que daría pie a la configuración del paraíso en el poema épico Paradise Lost.
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Batista, Sérgio Henrique Rocha. "VILÃO E ALÉM: SATANÁS EM PARADISE LOST." fólio - Revista de Letras 10, no. 1 (August 13, 2018). http://dx.doi.org/10.22481/folio.v10i1.3846.
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A presença de Satanás enquanto personagem literária é, hoje, um lugar comum, habitando ele em obras clássicas, em romances populares, quadrinhos, séries de televisão entre outros; além de sua presença explícita, há ainda seu arquétipo, que o torna ainda mais fecundo e abrangente. É desejo do autor do presente artigo estudar as formas como esse personagem e seu tipo se manifestam na literatura ocidental moderna; para tanto, aqui será analisada uma das mais importantes aparições do Satanás literário, Paradise Lost, de John Milton (1608-1674). Neste poema épico Satanás representa mais do que apenas uma figura do universo religioso: principalmente nos dois primeiros cantos da obra ele é quase um anti-herói, dada a sedução, eloquência e protagonismo que apresenta. A análise levará em conta, principalmente, sua função de antagonista em contraposição à novidade de sua caracterização, a qual serviu de modelo para as futuras obras literárias, principalmente a partir do romantismo.
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Seixas Fernandes, Fabiano. "‘PARADISE LOST’: ORDENAÇÃO EPISÓDICA E O PROBLEMA DO LIVRE-ARBÍTRIO." Gragoatá 20, no. 39 (December 29, 2015). http://dx.doi.org/10.22409/gragoata.v20i39.33364.
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A fama internacional de John Milton (1608-74) se deve a seu épico Paradise Lost (1667; 2.ed.1674), cujo explícito objetivo é “justificar aos homens os procedimentos de Deus” (01.26), ou seja: promover uma justificativa da queda, responsabilizando a humanidade por sua ruína, isentando a divina providência e lhe confirmando a misericórdia. O artigo propõe que se pense Paradise Lost como um experimento mental centrado no conceito de livre-arbítrio: a estratégia de Milton consistiria em manipular ou inserir episódios nas possíveis lacunas do básico enredo bíblico que lhe serve de base, que preenchessem as condições necessárias para se dizer que as personagens agem de modo consciente e suficientemente racional para que sejam responsabilizadas por suas infelizes escolhas. Milton ofereceria, assim, uma solução narrativa a um problema filosófico.
Dissertations / Theses on the topic "1608-1674;Paradise lost"
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Voss, Annemarie. "John Milton's Paradise lost in Germany : reception and German-language criticism." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/762991.
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This survey focuses on German-language studies of John Milton's Paradise Lost, based on a bibliography of more than 140 German-language publications dating from 1651 to the present. Its purpose is to describe and evaluate these studies and to make their arguments accessible to readers who have difficulties locating, obtaining, and/or reading these texts.Chapters 1-4 give an account of Milton's reception in Germany and Switzerland. Topics discussed include the evaluation of Milton as poet and man, the influence of Milton's Paradise Lost on the development of German literature (Klopstock's Messias), early Milton studies, German translations of Milton's Paradise Lost, the teaching of Milton's works in Germany, and the evaluation of the poem for the present generation. Chapters 5 to 10 survey twentieth-century German-language criticism of Paradise Lost. Topics include the literary tradition; the drama plans; structure and style; cosmology and theology; and interpretations of the fall.Outstanding twentieth-century German studies include Hiibener's analysis of stylistic tension (1913); Bastian's analysis of the problem of temptation (1930); Wickert's examination of Milton's drama plans (1955); Grun's interpretation of the fall (1956); MoritzSiebeck's structural and aesthetic justification of the last two books of Paradise Lost (1963); Spevack-Husmann's examination of the relevance of the medieval tradition of allegorical and typological myth interpretation for Milton's mythological comparisons (1963); Markus's study of the parenthesis as rhetorical means of psychological influence (1965); Hagenbuchle's analysis of the fall(1969); Maier's examination of contrast and parallel as structural elements (1974); Slogsnat's exploration of the dramatical structure and tragic nature (1978); Schrey's account of Milton's reception in Germany (1980); and Klein's study of astronomy and anthropocentric in Milton's attitude towards science (1986). These studies deserve to be better known by the English-speaking scholarly community for their different points of view and their good understanding of Milton's art.Milton's Paradise Lost is still appreciated in Germany and continues to have many readers.Department of English
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Hannon, Elizabeth. "The influence of Paradise Lost on the hymns of Charles Wesley." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25417.
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An overview of the prose writings of John Wesley, and the hymn writing of his brother Charles, shows that John Milton was an important influence on both men. A search of the literature indicates that critics have rarely noticed this, and although some work has been done on John's abridgement of Paradise Lost, there are no qualitative studies of its effect on the hymnody of Charles. Although the singing of hymns is a potential way of influencing language and doctrine of all singers, it is particularly important for people who have little other education.
Charles Wesley, as the most prolific English hymnwriter, was influential in educating generations of church-goers.
He used Paradise Lost in several ways: l)by simple appropriation
of diction, 2) by combining it with the Bible in four specific ways, i.e., a) simple addition of images and language from Paradise Lost to biblical sources, b) magnification of a biblical idea by projecting it through a scene in Paradise Lost, as in the case of the hymn, "Soldiers of Christ Arise" which is influenced by Book 5, c) the use of the Bible and Paradise Lost as joint "pre-text" to create a new concept, and d) the use of Paradise Lost to "Christianise" a Psalm. Psalm 24 is used as an example.
Obvious reasons why Charles Wesley might wish to imitate Milton, such as Milton's popularity in the eighteenth century, and Wesley family connections with Milton, are explored and considered not significant, but a common classical education is important. The two men have similar theological views in two doctrines essential to the Wesleyan revival: a) justification by faith and b) universal redemption. Other similarities are their expression of views on covenant theology, the nature of the goodness of God, and the name of God as "all in all." Their audiences were different but their purposes were similar: to teach "serious godliness" by inculcating doctrine and inspiring faith in a way that would touch the minds and hearts of their readers.
Three appendices are presented: one on the problem of the hymn as a literary genre, the second on the audience for Wesley hymns, and the third on the history of literary criticism of the Wesleys.Arts, Faculty of
English, Department of
Graduate
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Wilson, Emma Annette. "John Milton's use of logic in 'Paradise Lost'." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/850.
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Koo, Youngwhoe. "Idea of Natural Law in Milton's Comus and Paradise Lost." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277958/.
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This dissertation tries to locate Milton's optimistic view of man and nature as expressed in Comus, Doctrine and Discipline of Divorce, and Paradise Lost in the long tradition of natural law that goes back to Aristotle, Cicero, and Aquinas.
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Ghermani, Laïla. "Le visible et l'invisible dans Paradise Lost de John Milton (1608-1674) : genèse et essor d'une poétique hérétique." Paris 3, 2008. http://www.theses.fr/2008PA030133.
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Comment le poète miltonien peut-il affirmer qu’il va voir et dire les choses invisibles aux yeux des mortels (« […] see and tell / Of things invisible to mortal eyes » (III, 54-55)) ou encore qu’il va montrer les exploits invisibles des anges (« invisible exploits » V, 565) dans son épopée ? L’objectif de la présente étude est de montrer que l’entreprise de rendre visible l’invisible est profondément originale d’un point de vue à la fois esthétique et théologique. En effet, pour formuler un tel argument, John Milton s’appuie sur une théologie qui lui est propre et qu’il revendique comme hérétique. Ainsi, en refusant la prédestination calviniste pour lui préférer la pensée d’Arminius sur le libre-arbitre, Milton forge une personnalité poétique qui bénéficie d’une illumination spécifique et supérieure. Par ailleurs, en réfutant le dogme de la Trinité pour lui préférer une conception unitaire, Milton conçoit le Fils de Dieu comme la première image visible et créée du Père invisible. Le modèle du Fils lui permet de penser une poétique de l’invisible. Enfin, sa poétique s’appuie sur une définition de l’accommodation scripturaire qui contredit celle de Saint Augustin, pourtant couramment utilisée par les protestants. Pour donner forme à son projet, Milton élabore une poétique épique, centrée sur les personnes du poète et du Fils, dont la fin dernière est la représentation visuelle. Pour rendre visible l’invisible gloire divine, il met en place une hiérarchie des images et du lexique de la lumière analogue à celle des créatures. La fragmentation du regard et sa réunification par le narrateur omniscient constituent le second élément de son esthétique visuelleHow can Milton’s poet claim that he intends to «see and tell / Of things invisible to mortal eyes » (III, 54-55) or that he is going to disclose the « invisible exploits » (V, 565) of the angels in the epic? The aim of this study is to show that Milton’s project to make invisible things visible, is profoundly original in both aesthetic and theological terms. His argument is rooted in a theology of his own which he acknowledges to be heretical. By rejecting the Calvinist idea of predestination, preferring instead the doctrine of Arminius, Milton forges a poetic persona who is granted a specific and superior illumination. Moreover, Milton refutes the dogma of the Trinity, and conceives the Son as the first created image of the invisible Father. Such a conception of the Son provides him with a model for his poetics of the invisible. Finally, Milton's poetics is based on a definition of scriptural accommodation which is in opposition to the Augustinian definition usually adopted by the Protestants. To give coherence to his project Milton elaborates an epic poetics which is centred on the figures of the poet and the Son and whose final aim is the representation of the invisible. To make the invisible glory of God visible, he introduces a hierarchy of images and words concerning the manifestations of light which parallels the hierarchy of living things in the universe. The second aspect of Milton’s visual aesthetics concerns a fragmenting of unified sight and its subsequent reconstruction by the omniscient narrator
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St-Jacques, François. "Étude comparative de trois traductions de Paradise Lost de l'anglais au français : définition d'une méthodologie quantitative de l'équivalence en traduction littéraire." Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/27977/27977.pdf.
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Frey, Christopher Lorne. "Body marks in early modern English epic : Spenser's Faerie Queene and Milton's Paradise Lost." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97835.
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As epic was considered a culturally comprehensive genre, so Spenser's Faerie Queene and Milton's Paradise Lost provide an effective locus for inquiry into literary representations of body marks in the Renaissance, and hence of the body itself. While grounded on central principles of Renaissance poetics such as delightful teaching, utpictura poesis, and catharsis, Spenser's and Milton's graphic accounts of wounds and diverse other types of body marks show corporeality can have positive import for the soul and heroic identity, just as they are shaped in part by bodily experienees. This dissertation thus reconsiders the widespread assumption that early moderns primarily viewed the body as a subservient yet sometimes threatening container for the soul....Une épopée fut culturellement considérée comme un vaste genre: The FaerieQueene, et Paradise Lost, de Spenser et Milton, sont pertinents pour l'étude desreprésentations littéraires des marques corporelles durant la Renaissance, et du corps.Basées sur les principes de la poésie de l'époque, comme l'enseignement délicieux, utpictura poesis, et la catharsis, les explications graphiques de blessures et autres cicatricesde Spenser et Milton montrent que la matérialité peut avoir une portée positive sur l'âmeet l'identité héroïque: elles sont formées par des expériences corporelles.
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White, Michael 1971. "The relationship between the grotesque and revolutionary thought in Milton's Paradise lost and Shelley's Prometheus unbound /." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20187.
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No substantial studies, at least to my knowledge, have yet been dedicated either to Milton's or to Shelley's extensive poetic use of the grotesque. This omission surprises me, especially given the voluminous critical attention both authors receive. Neither Milton nor Shelley's grotesquerie can be viewed as the basis of artistic method or artistic achievement as we might with, say, Rabelais, or Poe, or even Kafka. And neither Milton nor Shelley is self-consciously an artist of "the grotesque." In fact, Milton, from his seventeenth century perspective, would scarcely have regarded the term as being applicable to literary criticism at all. And as a late Romantic, Shelley defined himself rather as a poet of the imagination. Nonetheless I will show that both artists avail themselves of a grotesque aesthetic to achieve some of their most powerful and provocative poetry: we may here consider, for instance, Milton's memorable descriptions of the incongruities of Hell and the deformities of its fallen denizens in Paradise Lost, or Shelley's Gothic touches and his perplexing distortion of conventional linguistic and dramatic form in Prometheus Unbound.Aside from general considerations of the grotesque in these texts, I will especially focus on how Milton's and Shelley's uses of the grotesque mode provide us with unique, and often fascinating vantage points from which to appreciate their respective political concerns and revolutionary interests. While I expect this critical approach will elucidate Milton and Shelley in their own separate artistic and political spheres, I am especially interested to compare and contrast the poets, to show how the quite different uses made of the grotesque in Prometheus Unbound and Paradise Lost reflect the various ways in which Shelley responds to Milton in his role as a revolutionary forefather.
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McConomy, Erin Elizabeth. "Renaissance humanism in Michelangelo's Sistine Chapel and Milton's Paradise Lost." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37223.pdf.
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Wallbanks, Mark. "The vicissitudes of the authentic self: a literary mapping of the authentic self from John Milton's Paradise lost to Bret Easton Ellis' Glamorama /Mark Wallbanks." HKBU Institutional Repository, 2017. https://repository.hkbu.edu.hk/etd_oa/364.
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Since the rise of individualism in the seventeenth century there has been increasing pressure on individuals to define themselves in the public eye. This has led to the recent phenomena of identity politics and self-branding. Yet how is one's true identity - if such a thing exists - ever expressed externally? How do individuals deal with the inner and outer aspects of identity? These are some of the issues which impinge upon the ethics of authenticity. This thesis investigates the development of the concept of the authentic self from its inception in the modern period to the postmodern. Through an analysis of the various tropes of literary texts, I shall illustrate how the concept of authenticity has travelled and transformed between cultural and temporal contexts. The body of the thesis contains five central chapters. Chapter 1 represents Paradise Lost (1667) as the end of one world and the beginning of another. The "Satanic" trope introduces the contingency of transgression and displacement in regard to authentic self-definition. With the birth of the modern epoch, I argue that the collapse of the epic totality instigated the liberation of self through the process of individuation, yet the corresponding loss of "place" in the social order evoked existential angst. In the second chapter I argue that Daniel Defoe's Robinson Crusoe (1719) is an apposite inclusion in the tradition of St. Augustine's and Jean-Jacques Rousseau's Confessions. Through analysis of the "island" trope I assert that, even given the most perfect conditions of solipsism, the individual remains an inherently social being that retains a primordial compulsion for dialogical inscription of the self. In chapter 3, an analysis of the trope of "voice" as a metonym for ideology in Joseph Conrad's Heart of Darkness (1902) portrays Kurtz and Marlow as opposing sides of the authenticity struggle against the ideological allure of collective and absolute power. Chapter 4 associates Henry Miller's Tropic of Cancer (1934) with the anarchic egocentrism and intense individualism of Max Stirner's philosophy as a means of rebelling against the demands of social collectivism. In this chapter I analyse the "dream" trope in terms of Miller's trademark use of surreal metaphor which, I argue, provides a means of escape from the influence of collective identities. Finally, the fifth chapter will discuss the trope of "image terrorism" in reference to Glamorama (1998). This trope addresses the problemata of the globally destabilising influences of celebrity and terrorism, the tyranny of consumerism, and the Debordian Society of the Spectacle. The chapter raises the question of how, indeed if, in a globalized postmodern world with ever reducing horizons of differentiation, travel remains the last viable option in the pursuit of the authentic self.
Books on the topic "1608-1674;Paradise lost"
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Paradise lost and the rhetoric of literary forms. Princeton, N.J: Princeton University Press, 1985.
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Approaches to teaching Milton's Paradise lost. 2nd ed. New York: Modern Language Association of America, 2012.
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"Matter of glorious trial": Spiritual and material substance in Paradise lost. New Haven: Yale University Press, 2009.
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Loewenstein, David. Milton--Paradise lost. Cambridge: Cambridge University Press, 1993.
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Satan's poetry: Fallenness, individuality, and poetic tradition in Paradise lost. Pittsburgh, Pa: Duquesne University Press, 2012.
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Das Konzept des Bösen in Paradise Lost: Analyse und Interpretation. Frankfurt am Main: Lang, 2003.
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Anxiety in Eden: A Kierkegaardian reading of Paradise lost. New York: Oxford University Press, 1992.
Find full textBook chapters on the topic "1608-1674;Paradise lost"
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Ghermani, Laïla. "La dynamique apologétique chez John Milton (1608-1674) : le cas de Paradise Lost." In L’apologétique chrétienne, 271–88. Presses universitaires de Rennes, 2012. http://dx.doi.org/10.4000/books.pur.114870.
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