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Journal articles on the topic '18th century English poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Redka, I. "Emotiveness of convergent and divergent poems: a study of late 18th- and early 21st-century English poetry." Studia Philologica 1, no. 14 (2020): 53–59. http://dx.doi.org/10.28925/2311-2425.2020.148.

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The article is devoted to the study of emotiveness of English divergent and convergent poetic texts. Emotiveness is regarded as a category of the poetic text that is formally represented by emotives (verbal means that name, express, or describe emotions). Emotive units combine within the poem creating the dominant emotive image that accompanies the central concept of the poetic text. The way the author processes and then implements his / her emotional images in the poetic text predetermines the type of poetry (according to R. Tsur) as convergent or divergent. The convergent poetry complies with the rules of traditional poetry writing (that include meter and rhythm, rhyme, etc.) while divergent poetry associates with automatic writing. The former is marked by the aesthetic design, presence of aesthetic feelings or so-called “metamorphic passions” (D. Miall). The latter contains immediate or “raw” feelings of the author, in other words, feelings that he experiences at the moment of writing. Analysis of the poems of the late 18th — early 21st century has revealed that the convergent thinking is more typical of classical poetry (for example, of the period of Romance). The genre system destruction and appearance of new trends in arts have brought forth new techniques of imagery formation. The 20th century experimental poetry becomes less convergent and more biphasic which presupposes implementation of both thinking types in poetic texts writing. Thus, the divergent thinking is called forth to shatter stale images and break them to fragments out of which new fresh images can be created due to convergence techniques. Such transformations within poetic texts have also influenced their emotive side which is closely connected with conceptual nodes. The implementation of divergent, convergent, or biphasic thinking shapes the emotive focus of a poetic piece, which may become implicit, explicit, blurred, sharp, etc.

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Fordoński, Krzysztof. "English 18th-Century Women Poets and Maciej Kazimierz Sarbiewski: Adaptation, Paraphrase, Translation." Terminus 22, no. 4 (57) (2020): 315–31. http://dx.doi.org/10.4467/20843844te.20.017.12537.

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The paper deals with six poems of three 18th-century English women poets—Lady Mary Chudleigh, Mary Masters, and Anne Steele “Theodosia”—inspired by the works of the greatest Polish Neo-Latin poet Maciej Kazimierz Sarbiewski. The aim of the study is to present the three authors, their biographies and literary oeuvres, and to attempt an analysis of the poems in question within this context. The biographies, social position—Chudleigh was the wife a baronet, the two others belonged to the middle class—and education of the three authoresses differ and yet they all shared the limitations resulting from the fact that they were women in 18th-century England, and were therefore denied access to academic education. The analysis of the texts and biographies has proven that it is highly improbable that either of the three women poets could translate the poems from Latin originals. All of their translations are based on earlier renditions; in the case of Chudleigh it is possible to identify the source text, that is the translation by John Norris. Inasmuch as it can be ascertained from the available biographical and critical sources and the results, the attitudes of the three poetesses towards their work varied. Only Masters acknowledged the source material in her publications. Although the current concepts of translation are different, her two poems: On a Fountain. Casimir, Lib. Epod. Ode 2 and Casimir, Lib. I. Ode 2—qualify as translations by the standards of her times. They are analysed here in detail. Neither Chudleigh nor Steele mentioned Sarbiewski in their publications. Their decision can be justified by the fact that their poems, even if clearly (though most likely indirectly) inspired by his lyrics, must be classified as free adaptations or even original poetry influenced by Sarbiewski or earlier translations and adaptations of his works.

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3

Fordoński, Krzysztof. "English 18th-Century Women Poets and Maciej Kazimierz Sarbiewski: Adaptation, Paraphrase, Translation." Terminus 22, no. 4 (57) (2020): 315–31. http://dx.doi.org/10.4467/20843844te.20.017.12537.

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The paper deals with six poems of three 18th-century English women poets—Lady Mary Chudleigh, Mary Masters, and Anne Steele “Theodosia”—inspired by the works of the greatest Polish Neo-Latin poet Maciej Kazimierz Sarbiewski. The aim of the study is to present the three authors, their biographies and literary oeuvres, and to attempt an analysis of the poems in question within this context. The biographies, social position—Chudleigh was the wife a baronet, the two others belonged to the middle class—and education of the three authoresses differ and yet they all shared the limitations resulting from the fact that they were women in 18th-century England, and were therefore denied access to academic education. The analysis of the texts and biographies has proven that it is highly improbable that either of the three women poets could translate the poems from Latin originals. All of their translations are based on earlier renditions; in the case of Chudleigh it is possible to identify the source text, that is the translation by John Norris. Inasmuch as it can be ascertained from the available biographical and critical sources and the results, the attitudes of the three poetesses towards their work varied. Only Masters acknowledged the source material in her publications. Although the current concepts of translation are different, her two poems: On a Fountain. Casimir, Lib. Epod. Ode 2 and Casimir, Lib. I. Ode 2—qualify as translations by the standards of her times. They are analysed here in detail. Neither Chudleigh nor Steele mentioned Sarbiewski in their publications. Their decision can be justified by the fact that their poems, even if clearly (though most likely indirectly) inspired by his lyrics, must be classified as free adaptations or even original poetry influenced by Sarbiewski or earlier translations and adaptations of his works.

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4

Broadhead, Alex. "Framing dialect in the 1800 Lyrical Ballads: Wordsworth, regionalisms and footnotes." Language and Literature: International Journal of Stylistics 19, no. 3 (August 2010): 249–63. http://dx.doi.org/10.1177/0963947010370187.

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This article addresses one of the most theoretically and linguistically vexing issues in the history of English poetic language: stylistic variation in Wordsworth and Coleridge’s Lyrical Ballads. It suggests that two footnotes, added to the 1800 edition, offer a new perspective on a question which has prompted debate since its publication: specifically, what is the relationship between Wordsworth’s use of dialect and the language of ‘low and rustic life’ promised by the 1800 Preface to Lyrical Ballads? In sections 1 and 2 the article expands on the importance of the footnotes in relation to the discussion surrounding Wordsworth’s language. Section 3 examines the departure of Lyrical Ballads from 18th-century conventions regarding the glossing of non-standard language in poetry, while section 4 explores the function of the unfootnoted and unframed regionalisms that can be found throughout the collection. Sections 5 and 6 discuss the content of the two footnotes in relation to Wordsworth’s blurring of the roles of poet and glosser, and suggest that this conflation of roles is connected to Wordsworth’s implicit blurring of Standard English and dialect in his definition of ‘low and rustic life’ (a definition explored in greater detail in section 7). The conclusion suggests that the lack of specificity in Wordsworth’s Preface and his approach to framing dialect were part of a single strategy to integrate Standard English and dialect in a more organic manner than was typical of 18th-century writing.

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Hao, Fu. "On English Translations of Classical Chinese Poetry." Babel. Revue internationale de la traduction / International Journal of Translation 45, no. 3 (November 15, 1999): 227–43. http://dx.doi.org/10.1075/babel.45.3.05hao.

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Abstract There have been numerous classical Chinese poems translated into English since the 18th century, and many of them enjoy more than one version. This article discusses some prominent aspects of English translation of classical Chinese poetry, such as choice of words, syntax, metre and form, and allusion, based on comparative analysis of different versions. In the language of classical Chinese poetry, the prevailing monosyllabic word often tends to be polysemous and the grammatical function of a word more flexible. There are also many grammatical ellipses in its syntax. How does a translator choose the right word and decipher the sentence? In addition, classical Chinese poetry enjoys strict verse forms and rhyme schemes, and has a tradition to employ literary allusions. How can an English version achieve an equivalent effect? To solve such problems, translators in different times and places have made various experiments. But the swing of the pendulum seems not to go beyond the two extremes, rigidly imitating the original form or freely rewriting in another language. Under proper modulation, both methods may score some points. Résumé Il y a eu de nombreux poèmes classiques en langue chinoise traduits vers la langue anglaise depuis le 18ème siècle, et plusieurs d'entre eux ont plus d'une version. Cet article discute de certains aspects particuliers de la traduction anglaise de la poésie classique chinoise tels que le choix des mots, la syntaxe, la versification et la forme ainsi que les allusions, basées sur l'analyse comparative des différentes versions. Dans le langage de la poésie classique chinoise, le mot monosyllabique qui prévaut tend à avoir plusieurs significations et la fonction grammaticale du mot à être plus souple. Il existe aussi beaucoup d'ellipses grammaticales dans sa syntaxe. Comment un traducteur choisit-il le mot exact et décompose-t-il la phrase? En outre. la poésie classique chinoise nous offre une structure en vers et un agencement de rimes très strictes et possède une tradition de l'emploi d'allusions littéraires. Comment une version anglaise peut-elle atteindre un effet équivalent? Pour résoudre ce type de problèmes, les traducteurs à différentes époques et lieux ont effectué des expériences différentes. Mais le pendule ne balance pas en dehors des deux extrêmes, l'imitation rigide de la forme originale ou sa réécriture libre dans une autre langue. Selon la modulation appropriée, chacune des deux méthodes pourrait présenter certains avantages.

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Torralbo Caballero, Juan de Dios. "Alexander Pope: Literary Translator and Editor, from Binfield to Twickenham." Revista Alicantina de Estudios Ingleses, no. 26 (November 15, 2013): 271. http://dx.doi.org/10.14198/raei.2013.26.19.

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This paper will discuss the translations of poetry and some of the editions that Alexander Pope produced. For this, we will consider his monumental task over the translations of the work of Homer, analysing the unprecedented economic and literary implications. In addition, we shall examine Pope’s imitations of Horace in order to highlight their content and underlying intentions, going on to present lastly his other work as an editor. This context will allow us to draw some conclusions from Pope’s own uniqueness in the English literary and creative scene during the 18th century. Pope showed himself to be independent from the prevailing circles, being outside the radius of action of patrons and the court.

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7

Mathur, Manisha. "WILLIAM BLAKE- AN ENLIGHTENED VISIONARY." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3538.

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William Blake an English painter poet and printmaker is considered as a seminal figure in the history of poetry and visual arts of the Romantic age. In the realm of imaginative painting Blake stands quite alone, and to find any real parallel to this extraordinary man of genius one must go back to the illuminators and sculptors of the twelfth century. Born out of time, with no tradition of imaginative painting to guide him, the intense flame if his genius burns fitfully blazing with an unbearable brilliance. Blake, for his idiosyncratic views is held in high regard by critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings and poetry have been characterized as part of the Romantic movement are Pre-Romantic for its large appearance in the 18th C. Reverent of the bible but hostile to the Church of England, Blake was influenced by the ideals and ambitions of the French and American Revolutions.

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Tchaparian, Vicky. "Hypocricy of the Rich vs Honesty of the Poor in the English Society of the 18$^\text{th}$ Century." Armenian Folia Anglistika 16, no. 2 (22) (October 15, 2020): 119–30. http://dx.doi.org/10.46991/afa/2020.16.2.119.

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During the 18th century, life was unpleasant and disturbing due to the Horrible Plague and the Great Fire that attacked England and turned the English society upside down. There was a big gap between the rich and the poor. Violence and crimes were everywhere. However, along with all the misfortunes, 18th century was also a period of elegance for England. Education flourished, and the novel genre developed impressively along with fine music and theatre performances. During these times, the rich led a luxurious life, while the poor in extreme poverty hardly preserved their miserable existence. The whole atmosphere was that of contrasts between brightness and staleness, wellness and sickness, abundance and insufficiency, virtue and vice, along with charity and selfishness which, combined with other characteristic features of the English society, created a chaotic situation. Henry Fielding’s novel, The History of the Adventures of Joseph Andrews and his Friend Mr. Abraham Adams, often called Joseph Andrews artistically mingles all these contrasts on different levels of different aspects of life, depicting the age he lived in while giving credit to the poor and the abandoned, making the good successfully triumphant and the bad miserably overwhelmed until at the end he makes his characters reach poetic justice punishing the vicious and rewarding the virtuous. The article aims at revealing the chaotic situation of the 18th century England through H. Fielding’s novel in question and the writer’s critical attitude to it.

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Abdulla-Al-Mamun, Md. "A Marxist Reading of William Blake’s Selected Poetry: Machineries in Green Studies." Shanlax International Journal of English 9, no. 2 (March 1, 2021): 7–17. http://dx.doi.org/10.34293/english.v9i2.3625.

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Being a dweller of Romantic ecology, William Blake familiarizes his readers with the slant of pastoral landscapes through the ecological sensibilities within the promiscuous city. In his poetry, he has speculated the adventurous plantation of slums in the metropolitan city in the light of machineries and matters that pack human in the box of ambitious dreams as the monstrous dreams of the metropolitan historicity root up the pastoral landscapes of Britain. Whereas critics engage themselves to explore the relation to the outcome of numerous English cultural dominations within his poetry, this study revisits the selected ‘ecopoetics’ through the lens of Marxism to explore the threats towards the green world, especially, within the city shore on Thames. Blake as a ‘green prophet’ enunciates the rural life that is pulverized by the mobility of the mechanistic forces of city life. These mechanistic forces are manipulated by the power of government, industrial revolution, commerce, and neo-colonialism in every day’s behavior in order to ensure the submissiveness of the working class in 18th century England. Thus, the paper aims to discuss the Marxist narratives of Blake’s ‘ecosophy’ that warns us against the severe repercussion of machines and its tyrannical reverberations over the marginalized in his selected poetry.

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Paszkowicz, Wojciech. "Inspirations, interactions and associations: On some links between the works of Vladimir Vysotsky and English-, French- and German-language poetry, theatre and pop music." Tekstualia 2, no. 53 (July 29, 2018): 99–114. http://dx.doi.org/10.5604/01.3001.0013.3290.

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The threads binding the poetry of Vladimir Vysotsky with Russian and foreign literature have a diverse character – some convergences, similarities of his works to those of other authors can be identifi ed in the content, the subject, and the metre of the poems. Some of the literary associations are easily detectable for any recipient, others are more diffi cult to fi nd. The article focuses on the identifi ed links between the works of Vysotsky and those of foreign authors such as Pierre-Jean de Béranger, Robert Burns, and Bertolt Brecht. The convergences observed between Vysotsky’s and de Béranger’s poems, in the subject, form, and metre, indicate the affi nity of the way of thinking and ideals, as well as both poets’ love of freedom, despite the 150 year gap between their birth dates. The presented links with literature of the 18th, 19th, and 20th century widen the opportunities for interpreting the works of Vladimir Vysotsky.

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Bankauskaitė, Gabija. "Respectus Philologicus, 2011 Nr. 19 (24)." Respectus Philologicus, no. 20-25 (April 25, 2011): 1–284. http://dx.doi.org/10.15388/respectus.2011.24.

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CONTENTS I. PROBLEMS AND SOLUTIONSMichał Mazurkiewicz (Poland). Sport versus Religion... 11Natalia А. Kuzmina (Russia). Poetry Book as a Supertext... 19Jonė Grigaliūnienė (Lithuania). Possessive Constructions as a Purely Linguistic Phenomenon?... 31 II. FACTS AND REFLECTIONSAleksandras Krasnovas, Aldona Martinonytė (Lithuania). Symbolizing of Images in Juozas Aputis Stories...40Jūratė Kumetaitienė (Lithuania). Tradition and Metamorphosis of Escapism (Running “from” or “into”) in the Modern and Postmodern Norwegian Literature...51Natalia V. Kovtun (Russia). Trickster in the Vicinity of Traditional Modern Prose...65Pavel S. Glushakov (Latvia). Semantic Processes in the Structure of Vasily Shukshin’s Poetics...81Tatyana Kamarovskaya (Belarus). Adam and the War...93Virginija Paplauskienė (Lithuania). Woman’s Language World in Liune Sutema’s Collection “Graffiti....99Jolanta Chwastyk-Kowalczyk (Poland). The Models of e-Comunication in the Polish Society of Britain and Northern Ireland...111Vilma Bijeikienė (Lithuania). How Equivocation Depends on the Way Questions are Asked: a Study in Lithuanian Political Discourse...123Viktorija Makarova (Lithuania). The One Who Names the Things, Masters Them: Ruskij vs. Rosijanin, Ruskij vs. Rosijskij in the Discourse of Russian Presidents...136Dorota Połowniak-Wawrzonek (Poland). Idioms from the Saga Film “Star Wars” in Contemporary Polish Language...144Ilona Mickienė, Inesa Birbilaitė (Lithuania). Women’s Naming in Telsiai Parish in the First Dacades of the 18th Century...158Liudmila Garbul (Lithuania). Reflection of Results of Interslavonic Language Contacts in the Russian Chancery Language of the First Half of the 17th Century (Synchronic and Diachronic Aspects). Part II...168Vilhelmina Vitkauskienė (Lithuania). Francophonie in Lithuania... 179Natalia V. Yudina (Russia). On the Role of the Russian Language in the Globalizing World of the XXI Century...189Maria Lojko (Belarus). Teaching Legal English to English Second Language Students in the US Law Schools...200 III. OPINIONElena V. Savich (Belarus). On Generation of an Integrative Method of Discourse Analysis...212Marek Weber (Poland). Lexical Analysis of Selected Lexemes Belonging to the Semantic Field ‘Computer Hardware’...220 IV. SCIENTISTS ABOUT SCIENTISTSOleg Poljakov (Lithuania). On the Female Factor in Linguistics and Around It... 228 V. OUR TRANSLATIONSBernard Sypniewski (USA). Snake in the Grass. Part II. Translated by Jurga Cibulskienė...239 VI. SCIENTIFIC LIFE CHRONICLEConferencesTatiana Larina (Russia), Laura Alba-Juez (Spain). Report and reflections of the 2010 International Conference on Intercultural Pragmatics and Communication in Madrid...246Books reviewsAleksandra M. Ponomariova (Russia). ЧЕРВИНСКИЙ, П. П., 2010. Номинативные аспекты и следствия политической коммуникации...252Gabija Bankauskaitė-Sereikienė (Lithuania). PAPLAUSKIENĖ, V., 2009. Liūnė Sutema: gyvenimo ir kūrybos keliais...255Yuri V. Shatin (Russia). Meaningful Curves. ГРИНБАУМ, О. Н., 2010. Роман А.С. Пушкина «Евгений Онегин»: ритмико-смысловой комментарий... 259Journal of scientific lifeDaiva Aliūkaitė (Lithuania). The Idea of the Database of Printed Advertisements: the Project “Sociolinguistics of Advertisements”...263Loreta Vaicekauskienė (Lithuania). The Project “Vilnius is Speaking: The Role of Vilnius Language in the Contemporary Lithuania, 2010”...265Daiva Aliūkaitė (Lithuania). The Project “Lithuanian Language: Fractures of Ideals, Ideologies and Identities”: Language Ideals from the Point of View of Ordinary Speech Community Members...267 Announce...269 VII. REQUIREMENTS FOR PUBLICATION...270 VIII. OUR AUTHORS...278

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Kirilov, D. A. "REPRESENTATION OF LORD LIEUTENANTS AND LORD JUSTICES OF IRELAND IN IRISH ODES AND POEMS, 1701–1714." Вестник Пермского университета. История, no. 2(53) (2021): 148–59. http://dx.doi.org/10.17072/2219-3111-2021-2-148-159.

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In the late 17th and early 18th century, Ireland experienced a constitutional struggle in parliament, as well as the gradual development of a party system along the English partisan lines. Reflection of those events in the public sphere (primarily in the works of Molyneux and Swift) remains a popular research topic for Irish historians. This article attempts to look at the development of the Irish political system by examining poetic works in support of the chief governors of Ireland: lord lieutenants and lord justices of 1701–1714. Irish poems dedicated to governors were usually similar to English odes, which in turn were influenced by Abraham Cowley’s Pindarics. Irish odes to lord lieutenants of 1701–1711 had significant genre similarities, and most of them were also similar in general means of representing the chief governor. It was of utmost importance for the authors to show the brilliant ancestry of the ode’s hero; perhaps even more important for them was to show the similarity between the viceroy and the monarch, since the former was supposed to represent the latter. There were, however, significant differences between the odes, which were attributed to the shifting context of Irish politics. The odes of 1707 and 1711 are much more embedded in politics than the odes of 1701 and 1703: since at least 1707, the authors were more likely to include lord lieutenants in the context of Irish and British partisanship, while simultaneously emphasizing the loyalty of recipients to Queen Anne in her struggle against parties. The zenith of partisanship in Ireland coincides with the appearance of short poems with some features of an ode in 1710, which closely associate the figure of the lord lieutenant or lord justice with the Whigs or Tories.

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13

Toledano Buendia, Carmen. "Robinson Crusoe Naufraga en Tierras Españolas." Babel. Revue internationale de la traduction / International Journal of Translation 47, no. 1 (December 31, 2001): 35–48. http://dx.doi.org/10.1075/babel.47.1.05tol.

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The incorporation of English novels into the Spanish literary system during the 18th century is characterized, in general terms, by their late appearance, especially if a comparison is drawn with other European countries, and by French mediation. One of the most illustrative examples is the assimilation process followed by Robinson Crusoe. This work, written by Daniel Defoe in 1719, appears for the first time in Spain in 1826 — more than 100 years after it was originally written — in an abridged version for children. This paper aims to explore some of the many factors that may play a part in the late appearance of this novel and its reception as a juvenile or children’s book. Apart from the sociopolitical circumstances that turned Spain into a country which was very suspicious of foreign influence, an important factor to take into account is the influence of the French mediation. The introductory role played by mediator systems involves a filtered way of access through which the mediating culture reveals its own points of view and aesthetic criteria. Most of the 19th-century Spanish translations of Robinson Crusoe are secondhand translations from French and inherit the didactic and moralizing interpretation that the French makes of Robinson Crusoe. But the reading of Defoe’s work as juvenile or children’s literature is not only the result of the mediator system; it is also a consequence of the literary tradition to which the text is attached. When this work was imported there was an established tradition of Robinsonades that influenced its reading and interpretation and had created a particular set of expectations in the reader. This study also tries to analyze the different strategies used by Spanish translators in order to adapt Defoe’s novel to the poetic and ideological expectations of its potential readers and to the new function assigned to the text in the new cultural context.

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Šilbajoris, Rimvydas, and Justinas Marcinkevičus. "The Amber Lyre: 18th-20th Century Lithuanian Poetry." World Literature Today 59, no. 3 (1985): 466. http://dx.doi.org/10.2307/40141035.

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Edwards, A. "Memorabilia. Fifteenth-century English poetry." Notes and Queries 48, no. 4 (December 1, 2001): 359. http://dx.doi.org/10.1093/nq/48.4.359.

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Su, Yujie. "Greek Mythology in 18th-to-19th English Romantic Poetry." OALib 03, no. 08 (2016): 1–5. http://dx.doi.org/10.4236/oalib.1102773.

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17

Guibbory, Achsah, and George Parfitt. "English Poetry of the Seventeenth Century." Modern Language Review 83, no. 3 (July 1988): 671. http://dx.doi.org/10.2307/3731309.

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Dundas, Judith, Gary Waller, Peter Lindenbaum, and Arthur F. Kinney. "English Poetry of the Sixteenth Century." Yearbook of English Studies 21 (1991): 338. http://dx.doi.org/10.2307/3508521.

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19

Wilson, Penelope. "PINDAR AND ENGLISH EIGHTEENTH-CENTURY POETRY." Bulletin of the Institute of Classical Studies 55, Supplement_112 (June 1, 2012): 157–68. http://dx.doi.org/10.1111/j.2041-5370.2012.tb00078.x.

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20

Brown, Marshall, Felicity Nussbaum, and Laura Brown. "The New 18th Century: Theory, Politics, English Literature." Eighteenth-Century Studies 22, no. 4 (1989): 566. http://dx.doi.org/10.2307/2739082.

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Bowers, Toni O'Shaughnessy, and Elizabeth Bergen Brophy. "Women's Lives and the 18th-Century English Novel." Eighteenth-Century Studies 26, no. 1 (1992): 115. http://dx.doi.org/10.2307/2739245.

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22

Wheeler, David. "Jane Austen and 18th-Century English Spa Culture." English Studies 85, no. 2 (2004): 120–33. http://dx.doi.org/10.1076/enst.85.2.120.30500.

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Wheeler, David. "JANE AUSTEN AND 18TH-CENTURY ENGLISH SPA CULTURE." English Studies 85, no. 2 (April 2004): 120–33. http://dx.doi.org/10.1080/00138380409609830.

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Penzl, Herbert. "18th Century American English according to Noah Webster." Dictionaries: Journal of the Dictionary Society of North America 12, no. 1 (1990): 15–25. http://dx.doi.org/10.1353/dic.1990.0013.

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Suematsu, Nobuko. "The Comparison of Adjectives in 18th-Century English." NOWELE / North-Western European Language Evolution 45 (October 1, 2004): 33–50. http://dx.doi.org/10.1075/nowele.45.03sue.

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Shahmuradyan, Anahit. "The Picaresque in the 18th century English Novel." Armenian Folia Anglistika 4, no. 1-2 (5) (October 15, 2008): 108–11. http://dx.doi.org/10.46991/afa/2008.4.1-2.108.

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The Picaresque novel was one of the first steps of the establishment of the Spanish realist novel in early Renaissance period. The Picaresque theme found its direct reflection in the 18th century English novel. Both Daniel Defoe in his Moll Flanders, Captain Singleton and other works, Jonathan Swift in his Gulliver’s Travels and Henry Fielding in his The history of Tom John, a Foundling wish to reveal the true picture of the values and morals of the time, the real strives and face of man, the social motives which often create inextricable situations for people and promote picaresque actions making them become a thief and picaroon.

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Volkov, S. S., N. V. Kareva, E. M. Matveev, A. S. Smirnova, and M. G. Sharikhina. "ANTHROPONYMS IN THE SPACE OF RUSSIAN PANEGYRIC POETRY OF THE XVIII CENTURY." Onomastics of the Volga Region, no. 1 (2020): 193–200. http://dx.doi.org/10.34216/2020-1.onomast.193-200.

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The report discusses the problems of formation of the collection of Russian anthroponyms, mythonyms, and theonyms in Russian panegyric poetry of the 18th century. Such a collection may serve as the basis for the compiling of a new dictionary of proper names in 18th-century Russian poetry, the main task of which will be the reflection of the transformation and development of the semantics of the “literary” anthroponym, the process of mythological anthroponyms and the onyms adaptation in the Russian culture.

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28

Holm, John. "An 18th-century novel from the Miskito Coast." English World-Wide 35, no. 1 (February 21, 2014): 52–67. http://dx.doi.org/10.1075/eww.35.1.04hol.

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William Williams (1727–1791) wrote a novel entitled Mr. Penrose: The Journal of Penrose, Seaman about an English sailor marooned on the Caribbean coast of Nicaragua, partly based on the author’s own experience. Internal linguistic evidence confirms that the castaway’s contact was with the Rama and Miskito Indians of this area. The novel’s 350 printed pages are in the formal English of the times, but also include dialogue in the local vernacular English that was still undergoing creolization. It includes words not only from Rama and Miskito, but also Spanish and African languages and phrases suggesting convergence with modern English Creole structures (“Harry was sick, sick”). This article uses lexical and morphosyntactic data from the 18th-century manuscript to cast light on the origin of synchronic features of Miskito Coast Creole English.

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29

Sinitsyna, Mariya V. "I. A. Kovanko’s Odes: Poetics in the Literary Context." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 20, no. 4 (November 25, 2020): 429–33. http://dx.doi.org/10.18500/1817-7115-2020-20-4-429-433.

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The paper considers the peculiarities of I. A. Kovanko’s odes written at the end of the 18th century and the beginning of the 19th century. The reminiscences from G. R. Derzhavin’s and M. V. Lomonosov’s poetry are revealed. The article focuses on the influence of classicism and sentimentalism on Kovanko’s work and the synthesis of heterogeneous elements that trace back to the 18th century poets.

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30

Phillips,, C. Robert, and George deForest Lord. "Classical Presences in Seventeenth-Century English Poetry." Classical World 82, no. 4 (1989): 326. http://dx.doi.org/10.2307/4350405.

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31

Evans, Robert C., and A. B. Chambers. "Transfigured Rites in Seventeenth-Century English Poetry." Sixteenth Century Journal 24, no. 3 (1993): 719. http://dx.doi.org/10.2307/2542137.

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32

Frost, William, and George DeForest Lord. "Classical Presences in Seventeenth-Century English Poetry." Comparative Literature 41, no. 4 (1989): 395. http://dx.doi.org/10.2307/1770729.

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33

Warner, J. Christopher, and Jonathan F. S. Post. "English Lyric Poetry: The Early Seventeenth Century." Yearbook of English Studies 32 (2002): 287. http://dx.doi.org/10.2307/3509083.

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34

Hammond, Paul, and George DeForest Lord. "Classical Presences in Seventeenth-Century English Poetry." Yearbook of English Studies 20 (1990): 257. http://dx.doi.org/10.2307/3507561.

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35

Sambrook, A. J., and Richard Wendorf. "William Collins and Eighteenth-Century English Poetry." Yearbook of English Studies 15 (1985): 305. http://dx.doi.org/10.2307/3508596.

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36

Ingram, Allan, and John Goodridge. "Rural Life in Eighteenth-Century English Poetry." Yearbook of English Studies 28 (1998): 320. http://dx.doi.org/10.2307/3508792.

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37

McAlister, Caroline, and A. B. Chambers. "Transfigured Rites in Seventeenth-Century English Poetry." South Atlantic Review 58, no. 1 (January 1993): 128. http://dx.doi.org/10.2307/3201112.

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38

Sherwood, Terry G. "Transfigured Rites in Seventeenth-Century English Poetry." George Herbert Journal 15, no. 2 (1992): 79–83. http://dx.doi.org/10.1353/ghj.1992.0023.

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39

Toliver, H. "Classical Presences in Seventeenth-Century English Poetry." Modern Language Quarterly 48, no. 3 (January 1, 1987): 285–87. http://dx.doi.org/10.1215/00267929-48-3-285.

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40

Overton, B. "Teaching Eighteenth Century English Poetry: An Experiment." English 40, no. 167 (June 1, 1991): 137–44. http://dx.doi.org/10.1093/english/40.167.137.

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41

Lyons, R. "A Companion to Fifteenth-Century English Poetry." English 63, no. 242 (April 15, 2014): 246–47. http://dx.doi.org/10.1093/english/efu006.

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42

Twose, Gareth, and C. B. McCully. "Adverbial function in English verse: the case of thus." Language and Literature: International Journal of Stylistics 10, no. 4 (November 1, 2001): 291–306. http://dx.doi.org/10.1177/0973-9470-20010804-02.

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In this article we argue that the use of the word thus in poetry sees a profound and significant expansion in the range and frequency of its uses in the 16th and 17th centuries. Using data compiled by electronic searches, we show that the use of the word reached its apogee in Milton's poetry - and then subsequently declined in the 18th, 19th and 20th centuries. The article explores the links between the use of thus and the epic form in poetry, thereby providing some confirmatory evidence of the relationship between style and function in poetry. It also looks at diachronic, literary factors motivating poetic change.

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43

Johnstone, H. D. "English 18th Century Concertos--An Inventory and Thematic Catalogue." Music and Letters 87, no. 3 (August 1, 2006): 431–33. http://dx.doi.org/10.1093/ml/gci238.

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44

Watts, Gordon P., and Michael Cameron Krivor. "Investigation of an 18th-century English shipwreck in Bermuda." International Journal of Nautical Archaeology 24, no. 2 (May 1995): 97–108. http://dx.doi.org/10.1111/j.1095-9270.1995.tb00719.x.

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45

Watts, G. "Investigation of an 18th-century English shipwreck in Bermuda." International Journal of Nautical Archaeology 24, no. 2 (May 1995): 97–108. http://dx.doi.org/10.1006/ijna.1995.1014.

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46

박해남. "The Research for Modernity on Chinese Poetry of 18th Century Chosun." Korean Classical Poetry Studies 28, no. ll (May 2010): 129–53. http://dx.doi.org/10.32428/poetry.28..201005.129.

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47

Lappo-Danilevskii, Konstantin. "“Anacreontic odes” and “Anacreontic poems” in the 18th century Russian poetry." Literary Fact, no. 11 (March 2019): 384–402. http://dx.doi.org/10.22455/2541-8297-2019-11-384-402.

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Nag, Ishita. "ENGLISH LITERATURE THROUGH THE AGES." International Journal of English Learning & Teaching Skills 3, no. 3 (April 5, 2021): 2284–310. http://dx.doi.org/10.15864/ijelts.3307.

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This review paper deals with the development of the English language through time starting with the Old English literature (450-1066), Middle English Literature (1066-1500), English Renaissance (1500-1660), the Restoration Age (1660-1700), the 18th century, Romanticism (1798-1837), Victorian literature (1837-1901), and the 20th century.

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김태웅. "compiling of anthology and value of donggookgasa from late 18th century to early 19th century." Korean Classical Poetry Studies 37, no. ll (November 2014): 305–27. http://dx.doi.org/10.32428/poetry.37..201411.305.

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50

Hawk, Barry E. "English Competition Law Before 1900." Antitrust Bulletin 63, no. 3 (July 11, 2018): 350–74. http://dx.doi.org/10.1177/0003603x18781397.

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English competition law before 1900 developed over many centuries and reflected changes in political conditions, economic theories and social values. It mirrored the historical movements in England, from the medieval ideal of fair prices and just wages to 16th and 17th century nation-state mercantilism to the 18th and 19th century Industrial Revolution and notions of laissez faire capitalism and freedom of contract. English competition law at varying times articulated three fundamental principles: monopolies were disfavored; freedom to trade was emphasized; and fair or reasonable prices were sought. The Sherman Act truly was a watershed that significantly took a different path from English law as it had evolved. In England, legal challenges to monopolization were limited to the royal creation of monopolies and were concentrated in the 17th and early 18th centuries. A prominent element of English competition law—bans on forestalling—was repealed in the first half of the 19th century. Enforcement of English law against cartels was largely emasculated by the end of the 19th century with the ascendancy of freedom of contract and laissez faire political theory.

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