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1
Barsky, Robert F. "Byron and catastrophism." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63758.
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Kramar, A. "Augusta Ada Byron." Thesis, Sumy State University, 2015. http://essuir.sumdu.edu.ua/handle/123456789/40415.
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Augusta Ada Byron was born 10 December 1815 as the only
child of the poet Lord Byron and his wife Anne Isabella Byron.
Byron did not have a relationship with his daughter.Ada was often
ill, beginning in early childhood. At the age of eight, she experienced
headaches that obscured her vision. In June 1829, she was paralyzed
after a bout of measles. She was subjected to continuous bed rest for
nearly a year. By 1831, she was able to walk with crutches. Despite
being ill Ada developed her mathematical and technological skills.
At age 12, this future "Lady Fairy", as Charles Babbage
affectionately called her, decided she wanted to fly. Ada went about
the project methodically, thoughtfully, with imagination and passion
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Olsen, Gregory. "Byron and God: representations of religion in the writings of Lord Byron." Thesis, University of Auckland, 2010. http://hdl.handle.net/2292/6763.
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Although Lord Byron's poetry has been studied in some depth over the last two hundred years, one particular aspect of that poetry has often been slighted: his representation of religion. Religion is a major feature of Byron's poetry, both as a source of imagery and as a subject of commentary. In the early nineteenth century, readers could be expected to understand and to respond to a range of biblical references and theological concepts, and this thesis explores those representations. Ten of Byron's major poems are considered in detail here: Childe Harold's Pilgrimage, Don Juan, The Giaour, The Bride of Abydos, The Corsair, Lara, The Siege of Corinth, Manfred, Cain, and Heaven and Earth. These are the works which focus most heavily upon religious topics, whereas other writings by the poet are discussed only where particularly relevant. While most of these ten concern Christianity, The Giaour, The Bride of Abydos, The Corsair, Lara, and The Siege of Corinth deal in more detail with Islam, and some other religious systems are occasionally mentioned. In the consideration of such representations of religion, crucial considerations are the characterization of God, the differences between depictions of the clergy and depictions of the laity, the respect afforded to sacred texts, and especially the comparison of orthodoxy ('correct opinion') with orthopraxy ('correct practice'). Many of these points vary considerably throughout the corpus of Byron's poetry, but certain consistencies are evident. One is the generally-respectful representation of the figure of God. Another is the frequent condemnation of heteropraxy and the careful avoidance of criticism of orthodoxy, even to the extent of criticizing heteropraxy from an orthodox viewpoint. A third is the resistance to dogmatism, coupled with a scepticism or even a hostility towards ecclesiastical authority. Throughout his work, then, the poet validates a devout but unconventional faith, one which failed to please his more conservative contemporaries but which was nonetheless far from the atheism with which he is often charged.
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Huish, Davies Margaret Elizabeth. "Byron and the Bible." Thesis, University of Liverpool, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406821.
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Peach, Annette Julia. "The portraiture of Byron." Thesis, Royal Holloway, University of London, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338883.
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Wimbish, Andrew Hunter. "The Catherine Byron Letters." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/71662.
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The Catherine Byron Letters is an edited and annotated collection of letters mostly
exchanged between Catherine Byron, the mother of the poet, and her solicitor John Hanson. The importance of this correspondence was first established by Doris Langley-Moore in Lord Byron: Accounts Rendered (1974), which documents the poet's finances from the time of his birth. Since then the letters have been used extensively by Megan Boyes in My Amiable Mamma: A Biography of Mrs. Catherine Gordon Byron (1991) and by J. V. Beckett and Sheila Aley in Byron and Newstead: The Aristocrat and the Abbey (2001). For this project I have transcribed and edited the portion of Catherine Byron's correspondence now in the John Murray Archives at the National Library of Scotland, amounting to 92 letters which are here reproduced in their entirety. While some are familiar letters, most of the correspondence is concerned with the business of providing for the young poet's education at Harrow and at Cambridge, paying off his mounting debts, managing the Newstead Abbey estate, and pursuing the lawsuits which entangled the family finances. I have edited the transcribed letters using the TEI (Textual Encoding Initiative) markup language, adding optional punctuation where necessary to clarify the sense as well as headnotes and additional annotations for personal names, places, and technical terms where they require elucidation. The resulting machine-readable XML documents have been made into a website on which I have collaborated with Professor Radcliffe.Master of Arts
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Hurst, Mary. "Byron and the 'Catholic Persuasion'." Thesis, University of Liverpool, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433018.
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Zembruski, Soeli Staub. "Um outro Byron no Brasil." Florianópolis, SC, 2008. http://repositorio.ufsc.br/xmlui/handle/123456789/91082.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em Estudos da TraduçãoMade available in DSpace on 2012-10-23T18:37:12Z (GMT). No. of bitstreams: 1 262182.pdf: 604418 bytes, checksum: 609a1f3d76b91468dd0e9e731329ab0d (MD5)
Este trabalho tem por objetivo discutir conceitos, possibilidades e impossibilidades relacionadas à tradução poética seus princípios e estratégias, sob a luz das concepções teóricas históricas e contemporâneas. A partir da obra de George Gordon Byron, sua massiva tradução no Brasil principalmente no século XIX e o retrato do poeta constituído por essas traduções observamos uma nova tradução no final do séc. XX. Paulo Henriques Britto, que reaviva o nome de Byron no cenário da literatura brasileira reapresenta um ídolo, revelando aspectos até então pouco difundidos entre os brasileiros. Ligando duas fases tão distintas que separam a mais recente tradução de Byron no Brasil e o período das traduções românticas, está a obra de José Lino Grünewald, que reinaugura as traduções de Byron no Brasil; e também intermedia uma mudança de posicionamento renovando a imagem do poeta inglês entre nós. Porém, é a partir da tradução de Britto que observamos significativas alterações nos procedimentos e estratégias de tradução que promovem avanços em um campo que muitos consideraram irrealizável. Seu procedimento desmistifica a figura do lorde relacionada a temas fúnebres e sombrios. Também observamos reação de apreciadores do gênero tradicionalmente atribuído ao lorde, através de recente publicação contendo antigas traduções. Todo esse contexto apresenta-se como fonte rica para os estudos das estratégias e efeitos das escolhas dos tradutores sobre o texto, auxiliando-nos a compreender a tradução como processo em constante evolução This work intends to discuss concepts, possibilities and impossibilities related to poetry translation, its principles and strategies, behind historic and contemporary conceptions. From George Gordon Byron writings, their intense translation in Brazil mainly in the ninth century and the image built by these translations we observed another one; Paulo Henriques Britto renews the name of Byron in Brazilian Literature and re - introduces an idol reveling aspects little known by Brazilians so far. Matching these two different periods, that apart the newest translation of Byron in Brazil and the period of the romantic ones, there is Jose Lino Grunewald.s production, which restarts the translation of Byron in Brazil and also mediates procedure changes that renews the image of the poet between us. However, it is in Britto.s translation that we observe strategic changes that improve the field of poetry translation, considered by many, impossible to be done. His strategies demystify the figure of the Lord related to deadly and dark themes. We also observe a current publication representing those who admire the genre historically related to the English poet. This new publication contains old translations dated from de 1800.s. This entire context presents us a very rich field to the studies of translation procedures, strategies and effects helping us to understand translation as a process that is continually improving.
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Padilla, Elena M. "Byron and the Modernist Writers." W&M ScholarWorks, 2002. https://scholarworks.wm.edu/etd/1539626365.
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Disque, J. Graham. "The Work of Byron Katie." Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etsu-works/2840.
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Disque, J. Graham. "The Work of Byron Katie." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etsu-works/2843.
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Waylett, Dianne Marie. "Does anyone know Lord Byron?" CSUSB ScholarWorks, 1998. https://scholarworks.lib.csusb.edu/etd-project/1507.
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Ramadier, Bernard-Jean. "L'errance romantique : Byron, Shelley, Keats." Grenoble 3, 1998. http://www.theses.fr/1998GRE39042.
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Les trajectoires errantes des existences de byron, shelley et keats s'organisent en itineraires par l'ecriture poetique. D'autre part, l'etude de la traduction onirique de l'errance dans les oeuvres fait emerger une convergence profonde des trois poetes par leur usage des images et des symboles en relation avec le theme. Un + complexe d'ahasverus ; informe a des degres divers des poemes aussi differents que childe harold's pilgrimage, don juan , alastor , et endymion. La structure totalisante du mythe du juif errant, mise en evidence par les anthropologues et les sociologues, superpose ontogenese et phylogenese, et lui permet de representer a la fois l'individu et l'espece confrontes au grand mystere du temps. Errer, c'est d'abord prendre conscience d'un + avant ; et d'un + apres ; determinant la representation poetique d'un + etre du dehors ; exile du paradis qui avance dans l'espace et le temps, nostalgique de sa condition originelle d' + etre du dedans ;. A travers les poetes, c'est une histoire universelle, et pas seulement la voie d'une experience individuelle, qui nous est donnee, histoire que l'on entend dans les voix du texte et qui parlent de lieux quittes que l'on aspire a retrouver. C'est a partir du constat dresse par les poetes de la vacuite de la deambulation existentielle que le theme de l'errance trouve ses racines et ses prolongements dans le mythe du juif errant. Fixation onirique des experiences douloureuses de la vie, le personnage amplifie la condamnation du poete, liee a son statut de contemplateur marginal, aliene d'un monde qui refuse d'entendre sa voixThe meandering trajectories of the lives of byron, shelley and keats find an organising force in, and become itineraries through, poetry. Studying the theme of wandering as it appears in the dreams of poetic imagination highlights the three poets' deeply converging use of images and symbols related to the theme. An "ahasuerus complex" informs in various ways poems like childe harold's pilgrimage, don juan , alastor , and endymion , despite their obvious differences in tone and maturity. Furthermore the influence of the myth of the wandering jew spreads well beyond those major poems; the myth's encompassing structure, highlighted by anthropologists and sociologists, allows it to represent both the individual's and the species' puzzling position before the great mystery of time in the double exposure of ontogenesis and phylogenesis. Wandering means first and foremost realizing man's position between "before" and "after", which initiates a poetic representation of an outcast, an exile who wanders away, longing after his lost paradise and yearning to go home, to be part of a whole again. Through the poets we are given a story, not only an access to individual experience, but a universal story about lost places that man tries to trace and the path to which is wafted on the various voices speaking in the texts. From the poets' awareness of the aimless travel of life, the theme of wandering originates in, and grows from, the myth of the wandering jew. Poetic imagination links life's painful experiences with the eternal wanderer's thorny way, and the jew's curse with the poet's endless attempts to be reconciled with the universe
14
Marandi, Seyed Mohammad. "Lord Byron, his critics and Orientalism." Thesis, University of Birmingham, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397121.
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Barbour, John Francis. "Byron among the classics : a study of the influence of classical poetry on the work of lord Byron." Thesis, Durham University, 1994. http://etheses.dur.ac.uk/5816/.
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This study begins by defining epic to determine if Byron's claims, regarding Don Juan,to be writing an epic, are justified, concluding that though most epics preserve the form ofearlier epics, substituting a different "message" or heroic ethos, Byron, in defiance of thistradition, attempts to preserve the essence of Homeric epic, particularly its new heroicethos, but in a new form. This is where Byron and Vergil's imitations of Homer differ,Byron rejecting both Vergil's manner of imitation and his heroic ethos. In a series ofimitations, Byron parodies Vergil, borrowing his imagery to suggest the unnatural and thesterile. Differences are exposed in their respective treatments of war, Byron advocatingthe self-justifying act of love rather than the consolations of duty and fame offered byVergil, which rely on a perception of cosmic order lacking in Byron's view, a view whichlinks him to Homer and the Attic tragedians. The Greek view of the darkness andconfusion of the cosmos Byron finds congenial, appreciating the opportunities it affordsfor open-endedness, though aware that this open-endedness is always subsumed by largerclosure due to different levels of perspective (actors, chorus, and gods). In ChildeHarold's Pilgrimage, Byron attempts to emulate this multilevelledness as a means todistance himself from the cycles of Nature from which he is painfully excluded due to hismixed body and spirit nature, finally breaking out to channel these cycles of Natureproductively through art. In Byron's dramas, too, there are cycles of evil whose origins liein Attic tragedy. Ever present in Byron, as in classical tragedy, is the Promethean dilemmabetween submission, and defiance leading to inevitable defeat. In his later poetry, Byronis more reconciled to the cycles of life, though continuing his Promethean quest in thefields of love and literature.
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Frey, Büchel Nicole. "Perpetual performance: selfhood and representation in Byron's writing." Tübingen Francke, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2897269&prov=M&dok_var=1&dok_ext=htm.
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Chu, Chih-yu. "Byron's literary fortunes in China /." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19672263.
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Showalter, Adrienne Markley A. A. "Sensational lives Byron and Robinson's Lives mirrored in literature /." [University Park, Pa.] : Pennsylvania State University, 2009. http://honors.libraries.psu.edu/theses/approved/WorldWideIndex/EHT-19/index.html.
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Webb, Stephen. "Lord Byron and Nation : Education and Reification." Thesis, Uppsala universitet, Historiska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-210032.
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Bolton, Zoe Ann. "Textuality and travel from Gray to Byron." Thesis, Lancaster University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539636.
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Leyland, David. "Aspects of morality : Byron and the body." Thesis, University of Liverpool, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272655.
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Addison, Catherine Anne. "Adventurous and contemplative : a reading of Byron's Don Juan." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26947.
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This dissertation on Byron's Don Juan begins with a history and analysis of the stanza form. Since ottava rima is a two-fold structure, comprising an alternately rhyming sestet followed by an independent couplet, it encourages the expression of dialectical ideas. Byron's prosodic virtuosity uses this potential to create a multivalent tissue of tones which is essentially—and almost infinitely—ironic. A view of prosody is developed here which is unique in its perception of the poem's existence in terms of a reading that unfolds in "real time." For various reasons, "reader-response" critics have not yet taken much cognizance of prosody. Don Juan is a good testing-ground for their approach because its narrator constantly addresses his reader, insisting on a present time which actively accumulates a past and projects a future, as a reader's consciousness moves sequentially forward through the text. The present time of the verse rhythms is the present time of the discourse, which is often most self-reflexive in the famous "digressions." Some of these begin with an epic simile whose vehicle grows out of proportion to its tenor; others are triggered by an interruption of the story, as the narrator—like a Renaissance improvisor in ottava rima— suddenly addresses his audience directly. Still other digressions are not metaleptic leaps from a fictional to a "real" world, or from one fictional world to another, however; they are the result of the narrator's tendency to linger too long in one world, elaborating descriptions until his story is forgotten. Despite the poem's many-voiced, digressive insouciance, an investigation of its moral and metaphysical components reveals that its irony has limits. Maugre those critics who would claim Don Juan as the paradigmatic work of unlimited, infinitely regressive Romantic irony, the issue of political liberty is not to be joked about, unlike the problem of erotic love. At this stable point in an otherwise absurd universe, Byron reveals a non-ironic self under the ironic mask. More effectively than traditional autobiography, because it is enacted rather than reported, this poem recreates its author dramatically, in terms of a shifting triangular relationship between narrator, protagonist and reader. The temporal locus of this relationship is a fictional present tense grounded in the "real" present time of a reading of the poem.Arts, Faculty of
English, Department of
Graduate
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Hüffer, Angela. ""Action in character" die Dramatik von Selbstreflexion und Selbstentwurf im lyrischen Drama der englischen Romantik ; Wordsworths "The Borderers", Byrons "Manfred" und Brownings "Paracelsus"." Trier Wiss. Verl. Trier, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2826336&prov=M&dok_var=1&dok_ext=htm.
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Throsby, Corin. "Flirting with fame : Byron and his female readers." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522806.
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Smith, Melissa Ann. "A TEI Transcription of Conversations with Lord Byron." Thesis, Virginia Tech, 2010. http://hdl.handle.net/10919/33006.
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This project accompanies a TEI transcription of Lady Blessingtonâ s Conversations with Lord Byron, currently available on the Life and Times of Lord Byron online archive. Although often cited in biographies of Lord Byron, Lady Blessingtonâ s Conversations of Lord Byron has received little critical attention. Further, the genre of Blessingtonâ s work, the conversation as a biographical form, suffers the same dearth of critical material.
My aims, then, are to 1) present a brief history of the conversation as biographical form; 2) examine the publication history of the Conversations and underscore the social dimensions of its publication; and 3) evaluate Blessingtonâ s rhetorical strategies in the Conversations and to argue that Blessingtonâ s work is superior to two other accounts of Byron (by James Kennedy and Thomas Medwin) in terms of its psychological depth.Master of Arts
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Lévy-Bertherat, Déborah. "L'artifice romantique : Byron, Pouchkine, Nerval, Poe, Lermontov, Baudelaire." Limoges, 1989. http://www.theses.fr/1989LIMO0501.
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Si le romantisme est traditionnellement considere comme la consecration du naturel, six ecrivains - byron, pouchkine, nerval, poe, lermontov et baude- laire- ont pourtant choisi de rehabiliter l'artifice, en exaltant la beaute et la puissance que l'homme poursuit en corrigeant la nature. La transformation du decor, qui traduit une volonte de puissance sur la matiere, est un premier defi au createur. Par la parure, l'homme se dote d'une apparence divine ; il devient sa propre creature, et se soustrait ainsi a l'auto- rite de dieu. Le travestissement va plus loin encore : le personnage deguise se forge une nouvelle identite, echappe a l'etroitesse de son individualite en se multipliant, se livre a un jeu dangereux. Le menteur s'arroge la maitrise du vrai et du faux, ce qui fait de lui l'egal de la divinite ; ce pouvoir lui permet de gouverner non seulement ses sentiments, mais ceux des autres - de les posseder au sens demoniaque du terme. Toute la revolte artificielle enfin tend a accorder a l'etre les attributs celestes de la perfection, de l'immaterialite et de l'im- mortalite ; l'oeuvre humaine veut egaler l'oeuvre divine, voire la surpasser. Il existe donc un veritable romantisme de l'artifice, qui, humanisant le monde, consacre la liberte et l'invention de l'esprit humain - l'art et ses creations- comme fondement d'une nouvelle spiritualite. Cette revolution souter- raine, meconnue, constitue peut-etre la forme la plus absolue de la revolte romantiqueAlthough romanticism is generally considered as a glorification of the natural, six authors - byron,pushkin, nerval, poe, lermontov and baudelaire - chose to stand up for artifice, and exalted the beauty and power which man pursues when correcting nature. The transformation of the scenery, symbolising a will for power over matter, is the first challenge to the creator. Through finery, man endows himself with a divine appearance ; he becomes his own creature, thus escaping from god's authority. Disguise goes even further : the man in fancy dress builds up a new identity, eludes the limitations of his individuality by creating different images of himself, and becomes involved in a dangerous gamble. The lier claims control over truth and falsehood, which makes him equal to the divinity ; this power allows him to control not only his own feelings, but also those of others - to possess them in a demoniac way. The sum of the artificial revolt tends finally to bestow upon the being the heavenly attributes of perfection, immateriality and immortality ; the human work wants to match the divine, or even surpass it. There themfore exists a true romanticism of artifice, which humanizes the world, and establishes the liberty and invention of the human mind-art and its creations-as the basis of a new spirituality. This underground, unrecognised revolution, constitutes possibly the most absolute romantic revolt
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Kang, Gina Mallory Anne. "The Death of Women in Wordsworth, Byron, and Poe." [Greenville, N.C.] : East Carolina University, 2010. http://hdl.handle.net/10342/2830.
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Sultana, Fehmida. "Romantic orientalism and Islam : Southey, Shelley, Moore, and Byron /." Thesis, Connect to Dissertations & Theses @ Tufts University, 1989.
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Thesis (Ph.D.)--Tufts University, 1989.Submitted to the Dept. of English. Includes bibliographical references (leaves 209-215). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
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Earle, Edward A. "The balance of the mind : Byron and Popeian ethics." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63975.
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Stock, Paul. "The idea of Europe and the Shelley-Byron circle." Thesis, Birkbeck (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504734.
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This thesis investigates how Percy Shelley, Lord Byron and their circle understood 'Europe'. It examines the geographical, political and ideological concepts they associated with the term, and the locations, historical episodes, political institutions or opposing 'others' they used to construct those understandings. The thesis builds upon recent work which questions the traditional association of Romanticism with nationalism. However, my discussion does not promote a transnational 'cosmopolitan ideal'. Instead, I am interested in Europe as a concept rich with analytic possibilities: it can evoke totalising narratives of common history or identity and also express a range of competing political and ideological systems. The study of Europe can highlight new ways to understand the complexities of identity formation and the politics of community in the Romantic period. My first chapter analyses the uses and meanings ofthe term 'Europe' in all encyclopaedias published in Britain between 1771 and 1830, outlining historical methodologies for understanding the concept. Subsequent chapters use these insights to discuss the Shelley-Byron circle's ideas. Chapter two explores how Byron experienced and imagined Europe while travelling to the Near East in 1809-11. Chapter three concerns the Shelley-Byron circle's reactions to the battIe of Waterloo, especially how they understand Europe in terms of 'liberty'. Chapter four discusses the ideas of Europe which emerge from Shelley's reflections on the French Revolution. In chapter five, I analyse how Shelley builds his understandings of Europe upon specific historical events, but also universalises European civilisation into an ideal for all places and periods. Chapter six considers the Byron circle's denunciation of the 'Concert of Europe' diplomatic system following the Congress of Verona in 1822. Lastly, chapter seven investigates how Byron uses the Greek War of Independence to re-conceptualise the history and future of Europe.
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Abdul-Razāk, Hanāʼ Muḥammad. "Keats, Shelley and Byron in Nāzik al-Malāʼikah's poetry." Thesis, University of Glasgow, 1989. http://theses.gla.ac.uk/4959/.
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The main purpose of this thesis is to trace the impact of the English Romantic poets, especially Keats, Shelley and Byron, on Arab/Iraqi Romantic poetry and thought, in particular that of Nazik al-Mala'ikah. The thesis is divided into two volumes. The first volume consists of three chapters, each divided into short sections. The first chapter is a detailed introduction to the three other chapters. It discusses the problem of defining the term 'Romanticism'. It studies comparatively the four fundamentals of the English and Arabic Romantic theories. It traces the origin and the development of Arabic/Iraqi Romanticism. It also traces the sources of Nazik's knowledge of world literature: Arabic, English, American, French, German, Greek, Latin and Scandinavian. Nazik's poems and those of other Arabic Romantic poets, such as Iliyya Abu Madi, Ali Mahmud Taha, and Abu 'l-Qasim 'l-Shabbi are compared. The importance of the poems that appear in The Golden Treasury to Arabic poetry in general and to Nazik's poetry in particular is highlighted. A list of English poets, such as Shakespeare, Milton, Gray, Coleridge, Wordsworth, Keats, Shelley and Byron, whose poems and thoughts are influential on Nazik's poetry and critical works, is arranged chronologically with a short introduction to each poet, and his posit ion in Arabic/Iraqi poetry in general and in Nazik's literary works in particular. Abdul-Hai's bibliography of the Arabic versions of English poetry and Jlhan's Ra'uf's bibliography of the Arabic versions of Shelley's poetry are given, in order to indicate the earliest possible date of Arabic translation from English poetry. The second chapter is divided into two parts. These parts are preceded by a short introduction on Arabic translation of English poetry, followed by a section on Nazik's motives in translating English poetry. In the first part, Arabic versions of Gray's Elegy by Andraus, Mahmud, al-Muttalibi and Nazik are analysed comparatively to establish whether Nazik's version is original or dependent on the other earlier Arabic versions. In the final section, the influence of Gray's Elegy on Nazik's themes and imagery is traced. In the second part of this chapter, Nazik's version of Byron's address to the ocean in the fourth canto of Childe Harold's Pilgrimage is fully analysed, preceded by a list of Arabic versions of Byron's poems. Nazik's version is studied independently from other Arabic versions, because most of the versions found are of different parts of Byron's poem. A section is devoted to Nazik's and Byron's relationship with the sea. In the last section, the impact of this passage on Nazik's poetry is traced and compared to that of Gray's Elegy. The third chapter traces the presence of Keats's odes in Nazik's poetry. This chapter is introduced by a definition of the term 'Ode'. The second section traces the impact of the themes and imagery of Keats's odes on Nazik' s poetry. Four sections are devoted to establishing the common contrasting themes in Keats's and Nazik's poetry. The following sections are devoted to the natural elements common to the poetry of Nazik and Keats: the birds, the wind, the river, the sun and the moon. The final sections study comparatively Nazik's and Keats's common literary devices: Personification, Synaesthesia and Compound adjectives. The second volume consists of the fourth chapter, the tables and the bibliography. This chapter studies the allusions in Nazik's poetry, and traces their sources in Keats, Shelley, Byron and Anatole France. A section is devoted to names alluded to in Nazik's poetry. The significance of The Golden Bough in Arabic is highlighted in a separate section, followed by a section on Nazik's mythological themes and symbols. Two sections are devoted to the relations of the Jinniyyah to poetry and to god. The appearance and functions of Nazik's Jinniyyah are compared to those of similar figures in Anatole France and Shelley. Nazik's Jinniyyah is seen as the synthesis of a complex mythological tradition. Many examples are given to discuss her relations to: (1) male and female mythological, religious and cultural characters, such as: Adam, Cain, Abel, Prometheus, Christ, Muhammad, Paphnutius, Midas, Plutus, Eve, Thais, Adonis, Cupid, Narcissus, Nessus, Ares, Magdalen, Thais, Venus, Diana, Rabiah al-Adawiyyah, the Sleeping Beauty, Demeter, Rapunzel and Shahrazad; (2) supernatural creatures, such as: the serpent, the demon, the spider, the sirens, the giant fish, the ghosts and the ghoul; (3) mythological things, such as: the Labyrinth, Lethe, Eldorado, Pactolus and al-Kawthar. A section is devoted to the symbol of Gold in Nazik's and in English poetry. Nine tables are supplied, setting out the common mythological names that occur in Nazik's, Keats's, Shelley's and Byron's poetry. A bibliography of primary and secondary Arabic and English sources is given. This bibliography contains the works cited throughout and other relevant secondary sources. The former are marked with an asterisk.
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McColl, Robert Duncan. "Stirring age : history and romance in Scott and Byron." Thesis, University of Liverpool, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433780.
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Westwood, Daniel. "The concept of quest in Byron, Shelley, and Keats." Thesis, University of Sheffield, 2017. http://etheses.whiterose.ac.uk/18219/.
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This thesis examines the role of quest in the poetry of Byron, Shelley, and Keats. It argues that as proponents of a self-conscious quest poetry, each poet presents quest as a mode that gives shape to desire, but also one that demands scrutiny in its pursuit of potentialities. Utilising a new-formalist approach to poetry, the thesis presents these poets’ interrogations of quest as inseparable from the formal and generic qualities of their work, showing each poet locating artistic achievement in a performative approach to difficulty and struggle. Developing Harold Bloom’s argument that the Romantics create an ‘internalized’ quest-romance, I show each poet formulating their own unique sense of quest. While Byron tends towards disruption only to stop short of dismantling quest, Shelley’s quest revels in a purposeful precariousness. For Keats, quest represents a means of enacting his voyage towards capable poethood. The first chapter, on Childe Harold’s Pilgrimage III, shows Byron disrupting his quest for self-transcendence through his use of the doubling trope. Chapter two compares Manfred and The Deformed Transformed, arguing that Byron’s dramas disrupt quest by foregrounding tensions between rhetoric and achievement. Chapter three views Shelley’s quests in Epipsychidion and Adonais as galvanised by the uncertain relationship between self and other. Chapter four traces the ambiguous role of movement in Shelley’s quest, focusing on the Scrope Davies Notebook and The Triumph of Life. Chapter five, on Sleep and Poetry and Endymion, presents rhyme as central to Keats’s quest to master a longer work of poetry. The final chapter examines the Hyperion poems, arguing that Keats refigures the epic to perform his progression towards poetic authority. By placing quest centre stage in their poetics, Byron, Shelley, and Keats produce poetry that is attuned to the aspiration underpinning human experience. Though tested, scrutinised, and interrogated throughout their works, quest also affords each poet an opportunity to glimpse the loftiest heights of possibility and achievement.
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Squires, Matthew Lorin. "The Byronic Myth in Brazil: Cultural Perspectives on Lord Byron's Image in Brazilian Romanticism." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd758.pdf.
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Davis, G. Todd. ""The age of oddities" Byronism and the fictional representations of Byron /." Oxford, Ohio : Miami University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1070042896.
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Vega, Olave Carolina. "Liquid writing: when subjectivity colours writing: a revision of Lord Byron's Childe Harold's pilgrimage and his letters." Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/143284.
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Mole, Thomas Seymour. "Byron's romantic celebrity : industrial culture and the hermeneutic of intimacy." Thesis, University of Bristol, 2003. http://hdl.handle.net/1983/36823ff2-0435-43b5-be8e-fcc88fdc179b.
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This thesis argues that modern celebrity culture took shape in the Romantic period, and that Byron should be understood as one of its earliest examples and most astute critics. It investigates the often strained interactions of artistic endeavour and commercial enterprise, the material conditions of Byron's publications, and the place of celebrity culture in the history of the self. It understands celebrity as a cultural apparatus structured by the relations between an individual, an industry and an audience, which emerged at a distinct historical moment. In the Romantic period, it contends, industrialised print culture overcrowded the public sphere with named individuals and alienated cultural producers and consumers. Celebrity tackled the surfeit of public personality by branding an individual's identity to make it amenable to commercial promotion, and palliated the sense of alienation by constructing a hermeneutic of intimacy. The thesis investigates Byron's engagement with industrial culture, showing how it empowered and embarrassed him. It considers how changes in his sense of audience while writing Childe Harold's Pilgrimage led Byron to construct the hermeneutic of intimacy in 'To lanthe'. Byron's celebrity included an important visual dimension, which he fostered in his Turkish Tales. The thesis therefore studies the circulation of his image, in authorised and appropriated versions, and the resulting advantages and anxieties for Byron. It argues that when he tried to move his poetry in a new direction with Hebrew Melodies, his attempt was compromised by generic constraints and publishing practices. The legal wrangles of 1816, it contends, made the hermeneutic of intimacy unsustainable. When he returned to Childe Harold, Byron experimented with alternative models of writing and reading. The thesis concludes by considering Don Juan, examining Byron's reading of Montaigne and arguing that the importance of celebrity culture in normalising the modern understanding of subjectivity has been underestimated.
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Howe, A. R. "System and poetry : studies in the writings of Lord Byron." Thesis, University of Cambridge, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604665.
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The thesis aims to offer new insights into Lord Byron's writing, focusing in particular on Don Juan. It attempts this through an investigation into the concept of 'system', a highly resonant term in the early nineteenth century and one the poet repeatedly invoked in a pejorative sense to indicate an unresponsive mind-set antithetical to the poetic. The introductory chapter offers an historical description of 'system' and its related vocabulary, drawing out the different applications of the world (intellectual religious, political and aesthetic). In particular, Byron's antisystematic attitude is related to and distinguished from philosophical scepticism, a subject central to some recent studies of Byron. The remaining four chapters explore the most significant manifestations of 'system' and the resistance to them cultivated in Byron's later writings. Chapter two considers Byron's prose intervention in the controversy over the nature of Pope's poetry in which he attacks a 'systematic' approach to literary writing. Particular emphasis is placed on Byron's engagement with the historical background to the controversy, especially Johnson's implied censure of Joseph Warton. The third chapter looks at the philosophical and religious aspects of Byron's thought through a reading of the drama Cain. The play is considered with reference to past critical interpretation, which has tended to view the play as expressive of a religious or philosophical 'position'. Navigating between these divergent arguments, the chapter suggests that the play resists any dogmatic interpretation and is most fruitfully thought of as a mediation on the role of the poet. Chapter four investigates the presentation of human consciousness in Don Juan through the poem's obsessive interest in physical process and its effects on mental states.
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Sourgen, Gavin Oliver. "'Artlessness and artifice' : Byron and the historicity of poetic form." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:c5487012-3205-483f-9a98-4e679662a74d.
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This thesis examines the conscious amalgamation of conflicting forms in Byron’s verse, and how these forms strain to create meaning in the processes of his poetry. Through a series of close readings and critical engagements with other Romantic poets, I endeavour to show how Byron’s poetry is often a rich site of contention between revolutionary and conservative impulses; both in its style and subject matter, and more often than not, in the complicated relationship between them. Beginning with Byron’s problematic place in the English Romantic canon, I attempt to lay a foundation for my claims that for all his mistrust of closed systems and predetermined positions there remained an urging desire to reconcile definitive artistic contour with internal form-developing process in many of his most intense poetic engagements. In his efforts at reconciling an awareness of the ever-moving provisional nature of subjectivity with a deep-rooted demand for evaluative permanence, Byron habitually employs a hybrid poetic idiom which seeks to be both timeless and time specific. In many of his most distinctive compositions, Byron holds a so-called ‘High Romantic’ lyrical mode, in which meaning is immersed in a persistent flowing rhythm, in tension with an eighteenth-century rhetorical style in which the careful placement of weighty words offsets its continuity to striking effect. By bookending my enquiry with Byron’s penetrating discursive conflicts with the naïve lyrical impulses of Wordsworth’s blank verse and what he perceived as the rhetorical appropriations of Keats’s poetry, I wish to demonstrate that Byron’s poetry enacts a curious meeting of nature and culture by a refusal to cleave them.
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Erchinger, Philipp. "Kontingenzformen : Realisierungsweisen des fiktionalen Erzählens bei Nashe, Sterne und Byron." Würzburg Königshausen & Neumann, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3178492&prov=M&dokv̲ar=1&doke̲xt=htm.
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Erchinger, Philipp. "Kontingenzformen : Realisierungsweisen des fiktionalen Erzählens bei Nashe, Sterne und Byron /." Würzburg : Königshausen & Neumann, 2009. http://deposit.d-nb.de/cgi-bin/dokserv?id=3178492&prov=M&dok%5Fvar=1&dok%5Fext=htm.
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Nicholl, Kaila, and Kaila Nicholl. "Some Other Being: The Autobiographical Phantom in Wordsworth and Byron." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12504.
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I explore Wordsworth and Byron's use of a mediating "other Being," or a third-person narrative voice, that functions as a "guide" through their autobiographical texts. After establishing this poetic voice, both poets employ their "other Being" to navigate spaces of ruin. Founded on fragments of memory and experience, as well as mediatory gaps, the poetry of Wordsworth and Byron illuminates the autobiographical poet's struggle with textual self-representation and the sustention of a poetic subjectivity that often substitutes for the poet's own. Through the rhetorical device of prosopopoeia, Wordsworth and Byron find distinct ways to create a voice that will continue to "speak" for them in the lines of their text. While The Ruined Cottage represents a version of Wordsworth's understanding of breakdowns and poetic subjectivity, Byron's Childe Harold's Pilgrimage III and IV push Wordsworth's boundaries even to their limits and turn the autobiographical "other Being" into a "tyrant spirit."
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Zembruski, Soeli Staub. "A tradução da ironia em Don Juan de Lord Byron." reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/xmlui/handle/123456789/123074.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2013.Made available in DSpace on 2014-08-06T17:45:33Z (GMT). No. of bitstreams: 1 326308.pdf: 1751176 bytes, checksum: b260d009c11087f8a428dbbe282a20ba (MD5) Previous issue date: 2013
Abstract : The present work investigates the possibilities and implications of the translation of irony on the published parts of Don Juan by George Gordon Byron (1818-1823) in Brazil by seven Brazilian translators of distinct historical and cultural contexts during 138 years. From the reflection about the irony concept and its evolution (MUECKE, 1995), the irony manifestations are observed. Some of the essential characteristics of irony constitution are listed and related to the poem Don Juan. From the ?irony markers? (HUTCHEON, 2000) a parameter to observe the reconstruction of that discursive strategy on the analyzed parts of the poem is built. Such reconstruction is the subject of the reflections about the translation of irony possibilities, of the importance of the context (MATEO, 2010), the translator?s roll as interpreter (ISER, 2002), of translation strategies (BERMAN, 2007), and the necessity of a translation project that matches with the main characteristics of the original work. On this way, different strategies elected by the translators are analyzed. These translations show the importance of Lord Byron?s works in Brazil. The translation solutions sign to the translation principles that guide each of the translations, and the contextualization as determiners for the translation of irony, so as to the increasing maturing of translation practice in our country.
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Darongsuwan, Nida. "Class and gender identity in 'male Gothic' from Walpole to Byron." Thesis, University of York, 2008. http://etheses.whiterose.ac.uk/14103/.
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The purpose of this thesis is to investigate works by major male writers of Gothic fiction-namely, Horace Walpole, William Beckford, Matthew Lewis and Lord Byron-in the context of the changing social and cultural climate of the late eighteenth and early nineteenth centuries. The "male Gothic," as I will argue, represents a kind of social performance, and it is a subgenre of fiction in which there is a persistent engagement with questions of class and gender identity. Between around the 1760s and the 1820s, Britain started to witness the gradual decline of aristocratic cultural hegemony and a more vigorous self-assertion of the middle classes, which sought to regulate aristocratic "excess." Examining the self representation of the authors in question, alongside their morally and sexually transgressive works, this thesis will consider the "male Gothic" as a literary category that made possible the performance of implicitly oppositional class and gender identities, and provided a means of resisting emergent "middle-class" ideologies and values. Such a notion of "resistance," however, I will argue, also needs to be seen in the context of the writers' various attempts to offer their works to the public as both legitimate and pleasurable, and hence takes the form of an often playful vacillation between the licensed and the subversive, rather than any more absolute and uncompromising form of cultural opposition. Concluding by looking at the diverse but increasingly hostile reception of Byron's work in the 1820s and 1830s, this thesis will consider the backlash against the "male Gothic" more generally around this time, and it will suggest that Byron's work marks the high-point and, perhaps, the end-point of the genre.
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Sampson, Kathryn Ann. "The romantic literary pilgrimage to the Orient : Byron, Scott, and Burton /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Haslett, Moyra. "Byron's "Don Juan" and the Don Juan legend /." Oxford [GB] : Clarendon press, 1997. http://catalogue.bnf.fr/ark:/12148/cb367003812.
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Orsini, Philippe Claudon Francis. "Le poète héros et le poète déchu romantisme et réalisation de l'idéal chez Lord Byron et Alfred de Musset /." Créteil : Université de Paris-Val-de-Marne, 2008. http://doxa.scd.univ-paris12.fr:8080/theses-npd/th0406674.htm.
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Anderson, Mark Richard. "Theatres of contention : vital instability in the poetry of Byron and Shelley." Thesis, Durham University, 2017. http://etheses.dur.ac.uk/12477/.
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This thesis explores the poetry of Byron and Shelley, emphasising their individual responses to shared poetic challenges. In particular, it examines the phenomenon of ‘instability’ of meaning in their work, arguing that such instability takes expressive forms more various and subtle than has hitherto been explored. Broadly but not restrictively formalist in approach, the thesis offers a reading of the poems as, in part, enactive explorations of the possibilities and constraints of poetic making, to an extent which sets Byron and Shelley apart from other Romantic poets. Building on and, when appropriate, offering a critique of the work of critics fascinated by the poets’ language, particularly those writing in a New Critical and post-structuralist tradition, the thesis contends that by viewing the poems as explorations of the paradoxical possibilities of poetic limitation we might more readily see the ways in which they assert resistance to some of the critical characterisations ascribed to them. By placing the two poets in a single study the thesis seeks to show patterns of affinity and difference. Its structure and organisation support this aim. The Introduction describes the method and contents of the thesis. Chapters One and Two examine enactments of instability within, respectively, the early cantos of Childe Harold’s Pilgrimage and three Shelleyan lyrics. Chapter Three focuses on water and ruin as figurative vehicles for Byron’s complex attitude to substantiality, identity and relation. Chapters Four and Five examine how instability is explored through image-making in Alastor and Epipsychidion, and text-making in Don Juan’s middle cantos. Chapter Six examines Prometheus Unbound’s relation with relation itself; it also examines the lyrical drama’s treatment of articulation and non-articulation, concepts central to the new reading of Don Juan’s English cantos offered in Chapter Seven, as Byron responds to the encroaching limitations of mobility and poetic expression.
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Wohlgemut, Esther. "Cosmopolitan affinities, the question of the nation in Edgeworth, Byron, and Maturin." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0019/NQ48120.pdf.
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Simpson, Michael Raymond. "Closet reading and political writing in the dramas of Byron and Shelley." Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.276633.
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