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Journal articles on the topic 'Byron'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Gurley, D. Gantt. "The Concept of Byrony." Konturen 7 (August 23, 2015): 14. http://dx.doi.org/10.5399/uo/konturen.7.0.3658.

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“The Concept of Byrony” examines Kierkegaard’s lyrical relation to Lord Byron. As an alternative to models of German influence, this paper discusses Kierkegaard’s quotations of Byron’s poetry and allusions to the poet himself. The paper establishes a poetical relationship between the two writers in terms of irony and metaphor. Kierkegaard’s sense of irony is creative but not unique; its roots can be located in earlier writings of the Danish Golden Age. Of particular importance is the development of irony in the works of Johan Ludvig Heiberg and the young writers that surrounded him, including the young Kierkegaard himself. It was in Heiberg’s salon where Byron seems to have first stepped into the Danish literary landscape. For Kierkegaard and Danish letters in general, the reception and celebrity-status of Byron perhaps play a more important role than his verse, although another acolyte of Heiberg’s, Frederik Paludan-Müller, wrote poetry that strongly illustrates Byron’s poetical influence in Danish verse. The paper also examines the Byronic notion of the empty sign, a metaphor that points to its own meaninglessness as a further poetic relationship. Moreover, the Byronic hero as a model for a lived life provided Kierkegaard with a powerful public mask that accompanied him to his last days. I term this mask and masquerade Byrony. In its conclusion the paper marks a significant similarity between the death-scenes and epitaphs of these major nineteenth-century European writers.

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2

Davis, G. "Bloodsucking Byron." Essays in Romanticism 12, no. 1 (January 2004): 7–38. http://dx.doi.org/10.3828/eir.12.1.1.

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3

Hope, Alan, and John Whithouse. "HMS Byron." Byron Journal 22 (January 1994): 91–92. http://dx.doi.org/10.3828/bj.1994.11.

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4

Allen, Stephen. "Byron Redivivus." Byron Journal 50, no. 1 (June 1, 2022): 59–64. http://dx.doi.org/10.3828/bj.2022.8.

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Despite no known recent provenance, an engraved copper printing plate of a Byron portrait has been established to be of considerable significance. Proofs from the plate are held by the National Portrait Gallery and the British Museum. New impressions were made for our purposes. The plate was commissioned by Lieutenant Colonel Leicester Stanhope, who accompanied Byron’s body back to England, and was engraved after a miniature painting, which itself has notable associations with Byron.

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5

Rössner, Stephan. "Lord Byron." Obesity Reviews 14, no. 3 (February 18, 2013): 263–64. http://dx.doi.org/10.1111/obr.12001.

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6

Williams, E. "Byron Evans." Heart 63, no. 6 (June 1, 1990): 374. http://dx.doi.org/10.1136/hrt.63.6.374.

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7

Santangelo, Byron. "Byron Santangelo." Journal of the African Literature Association 12, no. 2 (May 4, 2018): 213–14. http://dx.doi.org/10.1080/21674736.2018.1510598.

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8

De Peyer, Janine. "Byron-Beguiled." Psychoanalytic Perspectives 14, no. 2 (April 25, 2017): 254–57. http://dx.doi.org/10.1080/1551806x.2017.1304127.

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9

Callaghan, Madeleine. "Byron as Others." Byron Journal 52, no. 1 (June 2024): 65–80. http://dx.doi.org/10.3828/bj.2024.8.

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This article argues that sympathy is the radical heart of Byron’s poetry. For sympathy, possible via the imagination for David Hume and Adam Smith, allows Byron to be someone else as far as that is possible, withal Smith’s caveats. This article posits that Byron’s potential doubles are not poor caricatures that see the Romantic poet throwing his voice. Instead, Byron creates performances that explore and exploit the limits of sympathy. Such limits co-exist with potential. And for Byron, sympathy is not an unmitigated good. Through sympathy, we might ignore our professed values or extend our sympathy to those for whom we should not feel. Byron’s sympathy opens him up to becoming other people to some degree, to living other lives, and inhabiting other selves. Byron shows us that sympathy, like selfhood, is slippery. This article argues that Byron makes us rethink sympathy and its value.

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10

Phipps, Jake. "Antithetical Minds: Eliot’s Byron and Byron’s Burns." Byron Journal 49, no. 1 (June 1, 2021): 15–28. http://dx.doi.org/10.3828/bj.2021.4.

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This article examines the influence which Robert Burns had on Lord Byron’s poetry and his creation of the Byronic Hero, while also viewing T.S. Eliot’s 1937 essay on Byron as a significant piece of Byron criticism - useful not just for its insights on Byron, but for the affinities it reveals between Byron and Burns, and in turn, what it reveals about some of Eliot’s own critical and poetic practices. Eliot ranked Byron as second only to Chaucer in terms of ‘readability’, and praised him for his gifts as a tale-teller and his art of digression. I argue that Burns’s poem ‘Tam O’Shanter’ was an important source for the techniques of digression and self-conscious performance found in Don Juan, as well as for Byron’s conception of the Byronic Hero, where, again, ‘Tam O’Shanter’, and The Jolly Beggars, are particularly illuminating.

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11

Shishkova, Irina. "Merezhkovsky on Byron." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 81, no. 3 (2022): 18. http://dx.doi.org/10.31857/s160578800020754-5.

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In the essays of Dmitry Merezhkovsky, the name of Lord Byron is often mentioned on a par with world classics. For the Russian writer, the English poet became an “eternal companion” who had a profound influence on his work. The article examines the image of Byron, depicted in bright strokes in the books “Eternal Companions”, “L. Tolstoy and Dostoevsky”, “It was and will be: Diary: 1910–1914”. Merezhkovsky was interested in Byron as a type of artist, a great master of words, a poet of the future. Merezhkovsky managed to analyze in detail the life and work of Byron, paying attention to such problems as Byron and Napoleon, the “superhuman”, the poet’s religiosity, the emergence of a new hero in literature, the so-called “egoism” of a genius, his freedom-loving revolutionary spirit. The paper provides Merezhkovsky’s thoughts of Byron’s internal and external “demonism” as well as the poet’s “torments” associated with the calling of a writer and a politician in the broadest sense of the word. In addition, the article considers the creative way of Pushkin, who, according to Merezhkovsky, overcame the gloomy mood of the English poet in his works. It also highlights the impact of Byron’s poetry on the authors who were “infected” with his liberal ideas. In conclusion, it is maintained that Byron did not die in vain, and according to Merezhkovsky, the epitaph on his grave could be the words “there will be joy”.

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12

Davis, William. "“Another Tyrtaeus”: Byron and the Rhetoric of Philhellenism." Essays in Romanticism: Volume 28, Issue 1 28, no. 1 (April 1, 2021): 3–24. http://dx.doi.org/10.3828/eir.2021.28.1.3.

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This essay investigates the philhellenist strategy of labelling Byron “another Tyrtaeus” in support of the Greek uprising against the Ottoman Empire that began in 1821. Beginning with a political speech delivered in Louisiana in 1824, I examine several examples of Byron-as-Tyrtaeus, including poems in both German and French. I argue that depicting Byron as the avatar of the Spartan poet functions to support the notion that modern Greeks are directly connected to their glorious past and therefore deserving of Western aid. If Byron is another Tyrtaeus, it follows that modern Greece is another Hellas. This use of “Byron” likewise insists that “we are all Greeks,” positioning modern Greeks as white, European, and Christian as opposed to their Ottoman oppressors who are othered as barbarians. I note the irony and hypocrisy of philhellenes from a slave-holding nation calling on their fellows to free Greece from Turkish enslavement.

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13

Minta, S. "Review: Byron and Romanticism * Jerome McGann: Byron and Romanticism." Cambridge Quarterly 32, no. 4 (December 1, 2003): 389–95. http://dx.doi.org/10.1093/camqtly/32.4.389.

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14

Merrick, Paul W. "“Christ’s mighty shrine above His martyr’s tomb”: Byron and Liszt’s Journey to Rome." Studia Musicologica 55, no. 1-2 (June 2014): 17–26. http://dx.doi.org/10.1556/6.2014.55.1-2.2.

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The influence of Byron on Liszt was enormous, as is generally acknowledged. In particular the First Book of the Années de pèlerinage shows the poet’s influence in its choice of Byron epigraphs in English for four of the set of nine pieces. In his years of travel as a virtuoso pianist Liszt often referred to “mon byronisme.” The work by Byron that most affected Liszt is the long narrative poem Childe Harold’s Pilgrimage which was translated into many languages, including French. The word “pèlerinage” that replaced “voyageur” is a Byronic identity in Liszt’s thinking. The Byronic hero as Liszt saw him and imitated him in for example Mazeppa and Tasso is a figure who represented a positive force, suffering and perhaps a revolutionary, but definitely not a public enemy. Liszt’s life, viewed as a musical pilgrimage, led of course to Rome. Is it possible that Byron even influenced him in this direction? In this paper I try to give a portrait of the real Byron that hides behind the poseur of his literary works, and suggest that what drew Liszt to the English poet was precisely the man whom he sensed behind the artistic mask. Byron was not musical, but he was religious — as emerges from his life and his letters, a life which caused scandal to his English contemporaries. But today we can see that part of the youthful genius of the rebel Byron was his boldness in the face of hypocrisy and compromise — his heroism was simply to be true. In this we can see a parallel with the Liszt who left the piano and composed Christus. What look like incompatibilities are simply the connection between action and contemplation — between the journey and the goal. Byron, in fact, can help us follow the ligne intérieure which Liszt talked about in the 1830s.

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15

CALZADA, SARA MEDINA. "Byron’s Spanish Afterlives: Emilio Castelar’s Vida de Lord Byron." Byron Journal: Volume 49, Issue 2 49, no. 2 (December 1, 2021): 125–34. http://dx.doi.org/10.3828/bj.2021.16.

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This article examines Emilio Castelar’s Vida de Lord Byron (1873), the first Spanish biography of Byron. Borrowing most information from Moore’s and, especially, Lescure’s biographies of the poet, Castelar provides an apologetic and over-romantic portrait of Byron, in which he tries to reconstruct his private life and inner self, depicting him as a tragic hero who, despite his excesses, should be recognised as a universal genius. Castelar’s biography, which became an immediate success, illustrates the keen interest that Byron still aroused in Spain in the late nineteenth century and it deserves to be considered in the study of Spanish Byronism, a cultural phenomenon that includes but should not be limited to the literary reception of his poetry.

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16

Cooke, Michael. "Hawthorne and Byron." Byron Journal 13 (January 1985): 22–35. http://dx.doi.org/10.3828/bj.1985.2.

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17

Bassnett, Susan. "Byron and Translation." Byron Journal 14 (January 1986): 22–32. http://dx.doi.org/10.3828/bj.1986.3.

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18

Harregar, Robert. "Byron and Cricket." Byron Journal 14 (January 1986): 57–58. http://dx.doi.org/10.3828/bj.1986.9.

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19

Cochran, Peter. "Byron and Margutte." Byron Journal 21 (January 1993): 80–86. http://dx.doi.org/10.3828/bj.1993.6.

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20

Nicholson, Andrew. "Byron and Ovid." Byron Journal 27 (January 1999): 76–81. http://dx.doi.org/10.3828/bj.1999.7.

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21

Shaw, Philip. "Wordsworth or Byron?" Byron Journal 31 (January 2003): 38–50. http://dx.doi.org/10.3828/bj.2003.5.

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22

Beatty, Bernard. "Byron at Home." Byron Journal 43, no. 1 (June 2015): 15–28. http://dx.doi.org/10.3828/bj.2015.4.

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23

Paterson-Morgan, Emily. "Three Byron Concerts." Byron Journal 47, no. 1 (June 2019): 73–78. http://dx.doi.org/10.3828/bj.2019.14.

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24

Beckett, John. "Byron and Rochdale." Byron Journal 33, no. 1 (June 2005): 13–24. http://dx.doi.org/10.3828/bj.33.1.2.

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25

Paley, Morton D., and Frederick L. Beaty. "Byron the Satirist." Studies in Romanticism 26, no. 4 (1987): 598. http://dx.doi.org/10.2307/25600684.

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26

Ridenour, George M. "The Spanish Byron." Studies in Romanticism 30, no. 2 (1991): 213. http://dx.doi.org/10.2307/25600892.

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27

Marshall, Burke. "Byron White, Lawyer." Yale Law Journal 112, no. 5 (March 2003): 987. http://dx.doi.org/10.2307/3657512.

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28

Lipman, Samuel. "'Lord Byron' Undone." Grand Street 5, no. 3 (1986): 180. http://dx.doi.org/10.2307/25006882.

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29

Burroughs, Catherine, Martyn Corbett, and Anne K. Mellor. "Byron and Tragedy." Theatre Journal 41, no. 2 (May 1989): 251. http://dx.doi.org/10.2307/3207872.

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30

Smith, Mike. "Byron in Baghdad." Iowa Review 38, no. 1 (April 2008): 64–73. http://dx.doi.org/10.17077/0021-065x.6412.

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31

Hirsch, B. A. "Byron the Satirist." Modern Language Quarterly 47, no. 4 (January 1, 1986): 443–46. http://dx.doi.org/10.1215/00267929-47-4-443.

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32

Fleming, Anne. "Byron and Montaigne." Byron Journal 37, no. 1 (June 2009): 33–41. http://dx.doi.org/10.1353/byr.0.0002.

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33

Ekaterina Obuchova. "Australian Byron Society." Byron Journal 37, no. 1 (2009): 95–96. http://dx.doi.org/10.1353/byr.0.0039.

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34

Olivier Feignier. "French Byron Society." Byron Journal 37, no. 1 (2009): 96. http://dx.doi.org/10.1353/byr.0.0040.

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35

Innes Merabishvili. "Georgian Byron Society." Byron Journal 37, no. 1 (2009): 96–98. http://dx.doi.org/10.1353/byr.0.0041.

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36

Pat McCormack. "Irish Byron Society." Byron Journal 37, no. 1 (2009): 98–99. http://dx.doi.org/10.1353/byr.0.0042.

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37

Naji Oueijan. "Lebanese Byron Society." Byron Journal 37, no. 1 (2009): 99. http://dx.doi.org/10.1353/byr.0.0043.

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38

Eric de Ree. "Netherlands Byron Society." Byron Journal 37, no. 1 (2009): 99–100. http://dx.doi.org/10.1353/byr.0.0044.

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39

Geoffrey Bond. "Scottish Byron Society." Byron Journal 37, no. 1 (2009): 101–3. http://dx.doi.org/10.1353/byr.0.0046.

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40

Hayes, Jervis. "John Byron Scroope." Australian Veterinary Journal 88, no. 11 (October 19, 2010): 419. http://dx.doi.org/10.1111/j.1751-0813.2010.00639.x.

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41

Pinion, E. B. "Byron andWuthering Heights." Brontë Society Transactions 21, no. 5 (January 1995): 195–201. http://dx.doi.org/10.1179/030977695796439150.

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42

Goldweber, David E. "Byron and Gifford." Keats-Shelley Review 12, no. 1 (January 1998): 105–30. http://dx.doi.org/10.1179/ksr.1998.12.1.105.

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43

Jobling, Ian. "Byron as Cad." Philosophy and Literature 26, no. 2 (2002): 296–311. http://dx.doi.org/10.1353/phl.2003.0010.

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44

Minta, Stephen. "Byron and Mesolongi." Literature Compass 4, no. 4 (July 2007): 1092–108. http://dx.doi.org/10.1111/j.1741-4113.2007.00480.x.

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45

Raine, Cedric S. "Byron H. Waksman." Journal of Neuroimmunology 252, no. 1-2 (November 2012): 118–19. http://dx.doi.org/10.1016/j.jneuroim.2012.07.017.

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46

Hill, M. A. "Alwyn Byron Griffiths." Psychiatric Bulletin 21, no. 5 (May 1997): 312. http://dx.doi.org/10.1192/pb.21.5.312.

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47

Shaw, D. L. "Byron and Spain." Renaissance and Modern Studies 32, no. 1 (January 1988): 45–59. http://dx.doi.org/10.1080/14735788809366516.

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48

Slattery, J. F. "The German Byron." Renaissance and Modern Studies 32, no. 1 (January 1988): 96–107. http://dx.doi.org/10.1080/14735788809366520.

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49

Nicholson, Mervyn. "Indeterminacy in Byron." ESC: English Studies in Canada 16, no. 1 (1990): 35–53. http://dx.doi.org/10.1353/esc.1990.0036.

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50

Ryan, R. P. "Byron and pox." BMJ 297, no. 6648 (September 3, 1988): 625. http://dx.doi.org/10.1136/bmj.297.6648.625-d.

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