Relevant bibliographies by topics / De Quincey, Thomas, 1785-1859

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Academic literature on the topic 'De Quincey, Thomas, 1785-1859'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "De Quincey, Thomas, 1785-1859"

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Stevenson, Ian. "De Quincey’s acoustemology." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 4, no. 1 (December 15, 2014): 130–43. http://dx.doi.org/10.7146/se.v4i1.20484.

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This article reports on a reading of aspects of sound and knowledge in the writings of English essayist Thomas de Quincey (1785-1859). The article develops the concept of the sonic effect as it emerges in de Quincey’s sonic aesthetics. This is supported by a summary of de Quincey’s apparent critique of Kantian understanding and judgement as it relates to sound. The historical development of notions of effect contemporary to de Quincey is explored, and the parallels between his use of sound and subsequent sonic design in crime fiction and the development of audiovisual drama in general are considered. Three key sound effects: the knock, the sigh and the solemn wind are developed and analysed by de Quincey and are shown to be part of a unique de Quincian acoustemology. The research in this article formed the initial phase of a larger practice-based research project culminating in a new sound design for a hybrid performance-installation work.
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Pinna, C., P. Paulin, and C. Vedie. "La « mélancolie » d'un mangeur d'opium anglais, Thomas De Quincey (1785-1859)." Annales Médico-psychologiques, revue psychiatrique 162, no. 9 (November 2004): 749–54. http://dx.doi.org/10.1016/j.amp.2004.08.001.

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Stanyon, Miranda. "Organ pipes and bodies with organs: Listening to De Quincey’s First Opium War essays." Literature & History 29, no. 1 (May 2020): 19–36. http://dx.doi.org/10.1177/0306197320907461.

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War is prominent in sound studies, yet the sonic dimensions of the Opium Wars remain understudied. Analysing essays on the First Opium War by the English Opium-Eater, Thomas De Quincey (1785–1859), this article explores the dense relationships between opium, empire and sound in nineteenth-century Britain. It brings the tropes of the pipe as connector and organ as musical instrument, body part and instrument of the body politic into dialogue with Deleuze and Guattari’s theorisation of the ‘Body without Organs’, and suggests how the empires of China and Britain and their opium-taking subjects could be imagined as violently sounding bodies.
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Zarandona, Juan Miguel. "El asesinato y la traducción consideradas como dos Bellas Artes." Diacrítica 37, no. 3 (January 31, 2024): 88–102. http://dx.doi.org/10.21814/diacritica.4953.

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Thomas de Quincey (1785–1859) fue un escritor inglés de principios del siglo xix y genio del humor más provocador que el brillante romanticismo de su nación ha ofrecido a la República Universal de las Letras. En español, sus dos libritos más escandalosos, por ser los más populares, recibieron los títulos siguientes: Los Placeres y las Tormentas del Opio, del original de 1821 (Confessions of an English Opium Eater), y El Asesinato, Considerado Como Una de las Bellas Artes, del original de 1832 (On Murder Considered as One of the Fine Arts). Si el asesinato en las Islas Británicas podría considerarse una de las bellas artes, como años más tarde tal vez terminara de demostrar su paisana y sucesora Dame Agatha Christie (1890–1976), cómo no utilizar la misma metáfora para las traducciones españolas: la recepción del humor y de los dobles sentidos, la crítica social, el enfoque estético-revolucionario de la empresa libresca que se encuentra entre sus manos, la manipulación de las normas de traducción, intenciones y hasta leyes de traducción, el cambio de funciones, etc. Tal vez no sea posible rebuscar entre un texto más acertado que el que proponemos para este artículo, para descubrir una vez más que ciertas traducciones, al menos, son un producto artístico, aunque la traducción perfecta no exista, como, según dicen algunos, el crimen perfecto tampoco, por muy bello y macabro que sea este.
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Dissertations / Theses on the topic "De Quincey, Thomas, 1785-1859"

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Dayre, Eric. "L'instance kantienne dans la révolution théorique et fictive de Thomas Quincey." Paris 3, 1994. http://www.theses.fr/1994PA030144.

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Cette these se propose d'examiner les influences de la philosophie kantienne dans l'oeuvre de de quincey. Nous partons conjointement de la position a-typique de de quincey dans le romantisme et de sa critique violente et parfois polemique du style de kant. Cette critique rencontre rapidement un certain nombre d'apories qui se retrouvent dans la pratique litteraire quinceyenne - c'est-adire dans la fiction critique, allegorique et sentimentale qu'il met en place dans ses grands textes autobiographiques (confessions, suspiria, autobiographic sketches). Le rapport ambivalent a la prose critique et la philosophie morale du philosophe allemand nous conduit a examiner la question du temps et de la rhetorique de la temporalite chez l'anglais, et l'heritage de l'esthetique transcendantale dans la poetique de la dependance que ce dernier invente. Il en va a la fois de l'ideologie de la religion romantique destinee chez de quincey a prendre la place du devoir moral, et de la critique interne de cette ideologie. Nous etudions plus particulierement la question de la constitution analogique du sujet, a travers les paradigmes de la vision chimique, et de l'affinite des sensations dans l'etat d'opiomanie, puis la question des liens entre l'imagination, la raison, l'entendement, la fantaisie et la memoire, et le statut de l'imagination symbolique dans les "fugues" en prose du mangeur d'opium. Cette these se conclut par une etude detaillee des last days of immanuel kant, parabole de l'agonie romantique de la philosophie kantienne
This thesis examines the influence of the kantian philosophy in thomas de quincey's works. Our starting point is the non-typical position of de quincey in the romantic period and his violent and sometimes polemical criticism of kant's style. This criticism rapidly meets a number of apories that are repeated in de quincey's literary practice, in the critical, allegorical and sentimental fiction of his great autobiographical texts (confessions, suspiria, autobiographical sketches). The german philosopher's ambivalent relationship to critical prose and to moral mhilosophy leads us to the study of the question of time and the rhetoric of temporality in the english writer's works, as well as to the scrutiny of the legacy of transcendantal aesthetics in the poetics of dependance that de quincey invents. The question both that of the ideology of the romantic religion which is destined to take the place of moral duty, and of the internal criticism of this ideology. More particularly, we study the question of the analogical constitution of the subject, through the paradigms of the affinities between sensations in the subject, through the paradigms of the affinities between sensations in the opium-state. We also examine the links between reason, fancy and imagination, understanding, memory, and in the opium eater's "prose-fugues". This thesis ends with a study of the last days of immanuel kant
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Slaby, Frédéric. "Les Ecritures et leurs réécritures protestantes et romantiques dans l'oeuvre de Thomas De Quincey." Caen, 2009. http://www.theses.fr/2009CAEN1558.

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2009 marque le cent cinquantième anniversaire de la mort de Thomas De Quincey. L'auteur romantique resté célèbre pour ses Confessions of an English Opium-Eater se surnomme volontiers lui-même comme le « mangeur d’opium », ce qui oriente la critique vers une attention quasi-exclusive à sa pratique opiomane, les visions l'accompagnant et les conséquences créatrices et médicales. Ainsi que Frederick Burwick le déplore, il serait réducteur d'y voir l'essence de son œuvre, alors que sa contribution aux idées religieuses, pourtant importante, n'a jamais été étudiée dans sa globalité. La présente thèse se propose de combler cette lacune et ouvrir une perspective critique nouvelle en se penchant sur les rapports entre De Quincey, la Bible et ses réécritures protestantes et romantiques; c'est aussi le premier travail de ce genre à porter sur les 21 volumes de l'œuvre complète publiée par Grevel Lindop entre 2000 et 2004. Il montre que par son rapport aux Ecritures et leurs réécritures, Thomas De Quincey « paulinise » le romantisme en même temps qu'il romantise le protestantisme, offre une nouvelle interprétation de l'homme, construit une théodicée originale et propose une nouvelle définition de la littérature
2009 marks the sesquicentennial of the death of Thomas De Quincey. The romantic writer’s enduring association with his Confessions of an English Opium Eater—fuelled by his own habit of referring to himself as such—has steered scholarly attention into the exclusive direction of his opium-eating practice, ensuing dreams and their creative and medical consequences. As Frederick Burwick deplores, it would be restrictive to see in this the quintessence of his work while his yet important contribution to religious ideas has never been studied overall. The present Doctoral dissertation proposes to remedy this lack and to open a new critical perspective by looking at the relationship between De Quincey, the Bible and its rewritings. It is also the first piece of work of this kind to draw on the 21 volumes of the complete works as published by Grevel Lindop between 2000 and 2004. It shows that through his relationship to the Bible and its rewritings, Thomas De Quincey “paulinises” romanticism while he romanticises Protestantism, offers a new interpretation of man, builds an original theodicy and renews the definition of literature
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Lochot, Céline. "L'ironie dans l'oeuvre de Thomas de Quincey." Thesis, Dijon, 2014. http://www.theses.fr/2014DIJOL029/document.

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L’œuvre de De Quincey s’inscrit à la croisée de trois concepts presque indéfinissables : autobiographie, romantisme, et une dimension trop souvent négligée, l’ironie. Qu’elle soit rhétorique, tragique ou « romantique », l’ironie exprime parfaitement les multiples contradictions du mangeur d’opium : outil rhétorique de confrontation et d’autodérision, individualiste et communautaire, sociable et provocatrice, l’ironie est à la fois l’instrument d’une rédemption et l’expression d’un profond malaise, une façon de se mettre en avant comme de s’effacer totalement. Entre Romantisme et Victorianisme, De Quincey interroge les limites de son identité et de son statut d’intellectuel, et reste réticent à exploiter le potentiel subversif de la parodie : l’ironie semble alors s’effacer derrière ses protestations nostalgiques et autocritiques. Pourtant elle sous-tend pour une bonne part la vitalité et la diversité de l’écriture des essais, dont elle manifeste une modernité largement sous-estimée, tant par les critiques que par De Quincey lui-même. L’ironie permet finalement d’esquisser une unité qui recentre les Confessions au cœur de la diversité de l’œuvre, plutôt qu’à la marge d’un ensemble hétéroclite au statut incertain
Studying the works of De Quincey necessarily leads to three concepts almost impossible to define: autobiography, Romanticism, and all-too neglected irony. Whether rhetorical, tragic or “romantic”, irony expresses perfectly the many contradictions of the opium-eater. As the rhetorical tool of conflict and self-derision, claiming both individualistic and community values, sociable and provoking, irony is the way to redemption as much as the expression of deep unease, a way of pushing himself forward, or of withdrawing into the background. Caught between Romanticism and Victorianism, De Quincey questions the limits of his own identity and his status as an intellectual, and exploits reluctantly the potential subversion of parody, so that irony seems to yield to nostalgia and self-derogatory laments. And yet it can be said to underlie the vitality and diversity of the essays, whose modernity has been greatly underestimated by the critics and by De Quincey himself, as well. Finally, irony allows us to re-evaluate the Confessions as the centre of a unified, though diverse, set of writing, rather than as one of many, rather ill-assorted essays of unequal value
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Emilsson, Wilhelm. "Epicurean aestheticism: De Quincey, Pater, Wilde, Stoppard." Thesis, 1997. http://hdl.handle.net/2429/8482.

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This is a study of what I argue is a neglected side of Aestheticism. A standard definition of Aestheticism is that its practitioners turn away from the general current of modernity to protest its utilitarian and materialistic values, but this generalization ignores the profound influence of contemporary philosophical and scientific thought on such major figures of British Aestheticism as Walter Pater and Oscar Wilde. This study focuses on Aesthetes who are not in flight from modernity. I call their type of Aestheticism "Epicurean Aestheticism" and argue that since this temperament is characterized by a willingness to engage with the flux of modern times it must be distinguished from the more familiar, escapist form of Aestheticism I call "Platonic Aestheticism." I propose that Aestheticism be viewed as a spectrum with Epicurean Aestheticism on one side and the Platonic variety on the other. While Platonic Aesthetes like W. B . Yeats and Stephane Mallarme continue the Romantic project of trying to counter modernity with various idealist and absolutist philosophies, Epicurean Aesthetes adopt materialist and relativistic strategies in their desire to make the most of modern life. I argue that the first unmistakable signs of Epicurean Aestheticism are to be found in Thomas De Quincey, that the sensibility is fully formulated be Pater, continued by Wilde, and finds a current representative in Tom Stoppard. All Aesthetes are dedicated to the pursuit of beauty, but Platonic Aesthetes seek beauty in an eternal and transcendent realm, while Epicurean Aesthetes have given up such absolutist habits of thought. Pater writes: "Modern thought is distinguished from ancient by its cultivation of the "relative" spirit in place of the "absolute." Epicurean Aesthetes want a new aesthetic that will parallel the paradigm shift from absolutism to relativism. While a nostalgic, quasi-religious longing for a purely ideal realm characterizes Platonic Aesthetes, Epicurean Aesthetes accept that the high, idealistic road to eternal beauty is closed. Instead of lamenting this fact, they start looking for beauty among the uncertainties of the phenomenal world: by viewing life as an aesthetic spectacle to be observed and experimented on with playful detachment they become Epicureans of the flux of modernity.
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Books on the topic "De Quincey, Thomas, 1785-1859"

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Museum, Grasmere and Wordsworth, and National Library of Scotland, eds. Thomas De Quincey: An English opium-eater, 1785-1859. [S.l.]: Trustees of Dove Cottage, 1985.

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1944-, Snyder Robert Lance, and Modern Language Association of America. Meeting, eds. Thomas De Quincey: Bicentenary studies. Norman: University of Oklahoma Press, 1985.

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Guilty thing: A life of Thomas de Quincey. London: Bloomsbury, 2016.

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1961-, Morrison Robert, and Roberts Daniel Sanjiv, eds. Thomas de Quincey: New theoretical and critical directions. New York: Routledge, 2008.

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Barrell, John. The infection of Thomas De Quincey: A psychopathology of imperialism. New Haven: Yale University Press, 1991.

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De Quincey's romanticism: Canonical minority and the forms of transmission. Cambridge, U.K: Cambridge University Press, 1997.

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De Quincey's disciplines. Oxford: Clarendon Press, 1994.

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Burt, E. S. Regard for the Other: Autothanatography in Rousseau, De Quincey, Baudelaire, and Wilde. Bronx: Fordham University Press, 2009.

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Quincey, Thomas De. Confessions of an English opium-eater. Otley, England: Woodstock Books, 2002.

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Quincey, Thomas De. Confessions of an English opium-eater. New York: Dover, 1995.

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Book chapters on the topic "De Quincey, Thomas, 1785-1859"

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Watson, J. R. "De Quincey, Thomas (1785–1859)." In A Handbook to English Romanticism, 94–95. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22288-9_24.

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Watson, J. R. "De Quincey, Thomas (1785–1859)." In A Handbook to English Romanticism, 94–95. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-13375-8_24.

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Edgeworth, F. Y. "De Quincey, Thomas (1785–1859)." In The New Palgrave Dictionary of Economics, 2606–9. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95189-5_38.

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Orel, Harold. "Thomas de Quincey (1785–1859)." In William Wordsworth, 29–50. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230501904_3.

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Edgeworth, F. Y. "De Quincey, Thomas (1785–1859)." In The New Palgrave Dictionary of Economics, 1–3. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1057/978-1-349-95121-5_38-1.

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"13. Thomas De Quincey (1785–1859)." In The Great Age of the English Essay, 393–412. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300151817-017.

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De Quincey, Thomas. "X Classic Records Reviewed or Deciphered (1859): Preface." In The Works of Thomas De Quincey, Vol. 20: Prefaces &c., to the Collected Editions, Published Addenda, Marginalia, Manuscript Addenda, Undatable Manuscripts, edited by Frederick Burwick, David Groves, Grevel Lindop, Robert Morrison, Julian North, Daniel Sanjiv Roberts, Laura Roman, and Barry Symonds. Pickering & Chatto, 2003. http://dx.doi.org/10.1093/oseo/instance.00244238.

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De Quincey, Thomas. "XII Speculations, Literary and Philosophic, with German Tales, and Other Narrative Papers (i) (1859)." In The Works of Thomas De Quincey, Vol. 20: Prefaces &c., to the Collected Editions, Published Addenda, Marginalia, Manuscript Addenda, Undatable Manuscripts, edited by Frederick Burwick, David Groves, Grevel Lindop, Robert Morrison, Julian North, Daniel Sanjiv Roberts, Laura Roman, and Barry Symonds. Pickering & Chatto, 2003. http://dx.doi.org/10.1093/oseo/instance.00244240.

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De Quincey, Thomas. "XI Critical Suggestions on Style and Rhetoric, with German Tales, and Other Narrative Papers (1859): Prefatory Memoranda." In The Works of Thomas De Quincey, Vol. 20: Prefaces &c., to the Collected Editions, Published Addenda, Marginalia, Manuscript Addenda, Undatable Manuscripts, edited by Frederick Burwick, David Groves, Grevel Lindop, Robert Morrison, Julian North, Daniel Sanjiv Roberts, Laura Roman, and Barry Symonds. Pickering & Chatto, 2003. http://dx.doi.org/10.1093/oseo/instance.00244239.

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Green, Jonathon. "8. The lexicography of slang: slang’s dictionaries." In Slang: A Very Short Introduction, 101–14. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780198729532.003.0008.

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‘The lexicography of slang: slang’s dictionaries’ considers the slang-related texts that make up the slang lexicographical ‘canon’. Traditional English-language slang lexicography can be broken down into three successive periods. The ‘canting’ or criminal slang dictionaries of the 16th to 18th centuries, the ‘vulgar tongue’ works of the late 18th to mid-19th, and the ‘modern’ productions that have appeared since. A fourth category can now be added: on-line dictionaries. Works discussed include Thomas Harman’s Caveat for Common Cursetors (c.1566); The Classical Dictionary of the Vulgar Tongue, Grose (1785); John Camden Hotten’s Modern Slang, Cant and Vulgar Words (1859); and Dictionary of Slang and Unconventional English, Partridge (1937).
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