Academic literature on the topic 'English poetry (collections), 18th century'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'English poetry (collections), 18th century.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "English poetry (collections), 18th century"
1
Broadhead, Alex. "Framing dialect in the 1800 Lyrical Ballads: Wordsworth, regionalisms and footnotes." Language and Literature: International Journal of Stylistics 19, no. 3 (August 2010): 249–63. http://dx.doi.org/10.1177/0963947010370187.
Full textAbstract:
This article addresses one of the most theoretically and linguistically vexing issues in the history of English poetic language: stylistic variation in Wordsworth and Coleridge’s Lyrical Ballads. It suggests that two footnotes, added to the 1800 edition, offer a new perspective on a question which has prompted debate since its publication: specifically, what is the relationship between Wordsworth’s use of dialect and the language of ‘low and rustic life’ promised by the 1800 Preface to Lyrical Ballads? In sections 1 and 2 the article expands on the importance of the footnotes in relation to the discussion surrounding Wordsworth’s language. Section 3 examines the departure of Lyrical Ballads from 18th-century conventions regarding the glossing of non-standard language in poetry, while section 4 explores the function of the unfootnoted and unframed regionalisms that can be found throughout the collection. Sections 5 and 6 discuss the content of the two footnotes in relation to Wordsworth’s blurring of the roles of poet and glosser, and suggest that this conflation of roles is connected to Wordsworth’s implicit blurring of Standard English and dialect in his definition of ‘low and rustic life’ (a definition explored in greater detail in section 7). The conclusion suggests that the lack of specificity in Wordsworth’s Preface and his approach to framing dialect were part of a single strategy to integrate Standard English and dialect in a more organic manner than was typical of 18th-century writing.
2
Kaur, Kairit. "The Seasons by James Thomson and the Baltic German Poetry about the Seasons in the Era of Baltic Enlightenment." Interlitteraria 28, no. 2 (December 31, 2023): 301–15. http://dx.doi.org/10.12697/il.2023.28.2.9.
Full textAbstract:
Since 2016 one of my research topics has been the Baltic German reception of English poetry through the lens of cultural historical book collections in Estonia. One of my findings has been that James Thomson’s The Seasons belonged among the most often received works of English poetry by Baltic Germans in Estonia, after James Macpherson’s Poems of Ossian and John Milton’s Paradise Lost and followed by Edward Young’s Night-Thoughts. (Kaur 2018: 375) Except for Milton’s, these works are almost unknown to modern Estonian readers. Therefore a few words to introduce Thomson and his famous work should be said.
James Thomson (1700–1748) was an 18th century Scottish poet and playwright. Son of a Presbyterian minister, he studied at the College of Edinburgh to become a minister (1715–1719). However, very soon he found that preaching was not his calling and moved in 1725 to London to commit himself to literary work. There he created his poetic tetralogy in blank verse Winter (first published in 1726), Summer (1727), Spring (1728) and Autumn, which appeared together under the title The Seasons in 1730 (revised version in 1744). Enthusiastic, patriotic and full of love for flora, fauna, people, landscapes and everchanging weather conditions of his surroundings, but also of the wider world, it was received with great admiration by his British compatriots. But not only them: a new fresh interest in nature and especially in the phenomenon of the seasons as well the wish to describe and express them through poetry and other artistic means can be traced in Europe. Some years before Thomson the famous Italian composer Antonio Vivaldi had created his violin concerto The Four Seasons (1718) and a German poet and senator from the city of Hamburg, Barthold Hinrich Brockes, had started to publish his series Irdisches Vergnügen in Gott (Earthly Delight in God) (1721–1748) in which he meticulously described many objects from and views of nature as God’s creations, inspired by English and Dutch physical theology.
3
Šeļa, Artjoms, Petr Plecháč, and Alie Lassche. "Semantics of European poetry is shaped by conservative forces: The relationship between poetic meter and meaning in accentual-syllabic verse." PLOS ONE 17, no. 4 (April 12, 2022): e0266556. http://dx.doi.org/10.1371/journal.pone.0266556.
Full textAbstract:
Recent advances in cultural analytics and large-scale computational studies of art, literature and film often show that long-term change in the features of artistic works happens gradually. These findings suggest that conservative forces that shape creative domains might be underestimated. To this end, we provide the first large-scale formal evidence of the association between poetic meter and semantics in 18-19th century European literatures, using Czech, German and Russian collections with additional data from English poetry and early modern Dutch songs. Our study traces this association through a series of unsupervised classifications using the abstracted semantic features of poems that are inferred for individual texts with the aid of topic modeling. Topics alone enable recognition of the meters in each observed language, as may be seen from the same-meter samples clustering together (median Adjusted Rand Index between 0.48 and 1 across traditions). In addition, this study shows that the strength of the association between form and meaning tends to decrease over time. This may reflect a shift in aesthetic conventions between the 18th and 19th centuries as individual innovation was increasingly favored in literature. Despite this decline, it remains possible to recognize semantics of the meters from past or future, which suggests the continuity in meter-meaning relationships while also revealing the historical variability of conditions across languages. This paper argues that distinct metrical forms, which are often copied in a language over centuries, also maintain long-term semantic inertia in poetry. Our findings highlight the role of the formal features of cultural items in influencing the pace and shape of cultural evolution.
4
Bankauskaitė, Gabija. "Respectus Philologicus, 2011 Nr. 19 (24)." Respectus Philologicus, no. 20-25 (April 25, 2011): 1–284. http://dx.doi.org/10.15388/respectus.2011.24.
Full textAbstract:
CONTENTS
I. PROBLEMS AND SOLUTIONSMichał Mazurkiewicz (Poland). Sport versus Religion... 11Natalia А. Kuzmina (Russia). Poetry Book as a Supertext... 19Jonė Grigaliūnienė (Lithuania). Possessive Constructions as a Purely Linguistic Phenomenon?... 31
II. FACTS AND REFLECTIONSAleksandras Krasnovas, Aldona Martinonytė (Lithuania). Symbolizing of Images in Juozas Aputis Stories...40Jūratė Kumetaitienė (Lithuania). Tradition and Metamorphosis of Escapism (Running “from” or “into”) in the Modern and Postmodern Norwegian Literature...51Natalia V. Kovtun (Russia). Trickster in the Vicinity of Traditional Modern Prose...65Pavel S. Glushakov (Latvia). Semantic Processes in the Structure of Vasily Shukshin’s Poetics...81Tatyana Kamarovskaya (Belarus). Adam and the War...93Virginija Paplauskienė (Lithuania). Woman’s Language World in Liune Sutema’s Collection “Graffiti....99Jolanta Chwastyk-Kowalczyk (Poland). The Models of e-Comunication in the Polish Society of Britain and Northern Ireland...111Vilma Bijeikienė (Lithuania). How Equivocation Depends on the Way Questions are Asked: a Study in Lithuanian Political Discourse...123Viktorija Makarova (Lithuania). The One Who Names the Things, Masters Them: Ruskij vs. Rosijanin, Ruskij vs. Rosijskij in the Discourse of Russian Presidents...136Dorota Połowniak-Wawrzonek (Poland). Idioms from the Saga Film “Star Wars” in Contemporary Polish Language...144Ilona Mickienė, Inesa Birbilaitė (Lithuania). Women’s Naming in Telsiai Parish in the First Dacades of the 18th Century...158Liudmila Garbul (Lithuania). Reflection of Results of Interslavonic Language Contacts in the Russian Chancery Language of the First Half of the 17th Century (Synchronic and Diachronic Aspects). Part II...168Vilhelmina Vitkauskienė (Lithuania). Francophonie in Lithuania... 179Natalia V. Yudina (Russia). On the Role of the Russian Language in the Globalizing World of the XXI Century...189Maria Lojko (Belarus). Teaching Legal English to English Second Language Students in the US Law Schools...200
III. OPINIONElena V. Savich (Belarus). On Generation of an Integrative Method of Discourse Analysis...212Marek Weber (Poland). Lexical Analysis of Selected Lexemes Belonging to the Semantic Field ‘Computer Hardware’...220
IV. SCIENTISTS ABOUT SCIENTISTSOleg Poljakov (Lithuania). On the Female Factor in Linguistics and Around It... 228
V. OUR TRANSLATIONSBernard Sypniewski (USA). Snake in the Grass. Part II. Translated by Jurga Cibulskienė...239
VI. SCIENTIFIC LIFE CHRONICLEConferencesTatiana Larina (Russia), Laura Alba-Juez (Spain). Report and reflections of the 2010 International Conference on Intercultural Pragmatics and Communication in Madrid...246Books reviewsAleksandra M. Ponomariova (Russia). ЧЕРВИНСКИЙ, П. П., 2010. Номинативные аспекты и следствия политической коммуникации...252Gabija Bankauskaitė-Sereikienė (Lithuania). PAPLAUSKIENĖ, V., 2009. Liūnė Sutema: gyvenimo ir kūrybos keliais...255Yuri V. Shatin (Russia). Meaningful Curves. ГРИНБАУМ, О. Н., 2010. Роман А.С. Пушкина «Евгений Онегин»: ритмико-смысловой комментарий... 259Journal of scientific lifeDaiva Aliūkaitė (Lithuania). The Idea of the Database of Printed Advertisements: the Project “Sociolinguistics of Advertisements”...263Loreta Vaicekauskienė (Lithuania). The Project “Vilnius is Speaking: The Role of Vilnius Language in the Contemporary Lithuania, 2010”...265Daiva Aliūkaitė (Lithuania). The Project “Lithuanian Language: Fractures of Ideals, Ideologies and Identities”: Language Ideals from the Point of View of Ordinary Speech Community Members...267
Announce...269
VII. REQUIREMENTS FOR PUBLICATION...270
VIII. OUR AUTHORS...278
5
Talib, Adam. "Pseudo-Ṯaʿālibī’s Book of Youths." Arabica 59, no. 6 (2012): 599–649. http://dx.doi.org/10.1163/157005812x622885.
Full textAbstract:
Abstract This article presents a critical edition and study of a 17th/18th-century poetry collection that had previously been mistaken for al-Ṯaʿālibī’s lost Kitāb al-Ġilmān. It provides a codicological analysis of Berlin MS Wetzstein II 1786 in which the poetry collection is contained and also explains and corrects long-held misconceptions regarding al-Ṯaʿālibī’s connection with the text. Finally, the article situates this poetry collection in the context of Mamluk- and Ottoman-era epigram anthologies and the critical apparatus to the edition demonstrates the key features of intertextuality and popularity that characterised these poetry collections.
6
Fleming, Simon D. I. "The patterns of music subscription in English, Welsh and Irish cathedrals during the Georgian era." Early Music 48, no. 2 (May 2020): 205–23. http://dx.doi.org/10.1093/em/caaa024.
Full textAbstract:
Abstract The quality of the music produced at Britain’s cathedrals during the 18th century has generally been accepted to have been poor, and there has been much written on the reluctance of deans and chapters to invest financially in the choirs. However, an analysis of the music purchased by such groups through subscription paints a very different picture, with some deans and chapters investing heavily in the acquisition of new music for their choir’s use. Ultimately, an analysis of the subscription lists attached to the collections of sacred music does not paint the full picture in regards to the state of sacred music at this time, but it nevertheless indicates that a more nuanced approach is necessary, with several cathedrals, particularly Durham, maintaining significant levels of investment for much of the 18th century.
7
Redka, I. "Emotiveness of convergent and divergent poems: a study of late 18th- and early 21st-century English poetry." Studia Philologica 1, no. 14 (2020): 53–59. http://dx.doi.org/10.28925/2311-2425.2020.148.
Full textAbstract:
The article is devoted to the study of emotiveness of English divergent and convergent poetic texts. Emotiveness is regarded as a category of the poetic text that is formally represented by emotives (verbal means that name, express, or describe emotions). Emotive units combine within the poem creating the dominant emotive image that accompanies the central concept of the poetic text. The way the author processes and then implements his / her emotional images in the poetic text predetermines the type of poetry (according to R. Tsur) as convergent or divergent. The convergent poetry complies with the rules of traditional poetry writing (that include meter and rhythm, rhyme, etc.) while divergent poetry associates with automatic writing. The former is marked by the aesthetic design, presence of aesthetic feelings or so-called “metamorphic passions” (D. Miall). The latter contains immediate or “raw” feelings of the author, in other words, feelings that he experiences at the moment of writing. Analysis of the poems of the late 18th — early 21st century has revealed that the convergent thinking is more typical of classical poetry (for example, of the period of Romance). The genre system destruction and appearance of new trends in arts have brought forth new techniques of imagery formation. The 20th century experimental poetry becomes less convergent and more biphasic which presupposes implementation of both thinking types in poetic texts writing. Thus, the divergent thinking is called forth to shatter stale images and break them to fragments out of which new fresh images can be created due to convergence techniques. Such transformations within poetic texts have also influenced their emotive side which is closely connected with conceptual nodes. The implementation of divergent, convergent, or biphasic thinking shapes the emotive focus of a poetic piece, which may become implicit, explicit, blurred, sharp, etc.
8
Lootens, Tricia. "BENGAL, BRITAIN, FRANCE: THE LOCATIONS AND TRANSLATIONS OF TORU DUTT." Victorian Literature and Culture 34, no. 2 (August 25, 2006): 573–90. http://dx.doi.org/10.1017/s1060150306051321.
Full textAbstract:
To a far greater degree than many of us have yet realized, late-nineteenth-century women's poetry may be a poetry of alien homelands: of cultural spaces, that is, in which the domestic proves alien, even as technically alien territory comes to represent some form of home. And partly for this reasosn, to explore poetry in English may require moving not only beyond Britain, but also beyond English itself. Think, for example, of Christina Rossetti, who composed poems in Italian; of Mathilde Blind, with her German accent and translation of the French edition of theJournal of Marie Bashkirtseff; of Agnes Mary Frances Robinson Darmesteter Duclaux, whose poetry preceded a long, successful career of writing in great part in and for the French; of Louisa S. Bevington Guggenberger, with her German home and husband; or, for that matter, of nineteenth-century India's first influential English-speaking woman poet, Toru Dutt. As generations of Indian critics have stressed, as early anthologizer E. C. Stedman made clear, and as certain editors of recent nineteenth-century poetry collections have also acknowledged, Dutt's writing played a suggestive role within late-century understandings of “British literature.” Indeed, even now, growing attention to her work is helping extend our conception of the geographical origins of “Victorian” poetry from Britain to Bengal. Still, if we are to develop a full exploration of Dutt's cultural presence, we may need to move further as well, connecting Indo-Anglian literature to that of France.
9
Imam, Rabby. "UNRAVELING THE ENIGMA OF ECOLOGICAL EMBLEM IN ANDREW MARVELL'S POETRY." International Journal of Education Humanities and Social Science 06, no. 06 (2023): 206–15. http://dx.doi.org/10.54922/ijehss.2023.0622.
Full textAbstract:
In light of the widespread deforestation and environmental deterioration, critics were forced to adopt new perspectives and analyze the art from unique aspects. Because of this, Ecocriticism became a distinct literary genre in the 1990s. It looks into how humans relate to nature as described in writing. In this sense, much Ecocritical writing by the Romantics overlooked how important environmental issues were to 17th and 18th-century English literature. Even though he was ignored, Andrew Marvell fought for the protection of nature back in the seventeenth century. He urged people to reach a more profound emotional state when engaging with all things natural. Therefore, this essay aims to critically evaluate a few of Marvell's poems to assess him as an ecocritical poet.
10
Perger, Gyula. "Somogy megyei népdalok és gyermekjátékok egy Győrött őrzött kéziratban." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 1 (2013): 299–304. http://dx.doi.org/10.26080/krrmkozl.2013.1.299.
Full textAbstract:
The folk poetry of Somogy County have been known by the public from the end of the 18th century. After the initial sporadic publications the methodical collecting work of the folk-songs and children’s games started at the end of the 19th centu-ry. Béla Vikár introduced a considerable part of the folk traditions of the region in a complete volume of the Hungarian Folklore Collection series. In the 20th century a great number of collec-tions and monographs were dedicated to this topic, however, a part of the unpublished collections were unfortunately lost. The presently published folklore collection from Somogy County has been found recently in the Xántus János Museum of Győr, which was a part of the former Benedictine Historical Collection.
Dissertations / Theses on the topic "English poetry (collections), 18th century"
1
Jung, Sandro. "The poetic fragment in the long eighteenth century." Thesis, University of Wales Trinity Saint David, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683194.
Full text
2
Cox, Octavia. "Pope's poetic legacy, 1744-1830." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:236ec8eb-4d21-43c6-b4eb-8c7b349447ef.
Full textAbstract:
Jerome McGann observes that 'Deceptive apparitions haunt romantic writing'. This thesis investigates one such haunting apparition; it analyses the ways in which selected eighteenth- and early nineteenth-century poets engage with the poetry of Alexander Pope. The received view of "Romantic" anti-Popeanism is expressed in comments such as that of William Hazlitt's 'I do not think there is any point of sympathy between Pope and the Lake School: on the contrary, I know there is an antipathy between them'. There is plenty of evidence to suggest some Romantic writers had an aversion to the previous literary age. In a letter to his brother and sister-in-law in March 1819, for example, Keats reviews a play by mocking that it 'was bad even in comparison with ... the Augustan age'. Pope had been the pre-eminent figure of Augustan poetry. Hence, the argument runs, Pope was rejected wholesale by Romantic poets. Such an understanding of literary history is, however, too dogmatic. Rather than accepting the view that the progression from Pope's era to the Romantic period involved a sudden pivot in taste, I explore how Popean poetic principles filtered into the development of his successors' literary aesthetics and ideas about poetry. The central questions I ask are how, and in what ways, Pope's successors used Pope's poetry to formulate their own poetic visions. I address these questions in four main chapters. In the first, I analyse Joseph Warton's An Essay on the Writings and Genius of Pope. I show that Warton's Essay on Pope should not be taken as a denigration of Pope's poetic achievement, and suggest ways in which Pope's work permeates his, and his brother Thomas', poetry. In the second, I examine the response to Pope's Iliad, a text which prompted conflicting reactions among his successors. In particular, I appraise William Cowper's response to Pope's translation, not only as contained in his prose discussion of it, but also as revealed by his own translation. My third chapter considers ways in which Wordsworth plays with Pope's poetic legacy, and acknowledges Pope's contribution to the formulation of his own ideas of what constitutes good poetry. In the final chapter, I illustrate that even in the poetry of Keats - who, at times, vociferously rejects Pope as a mere handicraftsman - there is a sympathy in song between brother-poets. Literary criticism has often stressed the prominence of authors such as Lord Byron, Erasmus Darwin and George Crabbe in Pope's poetic reception and legacy. Yet Pope haunts other writers in subtler, but no less compelling, ways. As Samuel Taylor Coleridge observes, in Biographia Literaria, 'many ... formed ... their notions of poetry, from the writings of Mr. Pope'. What I try to give colour to here are some of the ways in which subsequent 'notions of poetry' were 'formed' from 'the writings of Mr. Pope'.
3
Moore, Lindsay Emory. "The Laureates’ Lens: Exposing the Development of Literary History and Literary Criticism From Beneath the Dunce Cap." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822784/.
Full textAbstract:
In this project, I examine the impact of early literary criticism, early literary history, and the history of knowledge on the perception of the laureateship as it was formulated at specific moments in the eighteenth century. Instead of accepting the assessments of Pope and Johnson, I reconstruct the contemporary impact of laureate writings and the writing that fashioned the view of the laureates we have inherited. I use an array of primary documents (from letters and journal entries to poems and non-fiction prose) to analyze the way the laureateship as a literary identity was constructed in several key moments: the debate over hack literature in the pamphlet wars surrounding Elkanah Settle’s The Empress of Morocco (1673), the defense of Colley Cibber and his subsequent attempt to use his expertise of theater in An Apology for the Life of Colley Cibber (1740), the consolidation of hack literature and state-sponsored poetry with the crowning of Colley Cibber as the King of the Dunces in Pope’s The Dunciad in Four Books (1742), the fashioning of Thomas Gray and William Mason as laureate rejecters in Mason’s Memoirs of the Life and Writings of William Whitehead (1788), Southey’s progressive work to abolish laureate task writing in his laureate odes 1813-1821, and, finally, in Wordsworth’s refusal to produce any laureate task writing during his tenure, 1843-1850. In each case, I explain how the construction of this office was central to the consolidation of literary history and to forging authorial identity in the same period. This differs from the conventional treatment of the laureates because I expose the history of the versions of literary history that have to date structured how scholars understand the laureate, and by doing so, reveal how the laureateship was used to create, legitimate and disseminate the model of literary history we still use today.
4
Blackmore, Sabine. "In soft Complaints no longer ease I find." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2015. http://dx.doi.org/10.18452/17176.
Full textAbstract:
Diese Dissertation untersucht die verschiedenen Konstruktionen poetischer Selbstrepräsentationen durch Melancholie in Gedichten englischer Autorinnen des frühen 18. Jahrhunderts (ca. 1680-1750). Die vielfältigen Gedichte stammen von repräsentativen lyrischer Autorinnen dieser Epoche, z.B. Anne Wharton, Anne Finch, Elizabeth Singer Rowe, Henrietta Knight, Elizabeth Carter, Mary Leapor, Mary Chudleigh, Mehetabel Wright und Elizabeth Boyd. Vor einem ausführlichen medizinhistorischen Hintergrund, der die Ablösung der Humoralpathologie durch die Nerven und die daraus resultierende Neupositionierung von Frauen als Melancholikerinnen untersucht, rekurriert die Arbeit auf die Zusammenhänge von Medizin und Literatur im 18. Jahrhundert. Für die Gedichtanalysen werden gezielt Analysekategorien und zwei Typen poetisch-melancholischer Selbstrepräsentationen entwickelt und dann für die Close Readings der Texte eingesetzt. Die Auswahl der Gedicht umfasst sowohl Texte, die auf generisch standardisierte Marker der Melancholie verweisen, als auch Texte, die eine hauptsächlich die melancholische Erfahrung inszenieren, ohne dabei zwangsläufig explizit auf die genretypischen Marker zurück zu greifen. Die detaillierten Close Readings der Gedichte zeigen die oftmals ambivalenten Strategien der poetisch-melancholischen Selbstkonstruktionen der Sprecherinnen in den Gedichttexten und demonstrieren deutlich, dass – entgegen der vorherrschenden kritischen Meinung – auch Autorinnen dieser Epoche zum literarischen Melancholiediskurs beigetragen haben. Die Arbeit legt ein besonderes Augenmerk auf die sog. weibliche Elegie und ihrem Verhältnis zur Melancholie. Dabei wird deutlich, dass gerade Trauer, die oftmals als weiblich konnotierte Gegendiskurs zur männlich konnotierten genialischen Melancholie wahrgenommen wird, und die daraus folgende Elegie von Frauen als wichtiger literarischer Raum für melancholische Dichtung genutzt wurde und somit als Teil des literarischen Melancholiediskurses dient.This thesis analyses different constructions of poetic self-representations through melancholy in poems written by early eighteenth-century women writers (ca. 1680-1750). The selection of poems includes texts written by representative poets such as Anne Wharton, Anne Finch, Elizabeth Singer Rowe, Henrietta Knight, Elizabeth Carter, Mary Leapor, Mary Chudleigh, Mehetabel Wright und Elizabeth Boyd. Against the background of a detailed analysis of the medical-historical paradigmatic change from humoral pathology to the nerves and the subsequent re-positioning of women as melancholics, the thesis refers to the close relationship of medicine and literature during the eighteenth century. Specifical categories of analysis and two different types of melancholic-poetic self-representations are developed, in order to support the close readings of the literary texts. These poems comprise both texts, which explicitly refer to generically standardized melancholy markers, as well as texts, which negotiate and aestheticize the melancholic experience without necessarily mentioning melancholy. The detailed close readings of the poems discuss the often ambivalent strategies of the poetic speakers to construct and represent their melancholic selves and clearly demonstrate that women writers of that time did – despite the common critical opinion – contribute to the literary discourse of melancholy. The thesis pays special attention to the so-called female elegy and its relationship to melancholy. It becomes clear that mourning and grief, which have often been considered a feminine counter-discourse to the discourse of melancholy as sign of the male intellectual and/or artistic genius, and the resulting female elegy offer an important literary space for women writers and their melancholy poetry, which should thus be recognized as a distinctive part of the literary discourse of melancholy.
Books on the topic "English poetry (collections), 18th century"
1
David, Fairer, and Gerrard Christine, eds. Eighteenth-century poetry: An annotated anthology. Oxford [England]: Blackwell, 1999.
Find full text
2
1716-1771, Gray Thomas, Collins William 1721-1759, and Lonsdale Roger H, eds. Thomas Gray and William Collins: Poetical works. Oxford: Oxford University Press, 1985.
Find full text
3
1716-1771, Gray Thomas, Collins William, and Lonsdale Roger H, eds. Thomas Gray and William Collins: poetical works. New York: Oxford University Press, 1985.
Find full text
4
Wordsworth, William. Lyrical ballads, and other poems, 1797-1800. Ithaca: Cornell University Press, 1992.
Find full text
5
John, Goodridge, ed. Eighteenth-century English labouring-class poets. London: Pickering & Chatto, 2003.
Find full text
6
Nalini, Jain, and Richardson John 1944-, eds. Eighteenth-century English poetry: The annotated anthology. New York: Harvester Wheatsheaf, 1994.
Find full text
7
H, Lonsdale Roger, ed. The New Oxford book of eighteenth century verse. Oxford [England]: Oxford University Press, 1989.
Find full text
8
H, Lonsdale Roger, ed. The New Oxford book of eighteenth century verse. Oxford [England]: Oxford University Press, 1994.
Find full text
9
J, McGann Jerome, ed. The New Oxford book of romantic period verse. Oxford: Oxford University Press, 1993.
Find full textBook chapters on the topic "English poetry (collections), 18th century"
1
Hertel, Ralf, and Peter Hühn. "18th and 19th Centuries: From the Augustan Age to Romanticism." In English Poetry in Context: From the 16th to the 21st Century, 95–193. Berlin: Erich Schmidt Verlag GmbH & Co. KG, 2022. http://dx.doi.org/10.37307/b.978-3-503-20511-0.03.
Full text
2
Robertson, Ritchie. "3. Classical art and world literature." In Goethe: A Very Short Introduction, 45–64. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780199689255.003.0003.
Full textAbstract:
‘Classical art and world literature’ shows that Goethe’s knowledge of art and literature was wide-ranging and explains that, in both, he came to believe that the works produced by the ancient Greeks formed a standard that could never be surpassed. In art, he explored the classical tradition that descended via the Renaissance to the neoclassicism of the 18th century. In literature, his taste was much wider. He read easily in French, Italian, English, Latin, and Greek, and in his later life he eagerly read translations of Asian texts—novels from China, epics and plays from India, and the Arabic and Persian poetry that would inspire his great lyrical collection, the West-östlicher Divan (West-Eastern Divan).
3
"18th, 19th & Early 20th Century Criticism." In Pre-Romanticism in English Poetry of the Eighteenth Century. Bloomsbury Academic, 1989. http://dx.doi.org/10.5040/9781350388246.part-001.
Full text
4
"John Smart, Portrait of a Woman, late 18th century." In The Starr Collection of Portrait Miniatures, 1500–1850: The Collections of The Nelson-Atkins Museum of Art Volume 4: The World of John Smart (English, 1741–1811). The Nelson-Atkins Museum of Art, 2024. http://dx.doi.org/10.37764/8322.5.1614.
Full text
5
Caldwell, Tanya M. "Translation." In The Oxford History of Poetry in English, 273–87. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780198930259.003.0025.
Full textAbstract:
Abstract Poetic translation in seventeenth-century Britain reflects major cultural shifts as poets negotiated the relationship of the past to the present in the face of monarchical crisis, questions of national identity, women’s increasing leverage over literary production, and an emerging literary marketplace. The first part of this chapter focuses on early Stuart translations, in particular George Chapman’s Ovid. The second part addresses royalist nostalgia at mid-century as expressed through translation of Virgil, Ovid, and Lucretius. At the heart of this section is Lucy Hutchinson’s translation of Lucretius, which ultimately transcends traditional associations of politics, class, and gender. The final section considers the post-Restoration decades and surveys the organic changes in literary production over the century. The miscellany collections that juxtapose translations and original poems embody new practices in poetic composition and production. The key figure here is John Dryden, who developed English literary criticism through his prefatory essays on translation and whose Fables marks the end of an age.
6
"Poetic Manuscripts." In The Oxford History of Poetry in English, edited by Julia Boffey and A. S. G. Edwards, 111–26. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198839682.003.0008.
Full textAbstract:
Abstract This chapter examines the various forms in which the manuscripts of fifteenth-century poetic texts were produced. It describes the rapidly expanding commercial markets for such texts initially as they circulated in London and subsequently regionally. It also examines other forms of poetic production in religious houses and households as well as those that appear in collections made for personal use. The emergence of the single-poem and single-author manuscript form is explored, as well as the continuing development of earlier forms such as the anthology and more miscellaneous compilation. The chapter concludes with discussion of the relationship between manuscript production and the newly emerging print culture.
7
"John Smart, Portrait of Mrs. William Majendie, late 18th century." In The Starr Collection of Portrait Miniatures, 1500–1850: The Collections of The Nelson-Atkins Museum of Art Volume 4: The World of John Smart (English, 1741–1811). The Nelson-Atkins Museum of Art, 2024. http://dx.doi.org/10.37764/8322.5.1561.
Full text
8
O’Callaghan, Michelle. "Poetic Miscellanies in Manuscript and Print." In The Oxford History of Poetry in English, 96–107. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780198930259.003.0010.
Full textAbstract:
Abstract The term ‘miscellany’ slowly and unevenly came into usage across the seventeenth and eighteenth centuries in its modern sense to refer to a book compiled of literary compositions of various kinds and by multiple authors. Looking across early modern miscellanies, it is noticeable that there was no fixed formula or structure in either manuscript or print. Instead, miscellanies are distinguished by an instructive diversity of practice, whether in relation to organising principles, attribution of authorship, or skill. Manuscript verse miscellanies flourished alongside printed collections in the seventeenth century and were produced at universities, the Inns of Court, and in households, both elite and non-elite. Although the history of miscellany production is not evolutionary, progressing incrementally towards stability as a class of books, looking across the seventeenth century, it is possible to see shifts in how miscellanies are framed, the types of poetry they collect, practices of attribution, and how readerships are imagined.
9
Verweij, Sebastiaan. "Jacobean to Early Stuart." In The Oxford History of Poetry in English, 15–27. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780198930259.003.0003.
Full textAbstract:
Abstract This chapter reviews the potential for impact of a Scottish poetics on early-Stuart English literary culture around the succession of James VI/I (1603). It identifies four sites of convergence: first, a Jacobean poetics shaped by the pre-1603 court cultures of James VI; second, a Scottish Protestant poetry; third, the emergence of newly fashioned identities for poets and writers (the ‘Scoto-Britains’); and fourth, the interchange of books and manuscripts across the border, which also saw some Scottish poets in English printed collections, and the appearance of English and Scottish poetry alongside each other in manuscript verse anthologies. Much traditional criticism of seventeenth-century English poetry ignores what cultural imports the newly crowned king may have brought with him, and so this chapter argues that there was in fact a dynamic relationship between aspects of Scottish and English poetry and poetics.
10
Brusasco, Paola. "Edoardo Bizzarri e Novellieri inglesi e americani." In Il Segno e le Lettere. LED Edizioni Universitarie, 2023. http://dx.doi.org/10.7359/1131-2023-brup.
Full textAbstract:
Edited by Edoardo Bizzarri and Maria Martone, Novellieri inglesi e americani was published in 1944 by Salvatore De Carlo. The volume’s acknowledgment and impact seem to have been rather limited, probably due to the turmoil of the post-war years and to the publication of other collections which might have overshadowed it. This contribution focuses on the English section, where Bizzarri gathered short stories from the 18th century to his present day on the basis of their adherence to his sense of “Englishness” and their literary value, including however also authors unknown to the Italian public or simply popular in Britain in order to provide a comprehensive documentary picture. Novellieri inglesi e americani is analyzed in comparison to other collections (Praz 1942; Cecchi 1947), highlighting the differences at the level of criteria and intended readerships.
Conference papers on the topic "English poetry (collections), 18th century"
1
Zhitin, R., and A. Topil'skiy. "“Manor libraries of the Tambov province of the late 18th – early 20th centuries”: a method of creating an information resource." In Historical research in the context of data science: Information resources, analytical methods and digital technologies. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1805.978-5-317-06529-4/166-172.
Full textAbstract:
The article analyzes the main approaches to creating an information resource “Estate libraries of the Tambov province of the late XVIII – early XX century. The author analyzes the source base, identifies ways to systematize book collections of Tambov nobles of the XVIII–XIX centuries in Russian, French, Greek, Latin, English and German, and their significance for the study of book culture in the region
2
Zhitin, R., and A. Topil'skiy. "“Manor libraries of the Tambov province of the late 18th – early 20th centuries”: a method of creating an information resource." In Historical research in the context of data science: Information resources, analytical methods and digital technologies. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1805.978-5-317-06529-4/166-172.
Full textAbstract:
The article analyzes the main approaches to creating an information resource “Estate libraries of the Tambov province of the late XVIII – early XX century. The author analyzes the source base, identifies ways to systematize book collections of Tambov nobles of the XVIII–XIX centuries in Russian, French, Greek, Latin, English and German, and their significance for the study of book culture in the region