Relevant bibliographies by topics / English poetry English poetry Romanticism

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Academic literature on the topic 'English poetry English poetry Romanticism'

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Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "English poetry English poetry Romanticism"

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Aburqayeq, Ghassan. "Nature as a Motif in Arabic Andalusian Poetry and English Romanticism." Journal of Critical Studies in Language and Literature 1, no. 2 (July 1, 2020): 52–61. http://dx.doi.org/10.46809/jcsll.v1i2.12.

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This paper examines some tenets in the Andalusian and Romantic poetry and shows how poets such as Ibrahim Ibn Khafāja (1058-1138) and William Wordsworth (1770 –1850) used nature as a motif in their poetry. Relying on a historical approach, this paper links smaller features such as themes and literary devices in the Andalusian and Romantic poetry with larger features, including genre, traditions, and cultural system. I argue that the emphasis on both the larger and smaller features of poetry creates what Franco Moretti calls “distant reading.” Comparing and contrasting Ibn Khafāja’s “the Mountain” and Wordsworth’s “the Daffodils,” for instance, introduces nature as a recurrent theme in both Andalusian and Romantic literary traditions, reinforcing Johann Wolfgang Goethe’s description of poetry as a common possession of humanity” (Goethe 229). In addition to that, comparing the images and themes in both the Andalusian and Romantic poetry not only shows internally linked meanings, but it creates what Cesar Domínguez, et al, call “a space for polyglottism, multidisciplinarity, scholarly collaboration” (75). Reading these works and movements closely and distantly serves as a cross-cultural dialogue between the Arabic and English poetic conventions. While Ibn Khafāja and Wordsworth lived in different places and times, wrote in different languages, and did not have the same socio-political circumstances, their poems show the richness and multiplicity of the historical experience of world literature.
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Franklin, C. "Susan J. Wolfson., Formal Charges: The Shaping of Poetry in British Romanticism." English 50, no. 198 (September 1, 2001): 273–76. http://dx.doi.org/10.1093/english/50.198.273.

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Franklin, C. "Susan J. Wolfson., Formal Charges: The Shaping of Poetry in British Romanticism." English 52, no. 202 (March 1, 2003): 90–93. http://dx.doi.org/10.1093/english/52.202.90.

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Mygranian, Z. A. "Ideology and Poetry. English Romanticism in Russia: Byron vs. Southey." MGIMO Review of International Relations, no. 3(12) (June 28, 2010): 197–208. http://dx.doi.org/10.24833/2071-8160-2010-3-12-197-208.

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Рассматривая пути проникновения романтической литературы из Европы в Россию и восприятие русскими читателями - поэтами и просто образованными людьми своего времени разнообразных образчиков западноевропейской поэзии, автор затрагивает сразу несколько проблем, актуальных сегодня в не меньшей степени, чем в XIX веке. Соотношение искусства с господствующей идеологией - противостояние или взаимодействие; что должны содержать стихи, помимо ярких образов и изящной рифмы; насколько важна фигура их творца и нужно ли автору соответствовать своим героям. Дать ответы на поставленные вопросы автор пытается на примере судьбы двух английских поэтов-романтиков, Байрона и Саути в России. Автор стремится проанализировать путь «русского» Саути, объяснить его взлет и падение в глазах русских читателей во многом по вине «обвинений» со стороны Байрона. Хотя вполне возможно, что Байрон тут был ни при чем, а виновата как раз идеология, которая стала одной из причин такой перманентной популярности Байрона в нашей стране. Над этим спорным вопросом и приглашает задуматься автор.
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Philippovsky, German Y. "N. A. Nekrasov and the English pre-Romanticists (to the origins of the poetic motif of Night)." Verhnevolzhski Philological Bulletin 2, no. 25 (2021): 8–18. http://dx.doi.org/10.20323/2499-9679-2021-2-25-8-18.

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The paper investigates the literary roots of «night-motifs» in N. Nekrasov`s epic «Who is Happy in Russia?» and his «night» poems «Knight for an Hour» and «Railroad» down to English poetry of XVII–XVIII cc.: metaphysical poetry by H. Vaughan (XVII c.) and greater didactic poem by E. Young (XVIII c.). Both mythological and lyrical «night» motifs of H. Vaughan`s poetry owed to ancient folk traditions of the poet`s Motherland – Wales, with its archaic Celtic language, rituals and sacred festivals (such as Samhein). E. Young`s poem «Complaint or night thoughts on life, death and immortality» (1743–1745) is closely related to later baroque culture, stressing the night-motif in the context of the poet`s contemplation of life, death and christian immortality of human soul. H. Vaughan`s and E. Young`s «night» poetry influenced greatly the sentimentalist and preromantic trends in European poetic traditions of XVIII–XIX cc. N. Nekrasov`s main epic poem with its profound night motifs, though continuing pre-romantic European traditions of H. Vaughan and E. Young, remains greatly indigenous and rooted deeply in both folk and poetic Russian orthodox culture.
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Karaçoban, Atanas, and Patricia Denisa Dita. "Painting, Poetry and the Interference of the Genres in English Art: The Case of William Blake." Border Crossing 10, no. 1 (April 7, 2020): 29–42. http://dx.doi.org/10.33182/bc.v10i1.931.

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Throughout the history of Western culture and art, there are numerous examples of those who, in their creativity, went beyond the limits of a particular art, embarking instead on attempts to combine in one artistic discourse the practices of various arts, such as music and poetic text, drama and dance, literature and sculpture, literature and painting, and so on. One of these artists is William Blake, acclaimed as a major poet and painter of romanticism in English and world art. He is accredited as the founder of a whole new and original method of producing artistic works, called “illuminated printing”, which is a remarkable combination of poetic text, decoration, and picture. Apart from revealing Blake’s appurtenance to romantic tradition, the present study aims to present the specificity of his technique and, primary, to disclose the ways in which it combines the artistic practice of poetry with that of painting as to render and strengthen the meaning by mutually sustaining and illuminating each other.
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Saif, Mohammad. "Modernism and Romanticism: A Comparative Study of the Selected Poems of W.B. Yeats and John Keats." SMART MOVES JOURNAL IJELLH 7, no. 6 (June 28, 2019): 10. http://dx.doi.org/10.24113/ijellh.v7i6.8849.

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Romantic poetry was especially concerned with the themes of country life which is also known as pastoral poetry; moreover it also employed mythological and fantastic settings. Romanticism focuses more on the individual than society. The Romantics were fascinated especially by the individual imagination and individual consciousness. “Melancholy” was quite the exhortation for the Romantic poets. A firm loosening of the persistent rules of artistic expression, during earlier times, was observed in the Romantic era. In English literature, modernism has its roots in 19th and 20th century; the age was characterised by an unexpected and sudden release from conventional ways of viewing the world and interacting with it. Individualism and Experimentation, which were often heartily discouraged in the past, became the modern virtues. The modernist period in English literature was an intuitive response towards the prevailing aesthetics and culture of the Victorians culture of the 19th century. At the turn of the twentieth century, artists and intellectuals blamed the writers of earlier generation for misleading the society, thereby resulting in a dead end. They had the ability to predict hence they could foresee that world events were escalating into a mysterious territory.
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Maver, Igor. "From Albion's shore: Lord Byron' poetry in Slovene translations until 1945." Acta Neophilologica 22 (December 15, 1989): 51–59. http://dx.doi.org/10.4312/an.22.0.51-59.

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The publication in 1830 of the early poems of the doyen of Slovene poetry - Dr France Prešeren in Kranjska čbelica (The Carniola Bee) - marks the beginning of Slovene Romanticism, which ends in 1848, -with the last of his poems published in the fifth volume of the same literary magazine. The period from 1830 to the »revolutionary« year of 1848 is thus committed to Romanticism as the leading movement of Slovene literature, artfully embodied in Prešeren's fine lyrical poetry that aimed at and considerably contributed to national unification and identification, as well as in the Europe-oriented literary criticism of Matija čop. Comparing the trends of the English and Slovene Romantic Revival, we can readily establish that the emergence of Romantic tenets expressed in poetry was somewhat late on Slovene ground. In England, of course, the crucial years are1789, when Lyrical Ballads were published by Wordsworth and Coleridge, and the year 1832, which marks the death of Sir Walter Scott.
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Maver, Igor. "From Albion's shore: Lord Byron' poetry in Slovene translations until 1945." Acta Neophilologica 22 (December 15, 1989): 51–59. http://dx.doi.org/10.4312/an.22.1.51-59.

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The publication in 1830 of the early poems of the doyen of Slovene poetry - Dr France Prešeren in Kranjska čbelica (The Carniola Bee) - marks the beginning of Slovene Romanticism, which ends in 1848, -with the last of his poems published in the fifth volume of the same literary magazine. The period from 1830 to the »revolutionary« year of 1848 is thus committed to Romanticism as the leading movement of Slovene literature, artfully embodied in Prešeren's fine lyrical poetry that aimed at and considerably contributed to national unification and identification, as well as in the Europe-oriented literary criticism of Matija čop. Comparing the trends of the English and Slovene Romantic Revival, we can readily establish that the emergence of Romantic tenets expressed in poetry was somewhat late on Slovene ground. In England, of course, the crucial years are1789, when Lyrical Ballads were published by Wordsworth and Coleridge, and the year 1832, which marks the death of Sir Walter Scott.
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Philippovsky, Herman U. "TWO CONCEPTIONS OF CHILDHOOD IN EUROPEAN AND RUSSIAN POETRY OF XVIII–XIX C." Verhnevolzhski Philological Bulletin 22, no. 3 (2020): 8–17. http://dx.doi.org/10.20323/2499-9679-2020-3-22-8-17.

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G. R. Derzhavin with his famous Ode on the birth of a future Emperor 1779 became in the Russian poetry of a new epoch the pioneer of Childhood and children theme. The poet except the rossoist topic of Childhood as clear headsprings innovatively revealed a different concept of Childhood as a School (educational) in the episode of fairies gifts who give a child – a future tsar both exceptional abilities and knowledge. Derzhavin outstripped an English poet W. Blake who also touched upon the topic of Childhood and children in his poetic cycles of 1789–1794. The article also discusses the motif of Childhood and children on the material of English (W. Blake and W. Wordsworth) and Russian (N. A. Neckrasov) poetry of the XX c. W. Blake’s cycles («The songs of virginity» (1789) and «The songs of experience» (1794) as well as W. Wordsworth’s cycles «Preludes» and his «Ode.News on immortality coming from early childhood memories» (1803–1807) give the images of children and childhood in the context of nature as a leading principle of Romanticism: a child with his initial natural piety as a real headspring of a man – a pure angel but a sage already. In the Russian poetry of the XIX c. N. A. Neckrasov as well as W.Blake and W. Wordsworth in England turned to the images and motifs of children and Childhood through his whole literary biography («Childhood», «On the Volga. Valezhnikov’s childhood», «A schoolboy» and so on).
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Dissertations / Theses on the topic "English poetry English poetry Romanticism"

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Tomioka, Noriko. "Inescapable choice : Wallace Stevens's new Romanticism and English romantic poetry." Thesis, Durham University, 2006. http://etheses.dur.ac.uk/2607/.

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The aim of this thesis is to investigate how Stevens creates a new Romanticism. It argues that Stevens demonstrates a double view of Romanticism as having positive and negative aspects and it relates discussion of this double view to the development of his poetry and theories of poetry. Stevens shares with the Romantics the belief that through the power of imagination the problem of dualism - especially the split between art and existential reality - can be solved. Prom Stevens's perspective, thinking about what should be respected and what should be corrected in Romanticism provides grounds for the creation of his own new Romanticism. In chapters one and two, by examining the conflict between imagination and reality in the works of Coleridge, Wordsworth, Shelley and Keats, I explore the intertextual relations between Stevens and the Romantics from a perspective informed by the implications of Stevens's work and thought. In chapters three and four, focusing on Stevens's treatment of the relation between imagination and reality, I examine the nuanced differences between his work and that of the Romantics. Chapter five provides a prologue to 'Notes toward a Supreme Fiction', the culmination of Stevens's concern with imagination and reality. In the final chapter I examine how Stevens's new Romanticism, especially its emphasis on the imagination's activity, is concretised in 'Notes toward a Supreme Fiction'. I also explore how the later development of his sense of reality affects his poetic creativity. By examining the influence of the Romantics on Stevens and his response to them, the nature of his poetry can be more accurately understood. Throughout the thesis, I engage, as appropriate, with the work of many critics who have written on Stevens. It is my hope that my own approach gives a folly considered and detailed account of a topic often addressed more briefly by other commentators.
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Vardy, Alan Douglas. "Romantic ethics /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/9362.

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Ashraf, Ammara. "Romantic poetologies : collaboration and interdisciplinarity in early Anglo-German Romanticism." Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8366.

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This thesis reads seminal texts such as Wordsworth’s prose, Lyrical Ballads, The Prelude, and The Excursion alongside Coleridge’s poetic theory and practice and Novalis, Tieck and Friedrich Schlegel’s philosophical novels and fragments, as ‘poetologies’. My initial research aim is to test how successfully Wordsworth can be read as part of this Anglo-German comparative framework, from which criticism has tended to exclude him. This is done through demonstrating the centrality of irony and drama to the philosophical character of Wordsworth’s poetry. Drawing on the theory of the Frühromantiker, I demonstrate that Wordsworth’s revisionary habit and his use of ballads and epitaphs shape a poetics constantly ‘in the process of becoming’ (F. Schlegel), the vehicle of the poet’s aspirations to dramatize a potentially infinite self-consciousness. Secondly, my thesis investigates the ways of reading these seminal texts which give us a clearer idea of how Romantic writers internally situate their own work through their use of contrasting genres. This investigation expands to examine how the collaborative, interdisciplinary ventures proposed by Romantic writers elaborate the concept of ‘poetology’ as a practicable theory. This leads to my final research aim: to make apparent that these methodologies result in the Mischgedicht, the ‘mixed poem’ which Schlegel theorizes as the ultimate incarnation of modern, ‘Romantic’ literature. The thesis concludes by drawing theories, methodologies and texts together and making sense of that ultimate continuity sought by the Romantic project. I do this by turning to the poetologizing of immortality (which supersedes death as a Romantic preoccupation) and arguing that to poetologize immortality – to poeticize and philosophize it simultaneously – is the test-case for producing the infinite from the finite. I suggest the necessity felt by Romantic writers to achieve this transformation in order to legitimate the permeable philosophical poetry and poetic philosophy – ‘poetologies’ – which made it possible.
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Ingram, Catherine. "Word and Song: The Paradox of Romanticism." TopSCHOLAR®, 1996. http://digitalcommons.wku.edu/theses/805.

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Among the various outcomes of the Romantic period, an interest in the relationship of the arts remains a widely recognized yet rarely examined field of study. Music and literature seemed to develop a particular kinship, yet to identify the exact relationship is as difficult as defining Romanticism itself. In this study, I attempt to do both. In exploring the concept of Romanticism, its paradoxical development from Classicism is examined through the comparison of six great composers and poets of the period. By tracing the similarities and differences in style of Beethoven/Wordsworth, Schumann/Keats, and Brahms/Tennyson, hopefully a clearer understanding of the evolution of Romanticism is achieved. These artists, although creating through different mediums, address the apparent rejection of Neoclassicism, the apex of Romanticism, and the realization of its limitations. The result is the revelation of the paradox of Romanticism. For each artist, the realization of the Romantic spirit presents contrasts. Ultimately, the rejection of Neoclassic thought becomes as important to Romanticism as its dependence on Neoclassic form. These six artists achieved success not only because of their talents but also because of their acknowledgement of this fact. In this study, I trace their development through the rise and fall of Romanticism as more than instances of shared techniques or borrowed texts; the similarities in thought, poetic vision, and style shared by these artists are explored as well. The paradox of Romanticism is revealed through the interrelationship of poetry and music.
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Slagle, Judith Bailey. "Joanna Baillie and the Poetry of Intellectual and Historical Romanticism." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/459.

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Book Summary: The Encyclopedia of Romantic Literature is an authoritative three-volume reference work that covers British artistic, literary, and intellectual movements between 1780 and 1830, within the context of European, transatlantic and colonial historical and cultural interaction. Comprises over 275 entries ranging from 1,000 to 6,500 words arranged in A-Z format across three fully cross-referenced volumes Written by an international cast of leading and emerging scholars Entries explore genre development in prose, poetry, and drama of the Romantic period, key authors and their works, and key themes Also available online as part of the Wiley-Blackwell Encyclopedia of Literature, providing 24/7 access and powerful searching, browsing and cross-referencing capabilities
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Cherry, Thomas Hamilton. "Variation Within Uniformity: The English Romantic Sonnet." TopSCHOLAR®, 2014. http://digitalcommons.wku.edu/theses/1396.

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The English Romantic poets of the early nineteenth century wrote numerous poems from genres and styles all across the poetic spectrum. From the epics of ancient origin concerning kings and fanciful settings to the political odes on fallen leaders and even the anthropological histories of what it meant to live in their time, these poets stretched their stylistic legs in many ways. One of the most interesting is their use of the short and rule-bound sonnet form that enjoyed a reemergence during their time. Though stylized throughout its existence, the sonnet most often falls into a specific form with guidelines and rule. What makes the Romantic interest in this form noteworthy is that like the other forms, they found new ways to use the sonnet as a means of poetic experimentation and creative expression. Exploring the various internal and external variations, those changes that took place within the lines and phrases of the sonnet and those that form the organizing and rhyming portions of the poem, this study seeks to establish the ways the Romantics took the uniform techniques of the sonnet and stretched its bounds to find new means of creativity. Close reading of the poems of William Wordsworth, John Keats, and Percy Bysshe Shelley reveals the variant use of caesura, creative dissonance, as well as original organization and rhyme scheme to accomplish purely Romantic goals within the uniformity of the sonnet form.
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Hussein, Ronak Hassan. "Nature and death in the poetry of al-Malā'ika, al-Shābbī and Shukrī, and certain English Romantic poets : a comparative study." Thesis, University of St Andrews, 1989. http://hdl.handle.net/10023/7138.

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The first part of this thesis, divided into two chapters, deals with the early background of European Romanticism; the reasons behind its appearance and problems of definition. There follows a discussion on the question of the originality of Arabic Romanticism, with ,a brief review of the roots and main literary groups of this movement in Arabic poetry. Part two examines the influence of English poetry and thought on three Arab Romantic poets: Nāzik Sādiq al-Malā'ika, Abū al-Qāsim al-Shābbī and Abd aI-Rahmān Shukrī. This is discussed parallel with the channels of this influence. The main focus of this research is however, to show the ways in which al-Malā'ika, al-Shābbī and Shukrī perceived and reflected nature and death in their poetry. Their attitudes towards certain phenomena in nature such as the countryside, night, the sea, childhood and moral and social lessons of nature are compared with certain attitudes of Wordsworth, Coleridge, Keats and Shelley. Themes such as life and death, fear of death, fatalism, immortality and death as a welcome experience are also the concern of this thesis, with a comparison of these themes in the poetry of the Arab and English Romantic poets. However, owing to the popularity of Keats and Shelley with the three Arab Romantic poets, this thesis concentrates on their poetry. This research has selected only certain phenomena and themes from nature--and death because of the dominance of these subjects in the poetry of al-Malā'ika, al-Shābbī and Shukrī. The translations of Arabic poetry in this thesis are intended to convey the general sense of the source texts, rather than to give a precise rendering of these texts into English.
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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.

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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'.
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Ward, Matthew. "The sound of laughter in Romantic poetry." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/6814.

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This thesis offers the first critical examination of the sound of laughter in Romantic poetry. Part one locates laughter in the history of ideas of the seventeenth and eighteenth centuries, and explores the interplay between laughter and key intellectual, aesthetic, ethical, and social issues in the Romantic period. I chart a development in thinking about laughter from its primary association with ridicule and the passions up to the early decades of the eighteenth century, to its emerging symbiosis with politeness and aesthetic judgement, before a reassertion of laughter's signification of passion and naturalness by the end of the eighteenth century. Laughter provides an innovative means of mapping cultural markers, and I argue that it highlights shifts in standards and questions of taste. Informed by this analysis, part two offers a series of historically aware close readings of Romantic poetry that identify both an indebtedness to, and refutation of, earlier and contemporaneous ideas about laughter. Rather than having humour or comedy as its central concerns, this thesis identifies the pervasive and capricious influence of the sound of the laugh in the writing of Robert Burns, William Blake, William Wordsworth, Samuel Taylor Coleridge, Leigh Hunt, Lord Byron, Percy Shelley, and John Keats. I detect the heterogeneous representations of laughter in their work that runs across a diverse range of genres, poetic forms, themes, and contexts. As such, I argue against the serious versus the humorous binary which prevails in literary criticism of Romanticism, and suggest that laughter articulates the interplay between the elegiac and the comic, the sublime and the ridiculous, the solitary and the communal. Moreover, I detect a double-naturedness to the sound of laughter in Romantic poetry that registers the subject's capacity to signify both consensus and dispute. This inherent polarity creates a tension in the poems as laughter ironically challenges what it also affirms. Never singularly fixed, the sound of laughter reveals the protean nature of Romantic verse.
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Louw, Denise Elizabeth Laurence. "A literary study of paranormal experience in Tennyson's poetry." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002292.

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My thesis is that many of Tennyson's apparently paranormal experiences are explicable in terms of temporal lobe epilepsy; and that a study of the occurrence, in the work of art, of phenomena associated with these experiences, may be useful in elucidating the workings of the aesthetic imagination. A body of knowledge relevant to paranormal experience in Tennyson's life and work, assembled from both literary and biographical sources, is applied to a Subjective Paranormal Experience Questionnaire, compiled by Professor V.M. Neppe, in order to establish the range of the poet's apparently "psychic" experiences. The information is then analysed in terms of the symptomatology of temporal lobe epilepsy (TLE), and the problems of differential diagnosis are considered. It is shown, by means of close and comparative analyses of a number of poems, that recurring clusters of images in Tennyson's poetry may have their genesis in TLE. These images are investigated in terms of modern research into altered states of consciousness. They are found to be consistent with a "model" of the three stages of trance experience constructed by Professor A.D. Lewis-Williams to account for shamanistic rock art in the San, Coso and Upper Paleolithic contexts. My study of the relevant phenomena in the work of a nineteenth century English poet would seem to offer cross-cultural verification of the applicability of the model to a range of altered-state contexts. This study goes on to investigate some of the psychological processes which may influence the way in which pathology is manifested in the poetry of Alfred Tennyson. But, throughout the investigation, the possible effects of literary precursors and of other art forms are acknowledged. The subjective paranormal phenomena in Tennyson's poems are compared not only with some modern neuropsychiatric cases, but also with those of several nineteenth-century writers who seem to have had similar experiences . These include Dostoevsky and Edward Lear, who are known to have been epileptics, and Edgar Allan Poe. Similarity between some aspects of Tennyson's work and that of various Romantic poets, notably Shelley, is stressed; and it is tentatively suggested that it might be possible to extrapolate from my findings in this study to a more general theory of the "Romantic" imagination.
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Books on the topic "English poetry English poetry Romanticism"

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Jamil, Tahir. Transcendentalism in English romantic poetry. New York, N.Y: Vantage Press, 1989.

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Jamil, Tahir. Transcendentalism in English romantic poetry. New York: Vantage Press, 1989.

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Unfettered poetry: Fancy in British Romanticism. New York: Palgrave Macmillan, 2006.

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Imdad, Husain. English romantic poetry & oriental influences. Lahore: REMA, 1994.

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Reading Romantic poetry. Hoboken, NJ: John Wiley & Sons, 2012.

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Aubrey, Bryan. English romantic poetry: An annotated bibliography. Pasadena, Calif: Salem Press, 1991.

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Beyond enchantment: German idealism and English romantic poetry. Philadelphia: University of Pennsylvania Press, 1986.

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Poetic form and British romanticism. New York: Oxford University Press, 1986.

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Curran, Stuart. Poetic form and British romanticism. New York: Oxford University Press, 1989.

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English romanticism: The human context. New York: W.W. Norton, 1988.

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Book chapters on the topic "English poetry English poetry Romanticism"

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Duerksen, Roland A. "Arnold and the Romantics." In Influence and Resistance in Nineteenth-Century English Poetry, 233–47. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-23084-6_13.

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Shin, Kyung-Sook. "Romanticism in Colonial Korea: Coterie Literary Journals and the Emergence of Modern Poetry in the Early 1920s." In Asia-Pacific and Literature in English, 145–67. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3001-8_6.

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Harrison, Antony H. "Christina Rossetti and the Romantics: Influence and Ideology." In Influence and Resistance in Nineteenth-Century English Poetry, 131–49. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-23084-6_8.

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Dowling, K. "Poetry." In English coursework, 51–91. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-13022-1_3.

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Rainsford, Dominic. "Poetry." In Literature in English, 23–34. Second edition. | New York City : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429277399-4.

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Alexander, Michael. "Poetry." In A History of English Literature, 273–84. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-04894-3_10.

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Clarke, Catherine A. M. "Old English Poetry." In The Blackwell Companion to the Bible in English Literature, 61–75. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324174.ch5.

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Livingstone, Dinah. "The Sounds of English." In Poetry Handbook, 32–54. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-22398-5_2.

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Müller, Timo. "Analyzing Poetry." In English and American Studies, 335–39. Stuttgart: J.B. Metzler, 2012. http://dx.doi.org/10.1007/978-3-476-00406-2_24.

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Hough, Carole, and John Corbett. "Introducing Old English Poetry." In Beginning Old English, 90–106. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-34119-8_6.

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Conference papers on the topic "English poetry English poetry Romanticism"

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Kovalenko, Ekaterina V., and Firuza Bunyadova. "Metaphor in Modern Poetry in English and Spanish." In Culture and Education: Social Transformations and Multicultural Communication. RUDN University Press, 2019. http://dx.doi.org/10.22363/09669-2019-549-555.

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Waijanya, Sajjaporn, and Anirach Mingkhwan. "Thai poetry translation to English with backward translation evaluation." In 2014 Ninth International Conference on Digital Information Management (ICDIM). IEEE, 2014. http://dx.doi.org/10.1109/icdim.2014.6991425.

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Cui, Hui. "Intercultural comparison between Chinese and English poetry and aesthetic characteristics." In 2016 4th International Education, Economics, Social Science, Arts, Sports and Management Engineering Conference (IEESASM 2016). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/ieesasm-16.2016.54.

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Rizal, Sarif Syamsu. "Alternative Development and Implementation Of Teaching English Poetry to Young Learners." In The 2nd International Conference 2017 on Teaching English for Young Learners (TEYLIN). Badan Penerbit Universitas Muria Kudus, 2017. http://dx.doi.org/10.24176/03.3201.21.

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"English Translation Strategies of Ancient Chinese Poetry Based on Applied Linguistics." In 2020 International Conference on Educational Science. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0000264.

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Babaina, Elena. "Stereotypical constructions of the Middle English alliterative poetry in their functional aspect." In 45th International Philological Conference (IPC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/ipc-16.2017.43.

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"The Role of Paideia Seminar Technique in Teaching English Poetry to University Students." In Visible Conference on Education and Applied Linguistics 2018. Ishik University, 2018. http://dx.doi.org/10.23918/vesal2018.a20.

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Kaplan Karabina, Sema. "Implementıng Poetry As An Extracurrıcular Actıvıty In Teaching English As A Foreign Language." In International Academic Conference on Teaching, Learning and Education. Global, 2019. http://dx.doi.org/10.33422/tleconf.2019.09.573.

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Praveenkumar, K., and T. Maruthi Padmaja. "An Analysis on Computational Approach for Finding Similarity in Indian English Authors Poetry." In Smart Technologies in Data Science and Communication 2017. Science & Engineering Research Support soCiety, 2017. http://dx.doi.org/10.14257/astl.2017.147.28.

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Gao, Miao. "A Study of Poetry Translation Taking the Eight English Versions of Jing Ye Si as an Example." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.56.

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