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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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Serdechnaia, Vera. "Blake's Russian literary heir: Based on unpublished poems by Boris Anrep." Literary Fact, no. 15 (2020): 352–65. http://dx.doi.org/10.22455/2541-8297-2020-15-352-365.
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The article deals with unpublished poems by Russian poet and artist Boris Anrep, which are studied in the context of developing the traditions of English romantic epical poems. The research of these poems as evidence of creative dialogue between Anrep and the prophetic poetry of William Blake is proposed. The research considers the epics “Vladimir”, “Creation of the world” and “Creation of man” written by Anrep in the 1900s, before he emigrated from Russia, and are kept in the archive of N. Nedobrovo (Personal collection of the Manuscript Department of the Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences). The methods of comparative literature studies and those of analysis, synthesis and generalization are used. The idea is substantiated that Anrep, already in his early poetic work, inherits in many respects the poetics and themes of William Blake's prophetic books, which he knew in childhood. The author identifies the commonality in the figurative system of poems Anrep and Blake: the characters are elements, giants, generalized natural phenomena. The gravitation of Anrep to a combination of physiology and philosophy, synthesis of author's inference and mimetic descriptions also testifies to influence of romantic lyre-epics. It is concluded that the early poems of Boris Anrep, as well as his later works (“The Man”, “Fiza”, “Foreword To The Book Of Anrep”), are in many ways an attempt to embody in Russian the principles of English romantic poetry, primarily the prophecies of William Blake. The reception of these poems in the work of the artist Dmitry Stelletsky has been studied. It has been proved that such an example of the reception of English romanticism in general is typical for the culture of the Silver Age, which rediscovered European early romanticism (Poe, Novalis, Hölderlin) and felt it as modern art.
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Falconer, Rachel. "Wordsworth's Soundings in the Aeneid." Romanticism 26, no. 1 (April 2020): 23–37. http://dx.doi.org/10.3366/rom.2020.0445.
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Wordsworth's translation of Virgil's Aeneid I–III has been largely neglected by Romanticists and classical reception scholars, in part because it is considered to be an unfinished, failed artistic project. Amongst a handful of scholars, Bruce Graver has convincingly demonstrated the originality of Wordsworth's Latin translation. This article goes further to suggest the artistic coherence of Wordsworth's translation of Virgil . Aeneid I–III trace the arc of Aeneas's fall and exile from Troy and discovery of a new home. In translating Aeneas's journey, Wordsworth enacts a quest for a new poetic voice, at a time when his creative powers as an English poet were at a low ebb. His engagement with Virgil's Latin can be compared to his encounters with Nature and the River Derwent in earlier poetry; in both cases, the poet plays host to an alienatingly other, divine maternal presence which eventually rejuvenates and confirms the poet's voice in English.
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Koroleva, Svetlana Borisovna, Marina Ivanovna Nikola, Elena Nikolaevna Chernozemova, and Ekaterina Dmitrievna Kolesnikova. "Revolution as herald of new bliss in early English romantic poetry." SHS Web of Conferences 122 (2021): 05001. http://dx.doi.org/10.1051/shsconf/202112205001.
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The idea that the Great French Revolution for the age of early English Romanticism is a signal for mankind to transition into a new era, into a new apocalyptic time of the end of human history, is considered established in modern literary studies. At the same time, such issues remain underdeveloped as the relationship between the images of the Golden Age, paradise regained, and New Jerusalem in the poetry of Elder English Romantic poets and the interpretation of modernity in its connection with the past in the context of a biblical myth. The search for answers to these two questions is the goal of this research. The study is conducted within the framework of comparative literary studies with elements of comparative cultural studies. The significant results include the ideas that the human history during the early poetry by Elder English Romantic poets is depicted as mankind’s transition from blissful primordial harmony of the unity of the person-in-love with nature and another person to the oppressed-divided internal (spiritual) and external (social and political) state and, finally, to the new external (free) and internal (spiritually harmonious) bliss. In this new image of human history, the biblical myth of the Last Judgment and the New Jerusalem is superimposed on the idea of the return of the Golden Age and, simultaneously, paradise lost, and is interpreted through enlightenment ideas and romantic philosophy and aesthetics. The Great French Revolution seems to be the precursor of not only the common longing for the new bliss but also the transformation of human nature on the way to returning to the righteous state of sacrificial love.
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Phelan, Joseph. "“Bloomluxuriance”." Nineteenth-Century Literature 75, no. 1 (June 2020): 1–23. http://dx.doi.org/10.1525/ncl.2020.75.1.1.
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Joseph Phelan, “‘Bloomluxuriance’: Compound Words in the Poetry of the 1830s and 1840s” (pp. 1–23) The brief interregnum between Romanticism and Victorianism saw the emergence of and retreat from a number of formal and linguistic experiments in poetry. One of the most striking of these is the ostentatious employment of compound words; the early verse of Alfred Tennyson and some of his less-illustrious contemporaries is littered with coinages such as “tendriltwine,” “mellowmature,” and “bloomluxuriance.” The impetus behind this phenomenon came from developments in philology that emphasized the affinities between English and German and from the attempt to broaden the range of English verse by naturalizing metrical forms such as the hexameter, and was often associated with an impassioned if politically unfocused radicalism. In revising “Œnone” for republication in his 1842 Poems, Tennyson excised almost all of these compound words, a gesture of linguistic conformity that is the stylistic counterpart to what Isobel Armstrong calls the “loss of nerve” apparent in his work during this decade, and one that is paralleled in the work of some of his contemporaries. This experimental impulse did not disappear from Victorian poetry completely, however, and its survival helps to explain some of the quainter and more ungainly phenomena of later nineteenth-century verse.
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Mohamad, Mohamad Haj. "Aesthetics and Violence in Romantic Poetry." English Language and Literature Studies 8, no. 2 (May 14, 2018): 69. http://dx.doi.org/10.5539/ells.v8n2p69.
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Violence, as exhibited by some romantic poets, works as the dormant, and sometimes explicit, whim to think of and go for. Violence may not only be a temporal tendency but rather a philosophical trend embraced by romantics so that they can offset deep frustration generated by failure to create a better world. Shelley, Blake and Lord Byron do not mind conveying a tendency to go violent in order to bring about a better world, while E.A. Poe gives abnormal images, to define man’s need to liberate himself from restrictions of time and place. Emotions, imaginations and the search for beauty that are, sometimes, seen embodied in their approach to liberty mark the touchstone that romantics felt attached to, which explains why the world needs a hero, a savior, the concept that romantics believed in.This paper sets to investigate this issue of violence, its nature and how it functions in the works of selected romantic men of letters and how it can be affiliated to beauty and ethical and aesthetical values. Edgar Allan Poe will be dealt with along with fellow English romantic figures for, next to his romantic philosophy, he had a prominent tendency for functional violence coupled with aesthetical values.
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Κατσιγιάννης, Αλέξανδρος. "Ιστορίες πρόσληψης έργων της Κρητικής Αναγέννησης. Ο Byron και η Βοσκοπούλα: Η διαιώνιση μιας παρεξήγησης." Gleaner 28 (December 30, 2011): 287. http://dx.doi.org/10.12681/er.136.
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<br />BYRON AND THE RECEPTION<br />OF THE CRETAN PASTORAL POEM VOSKOPOULA<br />The Prolonging of a Misunderstanding<br /><br /><br />In this essay I will discuss whether Byron was indeed influenced by the Cretan pastoral poem Voskopoula in some cantos of his epic-satiric poem Don Juan (published in 1819), as argued by D.C. Hesseling in 1938 and by several researchers after him. This discussion stands as a starting point to analysing the reception of the literary works of the Cretan Renaissance by English scholars in the first two decades of the 19th century. In parallel, I hope that this article will shed light upon the troubling matter of the popular reception of Cretan Renaissance poetry and demotic songs by the scholars of the Enlightenment and Romanticism, which led to several misunderstandings concerning the character, origin and dissemination of Cretan Renaissance poetry in the scholars’ discourse network throughout the 19th century. <br /><br />ALEXANDER KATSIGIANNIS<br />
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Suo, Juan Juan, and Yan Cang Li. "Similarities between Wordsworth and Emerson in Romantic Literature." Advanced Materials Research 179-180 (January 2011): 368–73. http://dx.doi.org/10.4028/www.scientific.net/amr.179-180.368.
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In the history of English and American literature, Romantic Period is so important that cannot be ignored by people. A lot of good writers appeared and their famous works (especially in the field of poetry and prose) were produced. Though many differences between Great Britain and America exist, and the thoughts of writers between the two countries are so different, they have some common senses of Romanticism. This should not be forgotten. In order to point out this problem deeply, we have to pay an attention to the history background of the two countries, to the author’s biography and to the works of them completely. Some important writers such as Wordsworth and Emerson are discussed detailed in the paper.
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Moreno Carrascal, José María. "«Self» y sociedad en la secuencia poética«Transformations» de D. H. Lawrence." Epos : Revista de filología, no. 27 (January 1, 2011): 217. http://dx.doi.org/10.5944/epos.27.2011.10678.
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El proceso de constante reelaboración y reagrupación en secuencias que D.H. Lawrence (1885-1930) lleva a cabo en su obra en verso viene motivado no sólo por un afán formalista sino, muy especialmente, por una preocupación autobiográfica y un deseo de plasmar orgánicamente la conciencia individual o self del autor y su particular cosmovisión de la realidad. Este hecho, patente en todos los poemarios del poeta inglés, propició –por parte de un sector mayoritario de la crítica formalista a lo largo del pasado siglo– la aparición de ciertas ideas reduccionistas que llegaron a considerar la obra en prosa en general y la poesía en particular de este controvertido autor del High Modernism en lengua inglesa como una construcción ajena a las realidades y tensiones sociales de la Inglaterra de comienzos del siglo XX. El autor recrea la mutante realidad externa en su poesía mediante un lenguaje simbólico y mito-poético, basándose en el concepto de la polaridad antagónica y desde unos presupuestos y una mentalidad a-racional y anti-industrial (es decir, aparentemente pre-moderna) que entronca por un lado con la subjetividad del yo romántico y por otro con ciertas corrientes de pensamiento de la modernidad. Mediante el análisis de la forma, el contenido y las posibles influencias de la secuencia poética titulada «Transformations», perteneciente al poemario New Poems (1918), se pretende desmontar en este artículo algunas de las construcciones reduccionistas anteriormente citadas. El proceso de secuenciación arriba aludido así como la motivaciones externas más allá de las preocupaciones del yo consciente o self parecen quedar patentes en dicho análisis, con el que se intenta contribuir a la reivindicación de la poética y la poesía de un autor cuya obra en verso ha sido, durante un largo periodo de tiempo, insuficientemente valorada en el canon en lengua inglesa.The use of the poetic sequence and the constant process of elaboration and rearrangement of poems in clusters unsdertaken by D. H. Lawrence (1885-1930) in his books of poetry is the result not only of a formal concern on the part of the author but, more precisely, of the evidence of an autobiographical preocupation that stems from the need of the poet to express his individual conscience or self as well as from his particular vision of external reality. This fact, evident in all the books of poems published by the English poet, was somehow responsible for the existence (mostly among a vast section of the formalist criticism dominant throughout the twentieth century) of certain reductionist ideas and opinions which erroneously considered the works in prose in general and the poetry in particular of this controverted author of the English High Modernism as a literary construct alien to the realities and social tensions of early 1900´s England. in his poetry, D. H. Lawrence recreates the ever-changing outward reality by means of a symbolic and poetic language that generates his own myths. In order to achieve this objective, the author uses key ideas such as the relevant concept of antagonistic polarity and certain (apparently anti-modern) pre-rational and anti- industrial beliefs, which can be traced to the subjectivity of romanticism but that were also part of some modern currents of thought dominant in that time period. The present article intends to deconstruct some of the above mentioned reductionist ideas about the poetry of D. H. Lawrence through an analysis of both form and content and of the possible influences present in the poetic sequence entitled «Transformations » which the poet included in his book of poetry New Poems (1918). Such analysis also purports to evidence the above mentioned process of elaboration and rearrangement as well as the autobiographical intentionality and the motivations beyond the preoccupations of the self in an author whose poetical works were for a long period of time insuficciently valued within the English language canon.
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Ingram, Allan, and J. R. Watson. "Pre-Romanticism in English Poetry of the Eighteenth Century: The Poetic Art and Significance of Thomson, Gray, Collins, Goldsmith, Cowper & Crabbe. A Casebook." Modern Language Review 86, no. 2 (April 1991): 395. http://dx.doi.org/10.2307/3730544.
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A, Vasuki. "THE POEMS OF WILLIAM WORDSWORTH: AN ECOCRITICAL OVERVIEW." Kongunadu Research Journal 4, no. 1 (June 30, 2017): 55–58. http://dx.doi.org/10.26524/krj178.
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Eco-criticism emerged in the 1990’s and the critics changed their angles of vision and examined the works of art by focusing on the relationship between man and Nature. William Words worth, in particular, became the key icons of eco-critical studies. Wordsworth was a major English Romantic poet who has beenconsidered as a forerunner of English Romanticism. His views towards Nature and man’s treatment of Nature have supported his position as an important icon of eco-critical studies. His fame lies in the general belief that he has been viewed as a Nature poet who viewed Nature superior to humans. In other words, his views about Nature and his poems seek to heal the long-forgotten wounds of Nature in the hope of reaching unification between man and Nature. With the emergence of Eco-criticism as a new critical approach in the 1990’s, Romantic poetry, in general, and William Wordsworth, in particular, became the icons of eco-critical studies. He was the foremost Romantic poet who cared for the creation of symbiosis between man and Nature. William Wordsworth was a major English Romantic poet who is considered as a forerunner of English Romanticism. His contributions to the repository of English literature are undoubtedly a token of hisgreatness among his contemporaries. His views towards Nature and man’s treatment of Nature have supported his position as an important icon of eco-critical studies. His fame lies in the general belief that he has been viewed as England’s greatest Nature poet who viewed Nature superior to human being whosesurvival is dependent upon Nature. Wordsworth intends to show the value of survival of human being in Nature. Though literary critics talked about the eco-critical concepts in the past, the present paper highlights a recent literary approach to Eco-criticism studies, “the relationship between literature and physicalenvironment” in the poems of William Wordsworth.
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Woojo Kim. "The Characteristics of Indian Romanticism in the English Version Gitanjali With Reference to the Evolutionary Context of R. Tagore’s Poetry." Journal of South Asian Studies 18, no. 3 (March 2013): 19–48. http://dx.doi.org/10.21587/jsas.2013.18.3.002.
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Mezquita Fernández, María Antonia. "Simbolismo y ecocrítica: análisis de las aves en la poesía de los románticos ingleses y el grupo poético español de los Cincuenta." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 23 (January 26, 2015): 357. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201523737.
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Para los poetas románticos ingleses, la naturaleza constituye uno de los temas principales y el tratamiento de las aves ocupa un lugar relevante en sus obras. El Grupo Poético Español de los 50 afirmó tener cierta afinidad con los románticos y es por ello por lo que este estudio mostrará, a través de la Ecocrítica, el simbolismo de las aves en ambos grupos. Las connotaciones pueden ser varias, aunque en general los dos grupos coinciden en que estos pequeños seres son una fuente de conocimiento y el símbolo de un recuerdo lejano, ya sea positivo o negativo. In the poetry of the English Romantics, nature was one of the main topics and birds have also played an important role. Some poets from the Spanish Group of the 50s made clear they were under the influence of the Romantics. This paper will show the symbolism of birds in both groups through the point of view of Ecocriticism. Birds can have different connotations; however, for these poets birds are the font of all knowledge and the symbol of distant memories which can be either positive or negative.
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Pop Zarieva, Natalija. "THE ENDURANCE OF THE GOTHIC THE ROMANTICS’ CONTRIBUTION TO THE VAMPIRE MYTH." Knowledge International Journal 28, no. 7 (December 10, 2018): 2339–44. http://dx.doi.org/10.35120/kij28072339n.
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The end of the eighteenth century and the beginning of the nineteenth century, also known as the period of Romanticism, were marked with the interest of the authors in nature and emotions, but also in the supernatural, horrible and the exotic. Although it was the era of reason and the progress of sciences, critics have identified the significance of the Gothic influence on the works of most of the English Romantic figures, among which Lord Byron is known to have had the major influence on the creation and persistence of the vampire figure, as a Gothic trope, haunting the last and this century’s literature and film. This paper attempts to unravel the origins and nature of the mysterious cultural appeal to the literary vampire by tracing its origins from Eastern European folklore, the first poem titled “Der Vampir”(1743) by Heinrich Ossenfelder, to the German Sturm and Drang poets, such as Johann Wolfgang Goethe and Gottfried August Buerger and their respective poems “Die Braut von Korinth” (1789) and “Lenore” (1773). The role of British ballad writers Southey, Lewis and Scott and their ballad collections will be considered as a significant effort to “renew the spirit” of British poetry which according to Scott had reached “a remarkably low ebb in Britain” (as cited in Thomson, 2002, p.80). Another literary figure engaged in writing Gothic ballads following the tradition of Mathew Lewis, not so well-known during her time, was the Scottish writer Anne Bannerman. Her ballad “Dark Ladie” deserves special attention in this context, as it features a female character who is transformed from the previous ballad tradition: from a passive victim of male seduction, here she becomes a fatal woman who comes back from the undead to seek for revenge and initiates the line of female vampires such as Keats’s “Lamia” and Coleridge’s “Christabel”. Thus, this paper elaborates on the major contributors to the Gothic stream in poetry in the specific period, mainly ballads, and traces the presence and development of Gothic elements and vampiric features. The continuous appeal to the Gothic found its place in the works of several major English Romantics, even though they put great effort to differentiate their poetry from the popular literature of the day – Gothic novels. This paper will concentrate on Lord Byron’s Oriental tale The Giaour (1813) and Samuel Taylor Coleridge’s The Rime of the Ancient Mariner (1798). Both works incorporate Gothic themes, settings and characters, but there hasn’t been much literary focus with reference to the vampire theme they are based on. Although, critics have observed the contribution of the ambivalent vampire figure in Romantic literature, critical evaluation of the growth of this Gothic character in these two poems until now is incomplete. Hence, we will focus on Byron and Coleridge’s appropriation of the vampire figure and their contribution to the growth of this character. The various metaphoric usages of this character will also be explored and defined to determine their purpose.
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Pop Zarieva, Natalija. "THE ENDURANCE OF THE GOTHIC THE ROMANTICS’ CONTRIBUTION TO THE VAMPIRE MYTH." Knowledge International Journal 28, no. 7 (December 10, 2018): 2339–44. http://dx.doi.org/10.35120/kij29082339n.
Full textAbstract:
The end of the eighteenth century and the beginning of the nineteenth century, also known as the period of Romanticism, were marked with the interest of the authors in nature and emotions, but also in the supernatural, horrible and the exotic. Although it was the era of reason and the progress of sciences, critics have identified the significance of the Gothic influence on the works of most of the English Romantic figures, among which Lord Byron is known to have had the major influence on the creation and persistence of the vampire figure, as a Gothic trope, haunting the last and this century’s literature and film. This paper attempts to unravel the origins and nature of the mysterious cultural appeal to the literary vampire by tracing its origins from Eastern European folklore, the first poem titled “Der Vampir”(1743) by Heinrich Ossenfelder, to the German Sturm and Drang poets, such as Johann Wolfgang Goethe and Gottfried August Buerger and their respective poems “Die Braut von Korinth” (1789) and “Lenore” (1773). The role of British ballad writers Southey, Lewis and Scott and their ballad collections will be considered as a significant effort to “renew the spirit” of British poetry which according to Scott had reached “a remarkably low ebb in Britain” (as cited in Thomson, 2002, p.80). Another literary figure engaged in writing Gothic ballads following the tradition of Mathew Lewis, not so well-known during her time, was the Scottish writer Anne Bannerman. Her ballad “Dark Ladie” deserves special attention in this context, as it features a female character who is transformed from the previous ballad tradition: from a passive victim of male seduction, here she becomes a fatal woman who comes back from the undead to seek for revenge and initiates the line of female vampires such as Keats’s “Lamia” and Coleridge’s “Christabel”. Thus, this paper elaborates on the major contributors to the Gothic stream in poetry in the specific period, mainly ballads, and traces the presence and development of Gothic elements and vampiric features. The continuous appeal to the Gothic found its place in the works of several major English Romantics, even though they put great effort to differentiate their poetry from the popular literature of the day – Gothic novels. This paper will concentrate on Lord Byron’s Oriental tale The Giaour (1813) and Samuel Taylor Coleridge’s The Rime of the Ancient Mariner (1798). Both works incorporate Gothic themes, settings and characters, but there hasn’t been much literary focus with reference to the vampire theme they are based on. Although, critics have observed the contribution of the ambivalent vampire figure in Romantic literature, critical evaluation of the growth of this Gothic character in these two poems until now is incomplete. Hence, we will focus on Byron and Coleridge’s appropriation of the vampire figure and their contribution to the growth of this character. The various metaphoric usages of this character will also be explored and defined to determine their purpose.
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Kurnick, David. "UNSPEAKABLE GEORGE ELIOT." Victorian Literature and Culture 38, no. 2 (May 6, 2010): 489–509. http://dx.doi.org/10.1017/s1060150310000136.
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The very idea of Victoriancosmopolitanism might at first glance seem an oxymoron. Historically bracketed by a Romanticism that took political inspiration from France and intellectual cues from Germany and by a modernism whose most prominent “English” personnel were largely from overseas, the Victorians can look decidedly parochial. The most incisive recent attempts to link cosmopolitan thinking to specific formal or stylistic innovations have tended to leave the Victorians out of the picture. A recent essay by David Simpson, for example, nominates what he terms the Romantic “historical-geographical epic” as a critically cosmopolitan genre – one whose barrage of footnotes ruptures the surface of the text and ensures that even in surveying the exotic Other, Romantic epics guarantee that “the pleasure of poetry sits uneasily but inescapably alongside the burden of critique” (150). On the modernist side, Rebecca Walkowitz'sCosmopolitan Style(2006) has compellingly excavated the links between a host of modernist experimental practices and the project of thinking creatively outside national boundaries – reaching the conclusion that “there is no critical cosmopolitanism without modernist practices” (18). Neither Simpson nor Walkowitz deals with the Victorians in depth, but a certain idea of nineteenth-century realism hovers as the implicit contrast to the genres and practices they catalogue.
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Wigh-Poulsen, Henrik. "Digteren og den sandheds ånd. Grundtvigs helligåndsteologi og den engelske romantik." Grundtvig-Studier 42, no. 1 (January 1, 1991): 68–85. http://dx.doi.org/10.7146/grs.v42i1.16059.
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The Poet and the Spirit of Truth. - Grundtvig’s theology of The Holy Spirit and the English RomanticismBy Henrik Wigh-PoulsenLike his English contemporary, the romantic poet William Wordsworth, Grundtvig sees himself as belonging to the elect company of poet-prophets, the gifted and visionary seers, who by means of their imagination, are capable of reading God’s signature in nature.But in spite of this shared romantic trait there is a marked difference between Wordsworth and Grundtvig in their shared predilection for the windmetaphor. Whereas Wordsworth’s inspiring, creative .gentle breeze., according to the literary critic M.H. Abrams, is a distant secularized and naturalized relative to The Holy Spirit, Grundtvig’s .spiritual waft. is the rushing wind of the Pentecost itself. It is this ‘Spirit of Truth’ that descends on nature and in nature bears witness to the paradisal; but also, at the same time, qualifies the poet as a true, Christian poet.As a poet-prophet committed exclusively to The Holy Spirit, Grundtvig becomes a rather isolated figure, vulnerable to his own doubt, whether he, in his poetry, is truly inspired or just the victim of his own private and deceitful imagination. Repeatedly he confronts himself with this doubt, repents, states his unworthiness and finally settles with the conviction, that, in his poetic vocation, he is elected by the Spirit itself.‘The Unparalleled Discovery’, however, seems to cause a growing poetic and prophetic self-confidence in Grundtvig’s writings. His newly gained sense of a real, historical foundation of the church diminishes his desperate sense of isolation and fear of haughtiness and subjectivity, and it enables him to speak louder and more freely in the service of the Spirit. Finally, as the community of Grundtvig, the poet-prophet, emerges as a real, living and visible community, his anxiety of his imagination polluting the .spiritual waft., disappears, and as a fullgrown romantic poet and hymnwriter he gives himself fully to the breath, the waft, the mighty rushing wind of the Pentecost.
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Zhuk, Alexandra D. "The Problem of Genre in the Hymns by the Lake Poets and Thomas Moore." Imagologiya i komparativistika, no. 15 (2021): 7–30. http://dx.doi.org/10.17223/24099554/15/1.
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Though there are many seminal works on early Romanticism and Thomas Moore’s poetry, their hymns remain understudied. This article focuses on the genre problem in the hymns by the Lake Poets (S.T. Coleridge, W. Wordsworth, R. Southey) and Thomas Moore, whose poetry is studied in context of English Literature and German Romanticism. The characteristics of the hymn are emotionality, associative composition, abundance of repetitions and parallelisms, archaic grammatical forms of verbs and pronouns, and the use of verb contractions. The combination of genres in hymns results in such variants as the odic hymn, the idyllic and elegiac hymn, the mythological hymn, and even the satirical hymn, with each of them evolving in its own way in the period under study. The odic hymn is represented in “Hymn before Sun-rise, in the Vale of Chamouni” (1802) by S.T. Coleridge and “Hymn. For the Boatmen, as They Approach the Rapids under the Castle of Heidelberg” (1820/1822) and “To the Laborer’s Noon-Day Hymn” (1834/1835) by W. Wordsworth. These poems have such odic features as comparisons and conditional and cause-and-effect syntactic constructions. Coleridge’s hymn going back to the psalms of praise was influenced by German Romanticism, while Wordsworth’s hymns feature religious vocabulary and quotations from the Mass. The mythological hymn comes in two versions – one with idyllic features (“Hymn to the Earth” (1799, publ.1834) by S.T. Coleridge) and the mythological hymn-fragment (“Fragment of a mythological hymn to Love” (1812) by T. Moore). The fist is the translation of Stolberg’s hymn, from which the leitmotif of the Earth as the mother and the nanny of the World is borrowed. The image of the Earth has anthropomorphic features, with the marriage of the Earth and Heaven going back to W. Blake. The myth created by T. Moore is more complex. The creation of the world begins with the marriage of Love and Psyche. Love appears as the masculine principle of the Universe, while Psyche as the feminine one. The plot goes back to the ancient myths of the world creation from the Chaos and marriage of Eros and Psyche. However, T. Moore changed the myth and transformed the heroes into a source of life. “Hymn to the Penates” (1796) by R. Southey combines the idyllic, elegiac, publicistic and hymn features proper. The idyllic features are related to the image of the Penates that turn into a force controlling human lives and the souls of the dead. The childhood memories give rise to the elegiac features. The publicistic features appear in the verses of the people who do not worship the Penates. The composition, repetitions and parallelisms in the satirical “A Hymn of Welcome after the Recess” (1813) by T. Moore go back to the hymn genre; however the main stylistic devices used are irony and metonymy. Summing up, the genre of hymn in the works by the Lake Poets and Thomas Moore undergoes significant transformations, which will be further developed in late Romanism.
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Potnitseva, T. N. "ABOUT RECKLESSNESS AND NOT ONLY ABOUT IT (O.GOLDSMITH’S POETIC MINIATURES ABOUT LOVE)." English and American Studies 1, no. 16 (September 7, 2019): 179–89. http://dx.doi.org/10.15421/381925.
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The paper focuses on two poetic miniatures about love by the English writer of the XVIII th century O.Goldsmith. These miniatures embody the specificity of the writer’s manner and the main artistic and ideological tendencies of the time. That specificity finds its expression first of all in the mixture of different styles and pathos – serious and playful. All that scholars correlate not only with Goldsmith’s individual manner but with the aesthetic of rococo. The interest to Goldsmith’s art is growing nowadays. That is proved by an amount of investigations, dissertations appeared recently. But what concerns the Ukrainian literary studies one must admit a fair and sad conclusion of D Chik that the creative art of Goldsmith has not been yet a special object of investigation in Ukraine. Though his name and his works where always touched upon in the context of many Ukrainian investigations of the literature of the XVIIIth century. The priority of the Dnipro University school of the scholars studying the European literary XVIIIthe c. is certain. The both verses deal with the specific aspect of love located outside the borders of “legalized proprieties” but which are so attractive for the author’s attention due to many causes more than any other of the common “morally steadfast plots” about love. The poems are similar in an obvious two-sided depiction, in an exquisite playfulness which attributes them both with the style of rococo. Here the female’s or mistress’s qualities and properties are praised but they are those which according to the logic of things had to cause only conviction. And thus a demonstrated intention of moralizing turns into joke. The poems chosen for the analysis embody the author’ s idea about microcosm of a man’s existence where there are its own “crazy laws” and where it is possible to have fun and not to be pessimistic, according to D.Zatonsky’s judgment, in one’s reflection about “ sins of men’s attitude to the life”, and where it is possible “to reject decisively regulations and respectability”. All that, without any doubt, made Goldsmith a forerunner of Romanticism. The joking verses about love includes in themselves, as it is seen, much of what goes beyond the borders of the topic chosen by Golsmith. “A lovely woman” turns out to be a concretized image of a common recognizable man, one of those «good people all of every sort», for whom so often the writer appeals and whom he loves and sympathizes with so much. In investigating the diversity of a man’s essence Goldsmith revealed some common rules of existence and in different forms of his art the writer thought about that. In the paradoxical encounter of the serious and the comic in the plot of the poetic miniatures as well as in the style Goldsmith embodies in his own way his perception and adoption of a human being what he is with all his weak sides and faults. The playful component of the XVIIIth century writers’ poetry and Goldsmith poetry included is a sign of a free breathing of a poetic soul which rejects all stereotypes and “rules” as exhausted to the full. The idea of frailty of life and its finiteness no matter how lofty the man’s aspirations could be is transformed in the poetry of a great mockingbird. The poems quite contrary are full of life and life-affirming pathos. Not rejecting the very thought about man’s mortality Goldsmith calls for a life acceptance in all its appearances. And this call is embodied in the form of a mischievous game. Goldsmith’s conversation with his reader at that is a sign of a boiling vital energy.
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Adham, Shaymaa. "The Ambivalent Image of the City in Modern Arabic Poetry as Possibly Influenced by English Romanticists: A Comparative Study of Selected Poems." مجلة وادی النیل للدراسات والبحوث الإنسانیة والاجتماعیة والتربویه 30, no. 30 (April 1, 2021): 873–96. http://dx.doi.org/10.21608/jwadi.2021.169863.
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Serdechnaia, Vera V. "William Blake in Contemporary Russian Literature and Culture." Imagologiya i komparativistika, no. 15 (2021): 71–88. http://dx.doi.org/10.17223/24099554/15/4.
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The article discusses the creativity of the English romantic William Blake comprehended in contemporary Russian literature and culture. These facts are quite significant, since many Russian thinkers and writers, such as Igor Garin and Merab Mamardashvili, mention Blake in their works. Blake, partly remembered as a symbolist and mystic, loomed large in the cultural universe of the Moscow mystical “Yuzhinsky” circle, members of which were, in particular, Yuri Mamleev, Yevgeny Golovin, Alexander Dugin, Yuri Stefanov. For them, Blake was an integral part of the great Tradition or ancient knowledge, lost by the civilization. Blake has been mentioned and quoted in the prose by Yuri Buida, Alexey Gryakalov, Ivan Ermakov, Ksenia Buksha, Oleg Postnov and in the poetry by Olga Kuznetsova, Maria Galina, Alla Gorbunova, Maxim Kalinin and others. Andrei Tavrov enters into a creative dialogue with the English Romanticist in his poetic cycle Lament for Blake (2018). Tavrov creatively renders Blake’s metaphysics of human physiology. The poem “Blake. Sparrow” shows an impressive fusion of Blake’s motives and lyrics. in particular, the multilevel character of the mythological world (from Ulro to Eden), conversations with Angels and traveling through the stars in “The Marriage”, the image of a sparrow and a visionary bird in general, images of insects guided through the night (“Dream”), the image of Milton like the meteorite in the heel of the narrator, the figure of Flaxman and the philosophy of creation by the word. In Tavrov’s work, Blake inhabits in a bizarre world of metaliterature, including Gogol and Derzhavin, Velasquez and Newton, Lear and Oedipus, Pan and Melchizedek. Blake, as the creator of overlapping worlds, becomes for Tavrov the key to the total poetization of the universe; where a transition is made from the hermetic principle “as above, so below” to the principle “everything in everything”. This principle turns out to be the most important for contemporary poetry. Blake’s paintings and drawings have become a part of Russian book culture: the famous engraving of the Creator God with a compass “The Ancient of Days” is often used in book graphics; the Moscow conceptualist Viktor Pivovarov, the author of samizdat, admitted that Blake inspired him with his experience in book printing. Blake’s influence can also be seen in the works of contemporary sculptor Alexander Kudryavtsev (1938–2011), namely, his ceramic fresco “The Creation of the World”. Thus, Blake, who came, among others, through the work of The DOORS and Jarmusch’s Dead Man, plays a significant role in the space of contemporary Russian literature. In these terms, the most significant of his works are “Songs” and “The Marriage of Heaven and Hell”, as well as mystical revelations of prophetic poems and his creative life of a genius unrecognized during his lifetime in general.
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Mahmood, Karzan A. "The Sublime." Koya University Journal of Humanities and Social Sciences 4, no. 1 (June 30, 2021): 76–85. http://dx.doi.org/10.14500/kujhss.v4n1y2021.pp76-85.
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This paper aims at analysing the concept of the sublime, which is a pioneering concept of the English Romantics poetry, in relation to the French revolution in the works of Edmund Burke. Burke, unlike all other thinkers who view sublimity as a delightful and elevating feeling, perceives sublimity as an element of dangerous and terrifying incidents and objects mainly in relation with the great incident of the French Revolution. Hence, the paper concentrates on that essential metamorphosis in the content of the concept from progression to regression in the concept of sublime. Burke himself witnessed the revolution in France and propounded his philosophical viewpoints revolving around the notion of the sublime. He contended that the sublimity is whatsoever that brings about terror or is what terrifies the subjects. From this, he concluded that the French revolution was sublime because it was dangerous and threatened the natural laws and order, religion and God’s genuine sublime, traditions and constitution. In this paper, in addition, his ideas to illustrate sublime will ultimately, to some degree, be evaluated and criticised. The second part will be dedicated to demonstrating the aesthetics nature and aspect of the concept of the sublime. While the third part will display the relation of the concept, the way it is exhibited in chapter two, in relation to the great revolution in France.
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Albeck, Gustav. "Har Grundtvig-Selskabet forsømt Digteren Grundtvig?" Grundtvig-Studier 39, no. 1 (January 1, 1987): 29–44. http://dx.doi.org/10.7146/grs.v39i1.15982.
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Has the Grundtvig Society Neglected Grundtvig the Poet?By Gustav AlbeckThis paper, also read to the annual Conference of the Grundtvig Society, involved a detailed survey of the literature on Grundtvig as a poet, both before and after the foundation of the Grundtvig Society. Initially the three grundtvigians Frederik Nielsen, Frederik Rønning and Holger Begtrup were dwelt on, and next the chapter on Grundtvig in Vilhelm Andersen’s Illustreret Dansk Litteraturhistorie III is mentioned along with Hans Brix’s account in Danske Digtere and the important monographs on Grundtvig by Edvard Lehmann, the historian of religion, and Hal Koch, the ecclesiastical historian, which books have little to say about Grundtvig the poet. Indeed, as Albeck points out, for long Grundtvig was not rated on the literature exchange of Copenhagen. To Brandes he was nothing but a pest, though he recognized that he ranked among the giants of Danish intellectual life. H. S. Vodskov, the critic, was among the first to afford Grundtvig recognition, as did L. C. Nielsen, the poet. It is, however, Paul V Rubow, who as a professor of literature called for research on Grundtvig based on true scholarship that might bring to light new knowledge about Grundtvig, and particularly about the poet.Albeck claims that research on Grundtvig already began in the Thirties with minor contributions by Emil Frederiksen and Magnus Stevns. Owing to the German occupation 1940-1945, however, the interest in Grundtvig increased, and in 1947 the Grundtvig Society (hereinafter GS) was founded by a group numbering as many literary scholars as theologians. The registration of Grundtvig’s unpublished papers, running to thirty volumes, was completed 1956-1964, the feat of a team-work including philologists and theologians, which had the support of the GS and the Danish Society for Language and Literature. Scholars in the humanities were in special pursuit of papers that might throw light on Grundtvigs profane work, and particularly his poetry. An edition of Grundtvig’s diaries and books of excerpts, undertaken by Gustav Albeck and published in colloboration with the Danish Society for Language and Literature, was one achievement, but so far one has not succeeded in bringing out a complete edition of Grundtvig’s letters. Chr. Thodberg has published the bulk of Grundtvigs sermons. But Albeck misses studies of Grundtvig’s poetry after Helge Toldberg’s doctoral thesis. The poet Poul Borum’s book on “Grundtvig The Poet” (1983) he considers an exception, while pointing to Flemming Lundgreen Nielsen, Det handlende ord (1980). Particularly Albeck regrets the omission of attention to Grundtvig as a poet in the book that was published in English, French and German by the Danish Society under the editorship of members of the GS for the Grundtvig Bicentenary in 1983. He does admit, though, that Grundtvig the poet, is present both in Flemming Lundgreen Nielsen’s chapter, “Grundtvig and Romanticism” and in Chr. Thodberg’s two chapters, “Grundtvig the Hymnwriter” and “Grundtvig the Preacher - the Poet in the Pulpit”.
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Mozammel Haque, Mohammad. "Sunil Gangopaddhaya’s ‘An Unsent Letter’: A Harrowing Outburst of Long Smothered Wail of a Lacerated Psyche." International Journal of Applied Linguistics and English Literature 9, no. 1 (January 31, 2020): 24. http://dx.doi.org/10.7575/aiac.ijalel.v.9n.1p.24.
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The statement that the poets are born after their death is universally known. There is hardly any writer who writes the criticism of his writings. They are the critics who criticize their works. It can be said that the writer himself may have only a single idea or message when he produces his piece of writings, but the critics have different views on the same work. Even one critic sometimes innovates miscellaneous ideas and messages from the same poetry, play, novel, short story, fiction, non-fiction etc. Furthermore, a post- colonial critic always tries to find the message of his area of study even in the writers of Anglo Saxon, Middle English, Romantic or Victorian era. A romanticist finds his theme in the writings of other periods. Similarly, a fan of feminism attempts to discover the messages related to females in the writings he studies. In the same way, the author of this paper, because of his being a writer for those who find themselves trapped in the social four walls, and who have no control over the situations around them, focuses on how Sunil Gangopaddhaya, in his short lyric titled ‘An Unsent Letter’, has picturesquely delineated the indescribable plight, predicament and quandary of a sub-continental girl who has been sold to a brothel for six thousand rupees. The paper also, besides showing how the women are neglected, abandoned, deserted and ignored in the male-chauvinistic society, emphasizes to show the real backdrop of the women in the society the poet lives.
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Watson, J. R. "Victorian Poetry. Poetry, Poetics, Politics." English 42, no. 174 (September 1, 1993): 282–85. http://dx.doi.org/10.1093/english/42.174.282.
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Sen, Sudeep. "Recent Indian English Poetry." World Literature Today 74, no. 4 (2000): 783. http://dx.doi.org/10.2307/40156088.
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Attridge, Derek. "Rhythm in English Poetry." New Literary History 21, no. 4 (1990): 1015. http://dx.doi.org/10.2307/469197.
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Thornton, R. K. R., and Tim Kendall. "Modern English War Poetry." Modern Language Review 103, no. 4 (October 1, 2008): 1119. http://dx.doi.org/10.2307/20468059.
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Sullivan, J. P. "Martial and English Poetry." Classical Antiquity 9, no. 1 (April 1, 1990): 149–74. http://dx.doi.org/10.2307/25010924.
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Perry, John Oliver, and Makarand Paranjape. "Indian Poetry in English." World Literature Today 68, no. 3 (1994): 635. http://dx.doi.org/10.2307/40150579.
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Gagen, Derek. "Lorca and “English” poetry." Journal of Iberian and Latin American Studies 5, no. 2 (December 1999): 161–72. http://dx.doi.org/10.1080/13507499908569492.
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Клещина and Natalya Kleshchina. "Poetry in Teaching English." Socio-Humanitarian Research and Technology 4, no. 1 (March 17, 2015): 41–43. http://dx.doi.org/10.12737/10324.
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English poetry plays an important role in teaching English
as personal focused approach application method. This paper
considers the poetry value and poetry teaching purposes, such as
learner’s increase of cultural and intercultural awareness and pronunciation
skills. The poetry can be also used in teaching grammar,
lexis, reading and translation. In conclusion this work offers some
ways for effective use of poetry in teaching English.
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DeWeese, Christopher. "Poetry." English: Journal of the English Association 66, no. 253 (2017): 124–25. http://dx.doi.org/10.1093/english/efx006.
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Кузуб, Алёна Владимировна. "J. BRODSKY’S ENGLISH POETRY IN ENGLISH CRITICS." Tomsk state pedagogical university bulletin, no. 5(211) (September 7, 2020): 181–91. http://dx.doi.org/10.23951/1609-624x-2020-5-181-191.
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Введение. Рассматриваются высказывания в адрес оригинальной англоязычной поэзии И. Бродского, сделанные англоязычными критиками, поэтами и переводчиками. Все высказывания разделены на группы согласно географической, лингвистической и профессиональной принадлежности их авторов. Большинство характеристик в адрес английских стихов Бродского носят ситуативный, несистемный характер, представляя собой разрозненные высказывания. Объединяет их то, что многие даже самые ярые сторонники английской поэзии Бродского вынуждены отмечать некоторые шероховатости использования им языка, стилистические несуразицы и излишнюю «русскость» английских стихов поэта. Цель статьи – систематизация и критическая оценка подобных высказываний, носящих ситуативный и несистемный характер. Материал и методы. В качестве материала исследования выступили высказывания зарубежных исследователей и поэтов, касающиеся оригинального англоязычного поэтического творчества Бродского, встречающиеся в многочисленных интервью и книгах, посвященных жизни и творчеству поэта. Предметом исследования становится рецепция англоязычных стихотворений Бродского носителями языка. Были использованы методы фронтального анализа и контент-анализа, сравнительный метод. Результаты и обсуждение. Английские стихотворения Бродского до сих пор являются малоизученными, исследователи обходят стороной этот важный пласт творчества поэта, который, однако, может помочь достроить картину эстетического мышления автора до ее логической завершенности. В то время как исследователи традиционно концентрируются на русской поэзии, англоязычной прозе и (авто)переводах Бродского, в фокус данной статьи попадает англоязычная оригинальная поэзия автора – феномен, нуждающийся в более глубоком осмыслении. В работе классифицируются причины обращения Бродского к английскому языку, которые можно разделить на три группы: эстетические, утилитарные, лингвистические. Отношение Бродского к своим английским стихотворениям было непростым. Создание оригинальных поэтических текстов на английском для него было сродни так называемой игре в стихосложение с использованием иного лингвистического инструментария. Он видел в английском стихосложении возможность рифмовать краткосложные лексемы английского языка в различных комбинациях, использовать невозможные в русском языке ритмико-синтаксические структуры, экспериментировать с просодией. Одна из самых больших претензий к английским поэтическим текстам Бродского – некорректное использование им английских идиоматических единиц. По мнению даже большинства доброжелательных критиков, английская идиоматика стихов Бродского бывала проблематична. Многие отмечают взаимопроникаемость и взаимообусловленность русского и английского языков в поэтическом творчестве Бродского. Некоторые находят подобное явление неприемлемым, другие считают это уникальным стилем поэтики двуязычного автора. Заключение. Сделан вывод о том, что Бродский являлся носителем двух национально-языковых культур и литератур: русской и английской. При всем разночтении мнений критиков и поэтов, подавляющее большинство из них касаются исключительно лингвистического уровня оригинальных англоязычных стихотворений Бродского, ни один из критиков или высказывающихся по этому вопросу поэтов не обращается к эстетическому уровню анализа английских стихов автора. Будущее исследование предполагает ответить на вопрос: остается ли мироощущение Бродского русским и в его английской поэзии или оно меняется вслед за языком? Introduction. The article focuses on different statements concerning Joseph Brodsky’s original English poetry made by English and American critics, poets and translators. Aim and objectives. The paper aims to classify, systematize and critically value those statements, which can be described as occasional and unsystematic. Material and methods. The research is based on statements concerning Brodsky’s original English poetical works made by foreign English-speaking philologists, critics and poets. All the statements are found in variety of different interviews and books dedicated to Brodsky’s life and work. The methods used in the research are as follows: frontal analysis and content analysis, comparative method. Results and discussion. Brodsky’s English verses are yet to be studied as for researchers neglect such an important component of Brodsky’s works, which however is to help construct the whole picture of one’s esthetic thinking to its logical whole. As long as philologists traditionally concentrate on Brodsky’s Russian verses, English essays and (self) translations, this paper addresses Brodsky’s original English poetry as a phenomenon craving for deeper scientific understanding. The article brings the light on the reasons determined Brodsky’s turn toward English which can be divided into three groups: esthetic, utilitarian and linguistic ones. Brodsky’s attitude towards his own English verses was complicated. Creating original English poetical texts was like so-called play in versification and prosody with the using of new linguistic tools. He admitted in English prosody ability of rhyming short English lexical elements in broad variety of possible combinations, using impossible in Russian rhythmical and syntactic structures, experimenting with prosody. The paper provides review of statements addressing Brodsky’s original English poetry. All the statements are divided into groups according to geographical, linguistic and professional areas of the authors they were made by. The majority of studying statements are occasional and unsystematic, united however with some same features. Even supporters of Brodsky’s English poetry were forced to mention a bunch of imperfections in Brodsky’s English, stylistic mistakes and too Russian being of his English verses. One of the main grievance about Brodsky’s English verses is his incorrect using of English idiomatic elements. Many underline interferential and interconditional nature of English and Russian languages in Brodsky’s verses. Some consider this feature to be unacceptable, others as a unique style of bilingual author. Conclusion. Finally the article concludes that Joseph Brodsky was a two-cultured and two-language representative: Russian and English. Despite all the deviation in opinion of critics, poets and translators, the majority of them focus solemnly on linguistic level of Brodsky’s English verses. It’s worth noticing the lack of esthetic interpretation of Brodsky’s English poetry. The upcoming research can provide an answer to a question: does Brodsky’s world view remain the same in his English poetry or did it change subsequent to the language?
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