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Journal articles on the topic 'Gothic poetry'
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1
Thomson, Douglass H. "Mingled Measures: Gothic Parody in Tales of Wonder and Tales of Terror." Articles, no. 50 (June 5, 2008): 0. http://dx.doi.org/10.7202/018143ar.
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Abstract Labeled by Louis Peck a “bibliographical hazard,” Tales ofTerror has long suffered from two misrepresentations: 1) it has been frequently attributed to M.G. Lewis, although no external evidence exists to support the claim; and, somewhat paradoxically, 2) it has been dismissed as a mere burlesque of Lewis’s Tales of Wonder, despite the fact that the majority of its poems treat Gothic themes in a serious manner. The parodic spirit pervading Tales of Wonder stems in part from Lewis’s attempt toanticipate and defuse critical alarm about his Gothic works. The writers of Tales of Terrorcarry on this double-edged treatment of the Gothic, especially in the volume’s“Introductory Dialogue” between a defender and opponent of Gothic poetry. Thedestabilizing presence of a satiric voice in ballads specifically selected for their recoveryof a more forceful, authentic, and native idiom of poetry also raises an interestingsecondary question: whether Gothic ballads can be free of the ironic consciousness theywere originally and ostensibly designed to exclude.
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Aguirre, Manuel. "‘Thrilled with Chilly Horror’: A Formulaic Pattern in Gothic Fiction." Studia Anglica Posnaniensia 49, no. 2 (2015): 105–23. http://dx.doi.org/10.2478/stap-2014-0010.
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Abstract This article is part of a body of research into the conventions which govern the composition of Gothic texts. Gothic fiction resorts to formulas or formula-like constructions, but whereas in writers such as Ann Radcliffe this practice is apt to be masked by stylistic devices, it enjoys a more naked display in the–in our modern eyes–less ‘canonical’ Gothics, and it is in these that we may profitably begin an analysis. The novel selected was Peter Teuthold’s The Necromancer (1794)–a very free translation of K. F. Kahlert’s Der Geisterbanner (1792) and one of the seven Gothic novels mentioned in Jane Austen’s Northanger Abbey. There is currently no literature on the topic of formulaic language in Gothic prose fiction. The article resorts to a modified understanding of the term ‘collocation’ as used in lexicography and corpus linguistics to identify the significant co-occurrence of two or more words in proximity. It also draws on insights from the Theory of Oral-Formulaic Composition, in particular as concerns the use of the term ‘formula’ in traditional epic poetry, though again some modifications are required by the nature of Teuthold’s text. The article differentiates between formula as a set of words which appear in invariant or near-invariant collocation more than once, and a formulaic pattern, a rather more complex, open system of collocations involving lexical and other fields. The article isolates a formulaic pattern—that gravitating around the node-word ‘horror’, a key word for the entire Gothic genre –, defines its component elements and structure within the book, and analyses its thematic importance. Key to this analysis are the concepts of overpatterning, ritualization, equivalence and visibility.
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DeVirgilis, Megan. "Hearth and Home and Horror: Gothic Trappings in early C20th Latin American Short Fiction." Gothic Studies 23, no. 2 (2021): 201–16. http://dx.doi.org/10.3366/gothic.2021.0094.
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The Gothic short form in Latin America has yet to receive focused scholarly attention. Yet, despite no early Gothic novel tradition to speak of, the Gothic mode emerged in poetry and short fiction, representing particular anxieties and colonial/postcolonial realities specific to the region owing in part to a significant increase in periodicals. Focusing on two case studies – Clemente Palma's ‘La granja blanca’ (Peru, 1904) and Horacio Quiroga's ‘El almohadón de plumas’ (Uruguay, 1917) – this article will explore how Latin American authors classified as modern, modernista, and criollista were experimenting with Gothic forms, adapting the design of the traditional Gothic novel to intensify its effect and reach a wider readership. Demonstrating a particular influence of Poe, a unity of effect is created, one that suggests that the home is a place of horrors, not comfort, and the uniquely horrifying settings and plot ultimately challenge established moral codes and literary tendencies.
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Mathison, Hamish. "Gothic Poetry in Scotland: The Ghaistly Eighteenth Century." Gothic Studies 14, no. 1 (2012): 34–46. http://dx.doi.org/10.7227/gs.14.1.6.
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Nakhlik, Yevhen. "POETICS OF EVHEN MALANIUK’S IMAGERY." Polish Studies of Kyiv, no. 35 (2019): 243–51. http://dx.doi.org/10.17721/psk.2019.35.243-251.
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The article examines a peculiar feature of the poetry by Evhen Malaniuk — the poetics of reiteration (in various versions) of certain images and tropes. Particular attention is paid to the semantic nests: metal (primarily iron), fire, blood, wind, storm, haze, distance (especially boundlessness, abyss and their time equivalent — eternity). The intertextual, geographical, historical-biographical and autopsychological genesis of modified semantic signs has been considered. The image variability is characteristic for E. Malaniuk (as for A. Pushkin and T. Shevchenko); to a great extent Malaniuk is a variational poet. In addition to external intertextuality, his poetry is characterized by internal intertextuality: autoreminiscences, imagery modifications, variants of repetitive images and tropes. Malaniuk’s interest in Gothic architecture generated in his poetry numerous tropes (epithets and metaphors), based on the semantics of Gothicism. At the same time, the determinant feature of Gothic structures – elongation above – was widely transferred to the plant world and anatomy of man, similarly it was projected onto celestial sphere (visible from the earth), or served as the basis for building abstract spiritual, philosophical, historical and culturological images. Gothicism can be defined as the dominant of Malaniuk’s spirit and poetic thinking – the direction to heavenly heights on the level of the spiritual impulse, and the semantics of imagery. Malaniuk was fascinated by the Catholic Gothic architecture, directed toward the sky and expressing the human impulse to God. He regretted that this strict style was not extending to Ukraine; there Baroque with its rounded, low forms was prevailing. There is a high probability that the most common in Malaniuk’s poetry semantic nests were to a certain extent reminiscent of the poetry of T. Shevchenko, P. Kulish, P. Tychyna, M. Rylskyi, M. Zerov, representatives of the «Prague School» Yu. Darahan, O. Stefanovych, Yu. Lypa, as well as other poets (A. Blok, Ju. Tuwim).
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Hervoche-Bertho, Brigitte. "SEMINAL GOTHIC DISSEMINATION IN HARDY’S WRITINGS." Victorian Literature and Culture 29, no. 2 (2001): 451–67. http://dx.doi.org/10.1017/s106015030100211x.
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I think I am one born out of due time, who has no calling here.* * *If way to the Better there be, it exacts a full look at the Worst.— Hardy, “In Tenebris II,” Poems of the Past and the PresentCRITICS HAVE TOO OFTEN dismissed the Gothic elements in Thomas Hardy’s writings as superficial trappings to be found mostly in his minor fiction.1 The aim of this article is to show that the diffusion of Gothic motifs in the whole of Hardy’s literary production is something both intentional and fruitful. The Gothic is indeed a vital part of Hardy’s artistic vision, and it adds to the aesthetic value of his works. His major novels and his poetry are as rife with Gothic lore as his early “minor” fiction.2 This propagation of Gothic elements is central to the dialectic between impregnation and dispersal contained in the etymology of the word “dissemination” (meaning both “sowing” and “scattering”).3
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Fernández Jiménez, Mónica, and David Punter. "The Dark Thread: An Interview with David Punter." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (2022): 202–15. http://dx.doi.org/10.37536/reden.2022.3.1835.
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 David Punter is the author of fifteen academic books, many of which revolve around gothic fiction. The Literature of Terror: The Gothic Tradition(vol. 1-2, 1996) is one of the most relevant manuals about the Gothic published so far. He is also the editor of ten academic volumes, and has taught at universities in different countries and even continents, the University of Bristol being the last one, where he was the research director for the Faculty of Arts. David Punter has also authored eight volumes of poetry and has published poems and short stories in various anthologies. He is also a writer and a poet, and his work can be found at david-punter.org.
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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 (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 (2018): 2339–44. http://dx.doi.org/10.35120/kij29082339n.
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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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Mazurkiewicz, Adam. "U źródeł gotycyzmu." Literatura i Kultura Popularna 25 (July 28, 2020): 533–36. http://dx.doi.org/10.19195/0867-7441.25.31.
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Polska ballada gotycka [The Polish Gothic Ballad] by Paweł Pluta, is one of a few, and one of the first complete case studies in Polish humanities whose reminiscence has had a huge impact on the shape of modern culture (not only popular culture).Pluta focuses on works created between 1771–1830. The author argues that the gothic ballad has its roots in literary communication, when the translations of Phillippe Habert’s Le Temple de la Mort (1633) (pp. 36–37) by Adam Stanisław Naruszewicz and Mateusz Czarnek were published. Pluta treats these first translations as the “beginning of literary Gothicism in Poland” (p. 37). In the institutional and ideological context, it is a significant statement, as Habert was a part of the Académie des Illustres Bergers group which gathered writers fascinated by pastoral poetry. Thus, such a choice of inspirations of the Polish “gothic poets” makes it possible for Pluta to combine the two types of gothic ballad, one related to horror and the other to history. On the other hand, in the context of importance of 1830, the author alleges the opinion of Zyg-munt Krasiński from 1831 (p. 194); it seems all the more important, as in his youth the writer created gothic horror stories (for instance his debut Grób rodziny Reichstalów [The Tomb of the Reichstal Family] 1828, Mściwy karzeł i Masław książę mazowiecki [The Vindictive Midget and Masław the Mazovian Prince] 1830). It is important to remember that the gothic imaginarium (especially its hor-ror kind) permeated to lyric poetry and other genres (e.g. verse novel) and still left room for creative potential. Thus, the year 1830 marks not the end of some of tendencies, but rather their turning point. It is worth mentioning Pluta’s monograph published by The Institute of Literary Research; its bibliography is not listed in alphabetical order but in a chronological one and the dates of the first edi-tions of each source are included. This indicates not only the scientific meticulousness of the publisher, but also the awareness that in the times of the internet and easy access to library and archival resources, the reader may wish to study not only the modern editions of a given text, but also the original.
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Chow, Jeremy. "Snaking into the Gothic: Serpentine Sensuousness in Lewis and Coleridge." Humanities 10, no. 1 (2021): 52. http://dx.doi.org/10.3390/h10010052.
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This essay charts the ways late-eighteenth-century Gothic authors repurpose natural histories of snakes to explore how reptile-human encounters are harbingers of queer formations of gender, sexuality, and empire. By looking to M.G. Lewis’s novel The Monk (1796) and his understudied short story “The Anaconda” (1808), as well as S.T. Coleridge’s Christabel (1797–1800), I centre the last five years of the eighteenth century to apprehend the interwoven nature of Gothic prose, poetry, and popular natural histories as they pertain to reptile knowledge and representations. Whereas Lewis’s short story positions the orientalised anaconda to upheave notions of empire, gender, and romance, his novel invokes the snake to signal the effusion of graphic eroticisms. Coleridge, in turn, invokes the snake-human interspecies connection to imagine female, homoerotic possibilities and foreclosures. Plaiting eighteenth-century animal studies, queer studies, and Gothic studies, this essay offers a queer eco-Gothic reading of the violating, erotic powers of snakes in their placement alongside human interlocutors. I thus recalibrate eighteenth-century animal studies to focus not on warm-blooded mammals, but on cold-blooded reptiles and the erotic effusions they afford within the Gothic imaginary that repeatedly conjures them, as I show, with queer interspecies effects.
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Bobbitt, Elizabeth. "Ann Radcliffe’s Post-1797 Imagination: Edwy: A Poem, in Three Parts and the Topographical Gothic." Essays in Romanticism: Volume 29, Issue 1 29, no. 1 (2022): 69–88. http://dx.doi.org/10.3828/eir.2022.29.1.5.
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This essay considers how Ann Radcliffe’s post-1797 texts, posthumously published in 1826 almost thirty years after The Italian (1797), marks a new and significant shift in Radcliffe’s later imagination. Through this collection of prose, narrative poetry, and lyric verse, Radcliffe re-examines the Gothic as a genre which is fascinated with Britain’s national past, both in terms of the architectural remains of the nation’s history, and the texts which commemorate or interrogate such pasts. In investigating how Radcliffe responds to a contemporary revival in interest in Britain’s early heritage, this essay focuses on Radcliffe’s little-known fairy poem, entitled Edwy: A Poem, in Three Parts, set on the grounds of Windsor Castle. Edwy represents Radcliffe’s movement towards a self-conscious examination of her own Gothic topographies, in which she shifts to a specific representation of the sites of Britain’s national past, complicated by the inherent violence of their Gothic legacies.
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Laycock, Deborah. "Gothic Evolutions: Poetry, Tales, Context, Theory ed. by Corinna Wagner." Eighteenth-Century Studies 49, no. 2 (2016): 309–11. http://dx.doi.org/10.1353/ecs.2016.0001.
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Khan, Farkhanda Shahid. "A Critical Exploration of Fear and Loathing in Selected Romantic Fiction." Journal of English Language, Literature and Education 4, no. 3 (2023): 69–94. http://dx.doi.org/10.54692/jelle.2023.0501155.
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Gothic is a twisting lens, an amplifying mirror; however, the pictures it shows to us have authenticity, and cannot be grasped in ordinary forms. At the end of the 18th and beginning of the 19th centuries, this genre was the only truthful alternative for psychology and the historical sciences, the only method to reach and understand those fierce territories where penetration of knowledge was restricted or late. Romantic writers broadened the range of gothic positively whilst providing a greater understanding of the connections between terror and other aspects, violence, spectatorship, the body, imagination, and cultural politics of emotions. Including Graveyard Poetry, the subtle and the sublime, and sentimentalism, the origin of the Gothic goes parallel to the origins of the novel. Furthermore, the research also unveils that my selected writers, by using the elements of fear and loathing have manifested people’s double standards, who want to rule the world by not giving space to other creatures; nonetheless, want to use other creatures for their benefit and ease. Keeping in a trial the scholarship on gothic theory given by David Punter and Aristotle’s view of tragedy this qualitative study critically examines the selected Romantic texts to trace the elements of fear and loathing bringing horror for some and tragedy for others.
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Humble, Nicola. "The Poetry of Architecture: Browning and Historical Revivalism." Victorian Literature and Culture 25, no. 2 (1997): 225–39. http://dx.doi.org/10.1017/s1060150300004757.
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In book five ofsordello(1840), Browning images the process of historical change in architectural terms. History is a building to be destroyed and rebuilt by successive generations:… at his arm's wrench,Charlemagne's scaffold fell; but pillars blenchMerely, start back again — perchance have beenTaken for buttresses: crash every screen,Hammer the tenons better, and engageA gang about your work, for the next ageOr two, of Knowledge, part by Strength and partBy Knowledge! (5: 221–28)The metaphor engages with the nineteenth century's great preoccupation with the historically-determined nature of architectural form — its sense that, as Owen Jones declared in 1856, “architecture is the material expression of the wants, the faculties, and the sentiments, of the age in which it is created” (5). The Classical-Gothic opposition that structured most contemporary debates about aesthetic value in architecture is economically encapsulated by Browning in the mutation of the collapsed Classical pillars into Gothic buttresses. It is the economy of the reference that indicates Browning's easy familiarity with those contemporary architectural debates. He makes use of architectural images and ideas in a number of poems, a fact that has gone relatively unremarked in Browning studies. The theme occurs throughoutSordelloand is a major element in “Old Pictures in Florence” and “Bishop Blougram's Apology.” His interest in architecture, I contend, derived, like that of most of his contemporaries, from his preoccupation with history. I intend to examine the precise manifestation of that interest and the ways in which he illuminated, synthesized, and rejected elements of the architecture debates, which reveal much about the particular nature of his concern with history.
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CONNELL, PHILIP. "BRITISH IDENTITIES AND THE POLITICS OF ANCIENT POETRY IN LATER EIGHTEENTH-CENTURY ENGLAND." Historical Journal 49, no. 1 (2006): 161–92. http://dx.doi.org/10.1017/s0018246x0500508x.
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This article examines the scholarly recovery and popular reception of ‘ancient poetry’ in later eighteenth-century England, with a view to elucidating the relationship between cultural primitivism and more overtly politicized discourses of national identity. The publication of the poems of Ossian, in the early 1760s, gave a new prominence to the earliest cultural productions of Celtic antiquity, and inspired the attempts of English literary historians, such as Thomas Percy and Thomas Warton, to provide an alternative ‘Gothic’ genealogy for the English literary imagination. However, both the English reception of Ossian, and the Gothicist scholarship of Percy and Warton, were complicated by the growing strength of English radical patriotism. As popular political discourse assumed an increasingly insular preoccupation with Saxon liberties and ancient constitutional rights, more conservative literary historians found their own attempts to ground English poetic tradition in some form of Gothic inheritance progressively compromised. The persistence of ancient constitutionalism as a divisive element of English political argument thus curtailed the ability of Gothicist literary scholarship to function as an effective vehicle for English cultural patriotism.
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Zubkov, Nikolai N. "The Style of the 18th Century German Poetry Book." Observatory of Culture 18, no. 6 (2021): 638–47. http://dx.doi.org/10.25281/2072-3156-2021-18-6-638-647.
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The article considers a question mainly unexplored — the history of German book art of the 18th century. There are outlined the main trends in the evolution of German books and highlighted their stylistic varieties. The “archaic” style, inherited from the 17th century, has its characteristic disharmony, rough types, and eclectic ornamenting. It remains relevant until the 1770s. From the 1730s, a style called here the “Leipzig classic” strives to overcome the limitations of the archaic. Its development is related to the partnership of the poet J.C. Gottsched and the publisher B.K. Breitkopf, and to the short period in German literature when classical standards prevailed. Probably, the Leipzig publishers’ practice directly affected the Russian book style of the third quarter of 18th century. In the 1750s, the literary program of the writer J.J. Bodmer and the circle of Zurich writers, opponents of J.C. Gottsched, fused with the publishing program associated with an attempt of some fundamental reforms. Bodmer himself, and later the poet Salomon Gessner, were co-owners of the largest Zurich publishing company. Through that, the original “Zurich” style appeared, heralding the future book “empire” style. Its most characteristic features are the Roman-faced type instead of the Gothic type and the lack of ornamentation. The end of the century typography is marked by some further evolution of the “Leipzig classic” style, the Gothic type standardization, and later the Roman-faced type standardization as well (“Walbaum” type). Consequently, German books of the 18th century represent a complex and uneven evolution, with huge regional differences and directly or indirectly related to the development of national literature, which is a phenomenon that cannot be observed in other European countries.
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Kuhon, Fiola. "Symbolism in Poe's "The Haunted Palace"." Academic Journal Perspective : Education, Language, and Literature 6, no. 2 (2018): 89. http://dx.doi.org/10.33603/perspective.v6i2.1477.
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ABSTRACTPoetry always has a unique charm that captivates and draws the reader into its figurative world. One of the most interesting charm is symbolism used by the poet, in one single word lays a deeper explanation beyond what is perceptible by the eyes. Therefore, the aim of this research was to reveal the symbolism in “The Haunted Palace”, a gothic-themed poetry written by a well-known poet Sir Edgar Allan Poe. Having analyzed this poetry, the writer later found that Poe’s “The Haunted Palace” has some unique symbols used by the poet himself. Despite of writing long and descriptive lines, the poet chose appropriate symbols that lead the readers to think and conjecturing more deeply. Every symbol used in “The Haunted Palace” represents simplicity, authenticity and brilliancy of Poe himself. Thus, a symbolism holds a very important role of poetry. It is not only pleasantly presented but also elucidating things beyond its literal substance. It proves that Poe’s “The Haunted Palace” is pleasant to be read but difficult to be interpreted.Keywords: poetry, symbolism, The Haunted Palace, Edgar Allan Poe
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Gallagher, Mary. "Baudelaire's Creole Gothic : A Postcolonial Afterlife for Les Fleurs du mal." Irish Journal of French Studies 21, no. 1 (2021): 10–34. http://dx.doi.org/10.7173/164913321833983033.
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Baudelaire’s verse poetry is informed by a pervasive Creole Gothic resonance. Two separate but related topoi, the Undead and the Living Dead, lie at the heart of the collection’s necrological imaginary of slave and zombie labour. It is this Gothic double-trope of death-in-life/life-in-death that activates the Gothic Creole strain running through Les Fleurs du mal. Ironically, those poems that seem to evoke most directly the Creole world that Baudelaire encountered in 1841, firstly in Mauritius and then in Réunion, avoid all evocation of plantation slavery. Conversely, the city poems associate modern metropolitan life with the idea of slavery, representing it as a living death and death as a merely temporary and reversible escape. The collection’s representation of this ‘living death’ foreshadows the construction (by Orlando Patterson, most notably) of transatlantic chattel slavery as ‘social death’. As for the poetic representation of the ‘Undead’, this centres on the figure of the zombie. The zombie is essentially a slave for whom death has proved no guarantee against an endless ‘living death’ of hard labour. If the Creole inflection of Baudelaire’s imagery relates primarily to the realities of industrialized plantation labour and to the chattel slavery on which it was based, it is further reinforced by indices of tropical localisation and of racial difference, more specifically pigmentation. However subliminal its resonance, this Creole Gothic strain guarantees for Baudelaire’s Fleurs du mal a vivid postcolonial afterlife.
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Hawkins, Peter S. "All Smiles: Poetry and Theology in Dante." PMLA/Publications of the Modern Language Association of America 121, no. 2 (2006): 371–87. http://dx.doi.org/10.1632/003081206x129602.
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The greatest master of the “Gothic smile” was not one of the anonymous visual artists who made saints and angels beam in the mid-thirteenth century; rather, it was Dante. Smiling is the hallmark of the presumably “sage and serious” poet and a sign of his distinctive originality as a Christian theologian. While this is true as early as La vita nuova and the Convivio, the Commedia shows how Dante journeys toward the beatific vision of God through the smile (on the faces of Vergil, Beatrice, and others). Sorriso/sorridere and riso/ridere–as noun or verb, and apparently interchangeable in meaning–appear over seventy times in the poem, in a wide variety of contexts: twice in Inferno, on more than twenty occasions in Purgatory, and double that number in Paradiso. As he develops the poem, Dante uses the smile to express the unique individuality not only of the human being but also of the triune God. (PSH)
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Oxenchuk, Vera N. "Western European Gothic Motives in the Romantic Poetry by V. A. Zhukovsky." Art Logos, no. 4 (2022): 26–36. http://dx.doi.org/10.35231/25419803_2022_4_26.
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Ólafsdóttir, Karólína Rós. "Black Feathers and Poison Wine Decadent Aesthetics in Davíð Stefánsson’s Poetry." LEA - Lingue e Letterature d'Oriente e d'Occidente 6 (April 18, 2024): 61–79. http://dx.doi.org/10.36253/lea-1824-484x-15114.
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Davíð Stefánsson (1895-1964) is a poet whose work marks a turning point in early twentieth-century Icelandic literature. This essay offers five new English translations from his first collection Black Feathers (Svartar Fjaðrir,1919) and introduces a new decadent perspective. Decadence is widely regarded as flourishing in emergent modern societies, but, as this essay shows, its influence extended beyond western Europe. Written in a remote place, Stefánsson’s decadence speaks to an aesthetic of emptiness and atemporality. These poems broaden our conception of decadence and evidence a rich cultural hybridity, showing the influence of various traditions including symbolism, the Gothic, folk-songs, and decadence.
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Murad, Ibrahim A. "Non-Dualism: Thanatos and Eros in Edgar Allan Poe’s Poetry." Twejer 4, no. 1 (2021): 1193–208. http://dx.doi.org/10.31918/twejer.2141.27.
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The life drive and its seemingly opposite, death drive, are inherent powers in man’s mind and psyche since the beginning of life on earth and will last for life. These powers, therefore, draw a great deal of attention in every aspect of life, the social, scientific, philosophical, and literary fields being the most prominent among them. The study is an attempt, through three sections and a conclusion, to elucidate the range of the interrelations between the two powers through several poetic works of the American gothic writer and poet Edgar Allan Poe (1809-1849). It is supposed that for him as well, they could be complementary power drives. After critical analyses of extracts of some of his poems, the study concludes some main points, the most prominent of which is that Eros and Thanatos complete each other in many of Poe’s poems. The study used some newly disclosed up-to-date sources about the poet’s life and works to help in coming up with valuable conclusions that can help researchers who may be interested in writing about this poet’s works and poems in the future. Keywords: instinct, power, Eros, complementary, elucidate, prominent, Poe
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Krasavchenko, Tatiana. "AT THE ORIGINS OF BRITISH GOTHIC: SHAKESPEARE’S TRAGEDIES TITUS ANDRONICUS AND MACBETH." Lomonosov Journal of Philology, no. 5, 2023 (October 23, 2023): 115–25. http://dx.doi.org/10.55959/msu0130-0075-9-2023-47-05-9.
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The study of the most ‘bloody’ Shakespeare’s dramas — his first tragedy Titus Andronicus (1588–1593, staged 1594) and the last of his four great tragedies, Macbeth (1606) — makes clear the presence and gradual sophistication of the gothic vector in his work, and reveals topoi that have become universals of Gothic literature. Among them are horror as an inescapable component of human existence; evil and villains who violate the moral norm and the balance in society and nature; victim heroines; mysterious, supernatural element; demonized past; and most importantly — the theme of God and devil. Titus Andronicus is considered here in a new perspective as a ‘tragedy without a hero’ and as a gothic grotesque with elements of the comic, which are supposed to dilute the atmosphere of horror but only intensify it. Shakespeare retained the ‘horror aesthetics’ in Macbeth, a play about ‘the drug of power’, but he transferred the source of evil, that shakes society and nature, into the consciousness of man. The metaphysical view of life is strong in Shakespeare’s tragedies, but there is no single religious ideology as in the poetry of Dante. Poet, sensitive to various trends which fed the air of the early Modern period, Shakespeare conveyed the unsteady atmosphere of life in the late 16th — early 17th century. The sources of horror in his tragedies one can find in historical and literary tradition (Ovid, Seneca, chronicles), but first of all — in the social and cultural discourse of the epoch. Following the tradition of Shakespeare who was the key figure of English literary mainstream, Gothic authors of the late 18th — early 19th centuries (H. Walpole, A. Radcliffe, W. Beckford a.o.) legitimized their own, considered marginal, genre.
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Sáez, Adrián J. "Los godos de Lope (poesía, épica, novela)." JANUS. Estudios sobre el Siglo de Oro, no. 10 (January 25, 2021): 185–201. http://dx.doi.org/10.51472/jeso20211012.
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RESUMEN: El mito neogótico es fundamental en la obra de Lope de Vega, aunque habitualmente solo se estudia en el teatro. Este trabajo pretende examinar el sentido del goticismo en otras parcelas como la poesía, la épica y la novela, para tratar de ofrecer una visión panorámica del Lope godo. ABSTRACT: Neogothic myth is essential in Lope de Vega's work, even if usually it's been studied in theatre. This work aims to examine the presence and meaning of gothicism in other fields, such as poetry, epic and novel, in order to offer a panoramic vision of a gothic Lope.
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Luboń, Arkadiusz. "Brutalne wersy. Przemiany norm gatunkowych literackiego horroru a translatorskie strategie polskich popularyzatorów poezji grozy – przypadek antologii Roberta Stillera i Leszka Lachowieckiego." Przekładaniec, no. 46 (2023): 123–44. http://dx.doi.org/10.4467/16891864pc.23.008.17972.
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Violent Verses. Transformations of Horror Fiction and Translational Strategies of Polish Popularizers of Gothic Poetry – the Case Study of Anthologies by Robert Stiller and Leszek Lachowiecki The article discusses strategies used in translation of horror poetry in Polish anthologies of this genre in late 1980s and early 1990s when, thanks to political and social transformation, Western popculture with some of its characteristic features became available and popular in Poland. Comparative analysis of the selected translations collected in the volume Danse macabre (1993) by Leszek Lachowiecki, compared to their English, French or German originals (by Howard Phillips Lovecraft, Robert Frost, Richard Wilbur, Vachel Lindsay, Charles Baudelaire and Georg Heym) and earlier Polish versions by Robert Stiller (published in 1986), proves that the later variants amplify and/or introduce numerous lexical items denoting or connotating violence, fear and disgust. Thus, the techniques used by Lachowiecki – aimed at a brutalization of language and emphasising the themes of cruelty, terror and dread – can be perceived as an application of old-fashion style and means (typical for modernist or “Young Poland” literature) in order to adjust aesthetic standards used in poetry to broader cultural trends dominating in contemporary horror fiction.
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Lubas-Bartoszyńska, Regina. "Tłumaczka Aleksandra Olędzka-Frybesowa jako eseistka i poetka." Przestrzenie Teorii, no. 31 (December 6, 2019): 373–86. http://dx.doi.org/10.14746/pt.2019.31.20.
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This article presents the essays and poems of Aleksandra Olędzka-Frybesowa, who was a renowned translator from French and also English. In her essays, Olędzka-Frybesowa specialises in the Romanesque and Gothic architecture and sculpture of Western Europe as well as European painting from Medieval Ages onwards. She is also familiar with the art of South-East Europe. Her essays cover literary criticism devoted especially to poetry, with a particular interest in French and mystical poetry, as well as haiku, which was also her own artistic activity. The author of this article analyses Olędzka-Frybesowa’s ten volumes of poems, which follow a thematic pattern, especially the theme of wind (air). The analysis provides various insights into a variety of functions of this particular theme, from reality-based meanings to mystical and ethical features. This variety of funtions of the wind theme is supported by a particular melody of the poem and its abundant use of metaphors.
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Robbie B. H. Goh. "(M)Othering the Nation: Guilt, Sexuality and the Commercial State in Coleridge's Gothic Poetry." Journal of Narrative Theory 33, no. 3 (2003): 270–91. http://dx.doi.org/10.1353/jnt.2010.0000.
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Saglia, Diego. "Nationalist Texts and Counter-Texts: Southey's Roderick and the Dissensions of the Annotated Romance." Nineteenth-Century Literature 53, no. 4 (1999): 421–51. http://dx.doi.org/10.2307/2903026.
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This essay examines the complex relationship between poetry and notes in Southey's Roderick, the Last of the Goths (1814) and the ways in which this double textual structure bears upon the national narrative of the poem. Following the popular tradition of annotated metrical tales and oscillating between romance and epic, Southey's poem is shown to be a plural work in which the prose appendage complicates the seemingly clear celebration of the Spanish nation proposed by the poetry. The poetry, indeed, constructs Gothic Spain as a modern-day nation through an accumulation of characters, tales, and objects. In general, the notes support this nation-making project by creating an archeologically reliable history of the nation. Frequently, however, they also subvert this history by unmasking the manipulations and gaps of the nationalist narrative. The counter-text of the prose marginalia can therefore be said to function as a Derridean supplement and, moreover, as a historically localized set of discourses that both construct and disperse the nation. As remarked by one of Southey's first reviewers, this textual strategy constitutes a kind of "knowing style," a subversion of poetry by prose (and vice-versa), particularly significant at a time when the author was not only shifting from radical to conservative positions but also gradually abandoning poetry in favor of historiography. By focusing on the competing narratives of the Spanish nation in prose and verse, this essay provides an insight into Roderick as caught between the contradictory multiplicity of its discourse and the attempt to deliver an ideologically closed narrative.
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Demchenko, Aleksandr Ivanovich. "The edges of humanism of the Renaissance in the mid-13th – the mid-16th century: Part 1." Pan-Art 4, no. 2 (2024): 75–84. http://dx.doi.org/10.30853/pa20240011.
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The essay is dedicated to exploring the art and culture of the Renaissance period, heralding Modern times, spanning from the mid-13th to the mid-16th century. This part of the work highlights the artistic achievements of the Middle East during the specified period, particularly in architecture, poetry (including the rise of humanism). Turning to European culture, the author specifically addresses the art of the Orthodox world (primarily focusing on church painting and, to a lesser extent, on the Ancient Russian Znamenny chant), noting its influence on the currents of the Renaissance. The author delves into the Gothic style, somewhat contrasting traditional notions of the Renaissance period (a kind of “counterculture”), across its various manifestations in visual arts, music and literature. Special attention is given to the central part of Renaissance art, tracing its evolution from the Early Renaissance (masterpieces of sculpture in Gothic cathedrals) to the Proto-Renaissance (paintings and frescoes by Italian masters, the emergence of psychologism in painting, the literary movement of Dolce stile nuovо marking the transition from the Middle Ages to Modern times, Ars Nova in musical art). The exploration of this theme will continue in the next part of the essay.
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Zając, Grzegorz. "Sensationalism and Mystery in the Plot Constructions of Seweryn Goszczyński’s the Castle of Kaniów." Ruch Literacki 57, no. 6 (2016): 637–53. http://dx.doi.org/10.1515/ruch-2017-0092.
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Summary Seweryn Goszczyński’s The Castle of Kaniów (1828) has remained undeservedly in the shadow of a few other romantic verse-tales of the 1820s and 1830s, the heyday of that genre in Polish literary history. This type of epic poetry has a distinct preference for a non-linear, fragmented plot and a multi-level structure of presented world. However, the key note in the design of Goszczyński’s historical tales sensationalism, which determines the book’s artistic worth and its lasting attractiveness. Goszczyński knows how to employ a whole range of Gothic tricks and is also remarkably adept at using mystery to keep up dramatic tension in his tale of the Cossack uprising of 1768.
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Zalomkina, G. V. "ON THE WHOLENESS OF THE WRITER’S ARTISTIC WORLD (based on the texts by H. P. Lovecraft)." Culture and Text, no. 52 (2023): 19–32. http://dx.doi.org/10.37386/2305-4077-2023-1-19-32.
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The foundations of the wholeness of H. P. Lovecraft’s artistic world are revealed in the article. On the basis of plot and motif connections between separate texts, the writer constructs a mythology that uses the specifics of archaic thinking. The core of the system is the poetic cycle “Fungi from Yuggoth”: the thematic organization and symbolism of the sonnets manifest many similarities with prose texts. The interaction of poetic and prose components is of a synthetic nature and has forms of metrized prose, prose poetry, intertextual parallelism. The components of the artistic world are combined into an anti-anthropocentric theory of the indifferent universe, developed in hybrid genre coordinates of the Gothic and science fiction.
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Mamatov, Gleb M. "Motive of the music of the moon in the poetry by K. D. Balmont." Izvestiya of Saratov University. Philology. Journalism 22, no. 1 (2022): 78–83. http://dx.doi.org/10.18500/1817-7115-2022-22-1-78-83.
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In the article the motive of the music of the moon in K. D. Balmont’s poetry is researched on the material of his poems, prose and aesthetic articles. Its symbolic value and evolution in books of the early, mature and late periods are explored. The following conclusions are drawn. In the early lyric poetry of Balmont the moon is associated with the oxymoronic motive of the ‘sounding silence’. This motive is determined by the principal role of psychologism in the early poems of the symbolist, the ‘sounding silence’ emphasizes the state of the inner world of the hero, who is always detached from reality and is reflecting on the essence of life and death. The connection of the motive of the ‘sounding silence’ with gothic symbolic range is considered, which is characteristic for the first books by Balmont. In his mature lyrical poetry, the moon is associated with the theme of music, which has a lot of connotations. Firstly, the music of the moon correlates with the traditional motives of poetry and art. In the book Let’s be Like the Sun the world is on the line between lunar silence and melody of strings, which the poet uses to play his odes to the orb of the night. But in mature poetry in the books Only Love. Seven-color Flower, Liturgy of the Beauty. Hymns of the Elements and Sonnets of Sun, Honey and Moon. The song of worlds lunar music is connected with themes of fairy tale, magic, love, dream and phantasy, but at the same time with motives of the illusion, unfeasible reveries, death, specularity and ghostliness. Particular attention is paid to the connection between the motive of lunar music and the philosophy of music of the senior symbolist and his spontaneous mythology. No less important is the functioning of this motive in the poem The Moon, dedicated to the cosmogonic myth of the creation of the world, where moon music is related to the themes of archaic mythology and the motives of initiation, death, rebirth and transformation into a deity.
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Gabriel, Maria Alice Ribeiro. "Edgar Allan Poe: A Source for Miriam Allen Deford." Aletria: Revista de Estudos de Literatura 29, no. 2 (2019): 79–99. http://dx.doi.org/10.17851/2317-2096.29.2.79-99.
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The influence of Edgar Allan Poe on North American culture and literature is still a subject of debate in contemporary literary theory. However, Poe’s creative legacy regarding the writings of Miriam Allen Deford remains neglected by the literary critics. Deford’s fiction explored a set of literary genres, such as biography, science fiction, crime and detective short stories. Taking these premises as a point of departure, this article aims to identify similarities between “A Death in the Family” and some of Poe’s works. Drawing on studies by J. T. Irwin, James M. Hutchisson and others, the objective of this paper is to analyze passages from Deford’s tale in comparison with the poetry and fictional prose of Poe. The analysis suggests that Deford’s horror short story “A Death in the Family,” published in 1961, was mostly inspired by Poe’s gothic tales, detective stories, and poems.
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Friedrich, Michał. "Wielość masek w Masce Stanisława Lema. Źródła, konteksty, powinowactwa." Papers in Literature, `10 (July 30, 2022): 73–89. http://dx.doi.org/10.31648/pl.7856.
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The paper is devoted to The Mask (Maska) by Stanisław Lem, one of the best known short stories in the literary output of this Polish novelist. The main goal of the article is to discuss the intertextuality of this tale which evokes many contexts, ranging from mythology, through medieval and baroque poetry, to contemporary science fiction artworks. The Mask recognizes a large variety of problems, such as the definition of humanity, human gender and sexuality, as well as crucial emotions like love and the will to survive. Due to its catalogue of subjects, this short story can be interpreted on various levels and from the perspective of various methodological strategies. The texts of culture mentioned in the essay include: Jacek Dukaj’s Gothic, Ernst Theodor Amadeus Hoffmann’s The Sandman, Hans Rudolf Giger’s artworks, and Bjork’s music video All Is Full of Love.
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Dane, J. A. "The Typographical Gothic: A Cautionary Note on the Title Page to Percy's Reliques of Ancient English Poetry." Eighteenth-Century Life 29, no. 3 (2005): 76–96. http://dx.doi.org/10.1215/00982601-29-3-76.
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Zivkovic, Valentina. "Saint Tryphon’s reliquary casket in Kotor. A contribution to the study of the iconography." Zograf, no. 43 (2019): 185–96. http://dx.doi.org/10.2298/zog1943185z.
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The paper analyses late Gothic and early Renaissance imagery on the reliquary casket of Saint Tryphon kept in the Kotor Cathedral. The iconography of the torture and death scenes of the young martyr Tryphon, as well the representation of the architecture on the model of the town of Kotor in the hand of Saint Tryphon opens up the possibility of interpreting this reliquary in a historical context. The paper proposes an interpretation of the iconography of the scenes on the reliquary casket as part of the constructed memory of the Ottoman siege of Kotor under the command of kapudan pacha Hayreddin Barbarossa (1539) and the Venetian defense of the town. A similar way of creating memories through juxtaposing images of Turks, members of the Holy League and Kotor?s devotees under the protection of Saint Tryphon has been recorded in poetry, chronicles, and epistles.
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van Romburgh, Sophie. "Hyperboreo sono: An Exploration of Erudition in Early Modern Germanic Philology." Erudition and the Republic of Letters 3, no. 3 (2018): 274–313. http://dx.doi.org/10.1163/24055069-00303002.
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This essay aims to contribute to the reflection on practices for studying early modern erudition. Arguing that poetic thinking and sensitive engagement were intrinsic to the erudition of the learned Commonwealth, it explores how to read Septentrional philology as a lively practice impacted by the generative force of visualization. ‘Hyperborean’ sounds in an epigram by Joseph Justus Scaliger show erudite play in performance when considered conjointly with the ‘Getic’ poetry of Ovid, and rhyme in Bonaventura Vulcanius’s Literis getarum. Ole Worm and Francis Junius’s readings of runes as vivid scenes demonstrate the work of the ‘imagination’ (Phantasia), the process of visualization aimed for refined judgement theorized in Junius’s Pictura veterum. Their Rune Poem interpretations illustrate how visualization was tacit throughout their scholarship. Lastly, observations by Gerald Langbaine, Abraham Wheelocke, Melchior Goldast, Martin Opitz, and Junius (on Gothic) exemplify how each read for perspicuity – and how we may overlook these endeavors.
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Shires, Linda M. "HARDY'S MEMORIAL ART: IMAGE AND TEXT IN WESSEX POEMS." Victorian Literature and Culture 41, no. 4 (2013): 743–64. http://dx.doi.org/10.1017/s106015031300020x.
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Thomas Hardy noted regretfully: “Few literary critics discern the solidarity of all the arts” (Florence Hardy 300). An architect self-educated in art history by visits to London museums, an avid reader of John Ruskin, keenly alive to music and responsive to the ornamental sculpture and painting of Gothic buildings, Hardy believed in a composite muse. After ceasing to write novels, in which he had included numerous painterly allusions and references to specific art works, he overtly probed the image/text relation in his 1898 debut volume of poetry: Wessex Poems and Other Verses, by Thomas Hardy, with 30 Illustrations by the Author. Although a reading experience dependent upon the original aesthetic interplay that Hardy had designed was destroyed in most subsequent printings, the first edition's partnership of image and text remains absolutely central to the book's multiple meanings. Indeed, Hardy's images and words should be regarded as inseparable, since they interact in what W. J. T. Mitchell has called a “composite art form” (83, 89).
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Agnesdotter, Carina, Tanja Von Dahlern, Johanna Sjöstedt, et al. "Recensioner." Tidskrift för litteraturvetenskap 46, no. 1 (2016): 71–89. http://dx.doi.org/10.54797/tfl.v46i1.8803.
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Nicklas Hållén om WARWICK RESEARCH COLLECTIVECOMBINED AND UNEVEN DEVELOPMENT. TOWARDS A NEW THEORY OF WORLD-LITERATURELiverpool: Liverpool University Press, 2015 (196 s.)
 Maria Nilson om DAG HEDMAN & JERRY MÄÄTTÄ (RED.)BROTT, KÄRLEK, FRÄMMANDE VÄRLDAR. TEXTER OM POPULÄRLITTERATURLund: Studentlitteratur, 2015 (509 s.)
 Göran Rossholm om INGEBORG LÖFGRENINTERPRETIVE SKEPTICISM. STANLEY CAVELL, NEW CRITICISM, AND LITERARY INTERPRETATIONUppsala: Acta Universitatis Upsaliensis, 2015, 366 s. (diss. Uppsala)
 Ann Steiner om MOA MATTHIS”TAKE A TASTE”. SELLING ISAK DINESEN’S SEVEN GOTHIC TALES IN 1934Umeå: Institutionen för språkstudier, Umeå Universitet, 2014, 200 s. (diss. Umeå)
 Johanna Sjöstedt om TOVE PETTERSEN & ANNLAUG BJØRSNØS (RED.)SIMONE DE BEAUVOIR. A HUMANIST THINKERLeiden och Boston: Brill Rodopi 2015, 215 s.
 Tanja von Dahlern om EMMA TORNBORGWHAT LITERATURE CAN MAKE US SEE. POETRY, INTERMEDIALITY, MENTAL IMAGERYMalmö: Bokbox, 2014, 160 s. (diss. Linnéuniversitetet)
 Carina Agnesdotter om EBBA WITT-BRATTSTRÖMSTÅ I BREDD. 70-TALETS KVINNOR, MÄN OCH LITTERATURStockholm: Norstedts, 2014, 280 s.
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Makarova, Olesya S., and Artyom S. Goncharov. "RUSSIAN-SOVIET EXPERIENCE OF TRANSLATING THE POEM “ANNABELLE LEE” BY EDGAR ALLAN POE." Lomonosov Translation Studies Journal, no. 1, 2023 (July 11, 2023): 53–79. http://dx.doi.org/10.55959/msu2074-6636-22-2023-16-1-53-79.
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This article is devoted to the study of the tradition of translating the romantic poetry of Edgar Allan Poe into Russian. The work of Edgar Allan Poe is distinguished by the grace of the Gothic landscape, a skillful combination of the mystical and romantic aspects of the inner experiences of the individual, the acute struggle of the lofty ideal with social reality. “Madness as art” is a distinctive feature of the search for love of Poe’s lyrical heroes, a feature of their perception of the world. The poetry of the author conveys his inner experiences, which, as a rule, are the personal motives of the lyrical heroes. This specificity significantly complicates the translation of poetry. The author’s last poem “Annabel Lee” generalizes the image of “eternal love”, and the stylistic and lexical-semantic features of the poem testify to the fullness of the artistic world with cultural, mystical-religious, emotional, religious and cult-ritual concepts. Despite the fact that Poe has been criticized for his penchant for formalism, his poetic skill is considered the ideal type of maintaining the unity and integrity of artistic impression. The mechanical preservation of form, characteristic of Poe’s early work, was embodied in his last poem. For the linguistic embodiment of “eternal love” the author contrasts archetypes and forms of interaction between the earthly and heavenly worlds. Adhering to the position of the need for deep, gradual and methodical work on the poem, Poe created a unique synthetic world saturated with the spirit of Antiquity, the Middle Ages and the New Time. The image of Annabel Lee has retained the features of Lenore, Helena, Ligeia and other female characters that were created by the author in poetry and prose. The translations made by K. Balmont, V. Bryusov and V. Fedorov are considered to be classical ones. We aim to analyze other well-known translations by S. Andreevsky, D. Sadovnikov, L. Umants, V. Zhabotinsky, A. Olenich-Gnenenko. The result of the research was the identification of the translation features of the poem at the compositional, stylistic, lexical and semantic levels.
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Sokólska, Urszula. "W gorącej święconej wodzie kąpany, czyli o frazeologii w poezji Jana Twardowskiego." Białostockie Archiwum Językowe, no. 4 (2004): 165–83. http://dx.doi.org/10.15290/baj.2004.04.10.
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This article discusses stylistic and expressive function of phraseological connotations in Jan Twardowski's poetry. Particular attention has been drawn to common automatized idioms which - not characterized in colloquia! Polish language - become characterized both stylistically and emotionally in lyric (e.g. clapping a tongue, riding the high horse, bruising someone's forehead, getting on someone's nerves, talking back) and phraseological innovati ons, mainly modifying and extending. Among modifying innovations which arise as a result of violation of traditional phraseological structure, we can list: shortening innovations (e.g. clapping a tongue), extending ones (e.g. wringing one's failing hands) , listing ones (e.g. Troy pony, looking a human scarecrow), contaminating ones (e.g. eating the calf in the cow's holly belly), regulating ones (e.g. Troy pony, reverse side of griej) . We deal with extending innovations when idioms enter performing contexts other than, for instance, adopted by generał language or patterns of lexical connections, for instance idioms opening so called first "empty spaces" designed for personal nouns that are based on a pattern what + idiom : pretence talks through its hat, gothic makes faces, words do not bother people.
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Riach, Graham K. "“Concrete fragments”: An interview with Henrietta Rose-Innes." Journal of Commonwealth Literature 55, no. 1 (2018): 111–20. http://dx.doi.org/10.1177/0021989418777021.
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South Africa has a long and rich tradition of short story writing, stretching from the early oral-style tale (MacKenzie, 1999), through the writing of the “fabulous fifties” (Driver, 2012; R. Gaylard, 2008), to the most recent post-apartheid texts. In this interview, Henrietta Rose-Innes describes her practice as a short story writer, noting how it differs from that of writing novels or poetry. For Rose-Innes, the short story offers a way to capture her view of the world; that is, in sudden, intense moments, rather than in wholly narrative terms. Combining a number of short stories into a collection, Rose-Innes suggests, can offer some perspective on the plurality of contemporary South African life. Over the course of the interview, she discusses her exploration of conventional gender categories, her unconscious use of Gothic tropes, and the possibilities for political writing in contemporary South Africa. Throughout, there is a concern for how her works negotiate questions of space and place, particularly in the context of South African writing.
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Sturgeon, Sinéad. "East-Central Europe in the Writing of James Clarence Mangan." Acta Universitatis Sapientiae, Philologica 12, no. 1 (2020): 10–26. http://dx.doi.org/10.2478/ausp-2020-0002.
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Abstract This study explores the significance of East-Central Europe in a range of James Clarence Mangan’s poetry and prose from 1838–1847, focusing particularly on his depiction of Biedermeier Vienna (in the short story “The Man in the Cloak”), revolutionary uprisings in Poland and Albania (in the poems “Siberia” and “Song of the Albanian”), and his translations from the work of Bohemian-born Viennese poet Joseph Christian Freiherr von Zedlitz (1790–1862). I argue that Mangan’s interest in this region is twofold. On the one hand, it stems from the amenability of East-Central European culture and writing to the themes and tropes of the gothic, a genre central to Mangan’s imagination; on the other, from an underlying affinity in the historical position of the Irish and East-European poet in negotiating complex and contested politics of identity. While Mangan is a poet keenly conscious of “the importance of elsewhere,” and closely engaged in contemporary continental politics, I suggest that these European elsewheres also function as Foucauldian heterotopias, mythopoetic mirrors that enable the poet both to participate in Irish cultural nationalism and to register his dissent and distance from it.
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Slovic, Scott. ""Cultivating an Ability to Imagine": Ryan Walsh's Reckonings and the Poetics of Toxicity." Ecozon@: European Journal of Literature, Culture and Environment 11, no. 2 (2020): 154–61. http://dx.doi.org/10.37536/ecozona.2020.11.2.3467.
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For nearly two decades since Lawrence Buell defined and anatomized “toxic discourse” in Writing for an Endangered World: Literature, Culture, and Environment in the U.S. and Beyond (2001), the storying of toxic experience has received fruitful theoretical and literary attention. Throughout the world, citizens have come to terms with the reality that we live on a poisoned planet and the poisons in our environment are also in ourselves—the poisons our industrial activities spew into the air, water, soil, and food are almost imperceptibly (“slowly,” as Rob Nixon would put it) absorbed into all of our bodies (through the process Stacy Alaimo described as “transcorporeality”). Biologist and literary activist Sandra Steingraber stated in Living Downstream: A Scientist’s Personal Investigation of Cancer and the Environment (1997) that we must “cultivat[e] an ability to imagine” in order to appreciate the meaning of our post-industrial lives. In this essay, I focus on Ryan Walsh’s new collection of poetry, Reckonings (2019), and on Pramod K. Nayar’s recent ecocritical study, Bhopal’s Ecological Gothic: Disaster, Precarity, and the Biopolitical Uncanny (2017), in order to propose and define an evolving “poetics of toxicity.”
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Anae, Nicole. "Gothic Secret Histories and Representing Australian Colonial Deaths at Sea: The Case of Captain Charles Wright Harris and the Wreck of the SS Admella (1859)." Journal of Victorian Culture 25, no. 4 (2020): 512–36. http://dx.doi.org/10.1093/jvcult/vcz061.
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Abstract Extant ephemera documenting the wreck of the SS Admella off the South Australian coast on 6 August 1859 offers a compelling story of real-life maritime calamity characterized by death and extraordinary heroism. The much less written about account, however, is the story lying in between ‘official accounts’ of the wreck, and those that emerged in the contemporary reports of the day, including a body of verse termed ‘Admella poetry’. Verse forms and telegraphic reports of the wreck appear to be at odds with other witness statements, and official records have corrupted details from either telegraphic reports or published survivor statements, or both. This re-reading of one of the key heroic fatalities in the story of the wreck of the SS Admella – 37-year-old Captain Charles Wright Harris, a passenger aboard the Admella – theorizes on his death at sea as mapping plural histories. I argue that the account of the event preserved as political and bureaucratic memory – and its counterpoint – the account of the event preserved in the popular press and Admella poems, characterizes an alternative Victorian cultural memory, a gothic secret history concerning the wreck of the SS Admella and colonial deaths at sea.
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LOCHMELIS, E. R. "REINTERPRETATION OF IMAGES FROM DOSTOEVSKY’S NOVEL CRIME AND PUNISHMENT IN RUSSIAN ROCK POETRY." Lomonosov Journal of Philology, no. 2, 2024 (June 16, 2024): 166–76. http://dx.doi.org/10.55959/msu0130-0075-9-2024-47-02-11.
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Russian rock poets focus on Dostoevsky’s novel Crime and Punishment and its characters: the old woman pawnbroker, Svidrigailov and Raskolnikov. The hero of rock poetry lives in the initially given anti-space, where the state is a well-organized structure that exists due to the suppression of personality. The classic interpretation of the novel’s idea - the fall and subsequent resurrection of the human soul - is impossible for the rock poet, who is painfully focused on the root cause of social injustice, symbolically embodied in the ‘eternal’ image of the old woman pawnbroker. The emphasized motive of her immortality makes the conflict of personality and the existing system tragically insoluble. The ‘self’ of the lyrical hero coincides with the consciousness of Raskolnikov. The main character of the novel turns out to be only ‘one of many’, any of those who decide to challenge the system - and lose. The moral meaning of the novel is reinterpreted: it only maintains the existing order, showing the impossibility of struggle, because the crime turns against the rebel himself, who is not able to withstand the torment of conscience. There is a redistribution of the ‘weight’ between the characters. The heightened experience of the meaningless struggle with the existing world order and social injustice pushes rock poets to Dostoevsky’s anti-heroes, in particular to Svidrigailov, who becomes an independent tragic figure. He, like everyone, is sinful, in his extreme cynicism he is even deprived of the opportunity to deceive himself - and the last thing remaining for him is bitter irony of himself, life and even the existential problem of human afterlife. At the same time, Sonya Marmeladova - the moral antipode of Raskolnikov - is mentioned in the texts only once, since she is not included in the conflict of personality and society, but acts as its victim, like Raskolnikov himself (therefore, this place in the system of characters is already occupied by a hero, whose nature is identical to that of the rock poet, more expressive, and similar to the demonic images of gloomy, gothic romanticism).
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Aygun, Ahmet Anil. "The Genealogy of Bram Stoker's Dracula." Technium Social Sciences Journal 9 (June 16, 2020): 651–60. http://dx.doi.org/10.47577/tssj.v9i1.961.
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British author of Irish origin, Bram Stoker’s gothic horror novel, Dracula is the most reputed and popular example of the vampire literature that first emerged in seventeenth-century poetry. The first of the two key concepts that this thesis analyzes is the concept of “meme”, which was coined by the British evolutionary biologist Richard Dawkins, that can be defined as a thought, symbol or application transmitted from one individual to another via oral, written and visual methods and means of communication within a culture, replicates itself, transforms, responds to selective pressures, and the second concept is the memetic evolution of the vampire into the character, Dracula by Bram Stoker in Romantic ballads and Victorian horror narratives within the context of Evolutionary Literary Criticism which was theorized by Professor Joseph Carroll. In this regard, the qualities of the vampire phenotype that the Dracula meme inherited some qualities from its antecedent works of vampire fiction through memetic heredity, setting and plot are examined, and the evolutionary process that literary vampire predecessor had undergone towards the Transylvanian, aristocratic, seductive, stereotypical vampire. Finally, in the appendix, the prequels, sequels, and spin-offs of Dracula to demonstrate that the Dracula meme has survived and thrived notwithstanding over a century after its first publication and the selective pressures, and subsist by copying itself.
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Φερεντίνου, Βικτώρια. "ΒΙΚΤΩΡΙΑ ΦΕΡΕΝΤΙΝΟΥ, Τα συγκοινωνούντα δοχεία μιας υβριδικής ποιητικής: Ο μύθος ως διακαλλιτεχνική και διαπολιτισμική ώσμωση στο έργο του Νίκου Εγγονόπουλου". Σύγκριση 31 (28 грудня 2022): 28–41. http://dx.doi.org/10.12681/comparison.31272.
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The Communicating Vessels of a Hybrid Poetics: Myth as Intermedial and Intercultural Osmosis in the Oeuvre of Nikos Engonopoulos In 1938, the year of the International Exhibition of Surrealism at the Gallery Beaux-Arts in Paris, the poet and painter Nikos Engonopoulos created Birth of Orpheus and Genesis of Myth. The depiction of the birth of young Orpheus as emblematic of the construction of myth recalls the mythopoetic process as articulated in the anthology of the poet, psychoanalyst and photographer Andreas Embeirikos, Writings or Personal Mythology (1936-1946): “Each myth’s becoming is a child who grows up.” This reception of myth should be situated in the context of the French surrealists’ endeavour to formulate a new collective mythology that would respond to the political and social environment of the interwar years. This collective mythology resorted to cultural topoi that were deemed countercultural, marginalised or anti-Enlightenment, ranging from primitive, prehistoric and Gothic art to magic, alchemy and mythological traditions of archaic or non-European cultures. In this framework, surrealist myth was reconfigured as a new poetic language in constant metamorphosis that could articulate through diverse media and cultural traditions the surrealist vision for the radical transformation of the world. In Greece the appropriations of classical myth were central to the modernist canon. However, the Greek surrealists transformed myth in subversive ways initiating a dialogue with the present in the light of anthropology, ethnography, history of religions and psychoanalysis. Recent research has shown that Embeirikos and Engonopoulos conversed with French Surrealism and their colleagues’ engagement with alternative epistemologies and comparative religion and mythology, participating to a fecund renegotiation of the past. This paper aims at contributing to the revision of the history of Surrealism in Greece by exploring the function of myth, both as intermedial language and discursive practice, in Engonopoulos’s work. Most specifically, it purports to investigate the poetic anthologies Do not Speak to the Driver (1938) and The Clavichords of Silence (1939) alongside visual works he created at the end of the 1930s, such as the drawing SO4H2 (1937), and the engraving Vierge inviolable, métaphysique et surréaliste-sonore (1930s). The subtitles given initially to the aforementioned anthologies allude to the comparison of the arts and the equation of poetry and painting in an alchemical fusion pursued by the historical avant-gardes and Surrealism. Engonopoulos’s work and his experimentations with image-making should be revisited within this context and seen as a paradigm of the formulation of a new myth that sought to interweave the visual arts, poetry and alternative epistemologies into a revolutionary, hybrid form of expression that could effect the individual and society.
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Рындина, А. В. "Grieving Saviour in Rrussian carvings of the 18th–19th centuries: moving from traditions to new solutions." Iskusstvo Evrazii [The Art of Eurasia], no. 2(25) (June 30, 2022): 188–203. http://dx.doi.org/10.46748/arteuras.2022.02.019.
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В статье изложены результаты исследования, имевшего целью систематизировать обширный пласт русских художественных памятников на тему Страстей Господних, не вдаваясь в анализ стилистических нюансов резьбы, что представляется возможным лишь на следующем этапе их изучения. Среди них можно выявить три основных типа: сакрально-топографический (Христос в темнице), символико-литургический (Скорбящий Спаситель) и, наконец, вариант наиболее сложный для смыслового истолкования, который условно можно отнести к историческим (группа пермских скульптур, где Христос изображен в препоясанных одеждах). Православное искусство «неотделимо от богословия» (И. Мейендорф), поэтому европейский антропоцентризм и иллюзионизм не укоренились на почве русской храмовой скульптуры, несмотря на безусловный исходный импульс извне. Напитанная литургическим смыслом, изначальным для русского церковного искусства и не искорененным даже в Новое время (П. Муратов назвал это свойство «твердостью» русского искусства), скульптура дистанцировалась как от ренессансной имитации, так и от позднеготического и маньеристского мистицизма, но при этом не стала простым ответвлением фольклора, а вошла в церковное творчество Нового времени как «икона Страстей Христовых». В этом — причина глубокого вхождения образа Скорбящего Спасителя в русскую религиозность, народную поэзию и храмовое убранство XVIII–XIX веков вплоть до эпохи модерна. The article tries to systematize a great variety of Russian carved images of Christ’s Passion, without delving into detailed analysis of the stylistic characteristics and nuances of the carving, which study seems possible only at the next stage. Among the wooden statues, three main types can be identified: sacral and spatial (Christ in prison), symbolic and liturgical (Grieving Saviour) and, finally, the group most difficult for semantic interpretation, which can conditionally be attributed as historical (Perm sculptures, Christ is depicted in girded garment). Orthodox art is “inseparable from theology” (J. Meyendorff), thus European anthropocentrism and illusionism did not root into Russian ecclesiastical sculpture, despite an unconditional impulse from outside. Wooden sculpture is saturated with liturgical meaning, which always was primordial for Russian church art, and even not eradicated in modern times (P. Muratov considered Russian art to be “unrelenting”). It distanced itself both from Renaissance imitation and from late Gothic and Mannerist mysticism. At the same time, carving has not become just a part of folklore, a folk art, but became an “icon of Christ’s Passion” in the church artwork of the New Age. This is the reason for the deep introduction of the Grieving Saviour image into Russian devoutness, folk poetry and interior church decoration in the 18th–19th centuries up to the Art Nouveau times.