Relevant bibliographies by topics / Kubla Khan

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Academic literature on the topic 'Kubla Khan'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Kubla Khan"

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KNOX-SHAW, PETER. "EDWARD YOUNG IN ‘KUBLA KHAN’." Notes and Queries 47, no. 3 (September 1, 2000): 323–25. http://dx.doi.org/10.1093/nq/47-3-323.

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KNOX-SHAW, PETER. "EDWARD YOUNG IN ‘KUBLA KHAN’." Notes and Queries 47, no. 3 (2000): 323–25. http://dx.doi.org/10.1093/nq/47.3.323.

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Hosseini, Sajed, and Payam Babaie. "Artistic Immortality as an Objet Petit a: The Subject of Samuel Taylor Coleridge’s “Kubla Khan”." Khazar Journal of Humanities and Social Sciences 25, no. 1 (April 2022): 5–16. http://dx.doi.org/10.5782/2223-2621.2022.25.1.5.

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This study presents a psychoanalytical reading of Coleridge’s “Kubla Khan” having an eye on Žižek’s theory of the subject. “Kubla Khan” contains a host of components providing an illustration of Coleridge’s psychological status. In such a case, Žižekian approach to psychoanalysis could provide a suitable paradigm for an analytical reading of the poem. The works of Žižek conducted disputatious re-articulations of the subject/object, the displacement of an objet petit a (object of desire) with object-cause of desire, and parallax. Žižek, like Hegel, accentuates the one-to-one relationship of the subject and the object while introducing parallax and the ticklish subject, which are later followed by tickling object. It is thus possible to illustrate the psychoanalytical status of Coleridge in the course of writing “Kubla Khan.” The poem pictures a path to immortality while it is in search to immortalize its poet too. In this study, it is demonstrated how Coleridge followed his objet petit a, which is ‘artistic immortality,’ in the lines of “Kubla Khan.”
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Jones, Ewan James. "The Sonic Organization of “Kubla Khan”." Studies in Romanticism 57, no. 2 (2018): 243–64. http://dx.doi.org/10.1353/srm.2018.0011.

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Tindol, Robert. "Pleasure Domes and Sunbeams: An Anti-Oedipal Reading of “Kubla Khan”." Anglica. An International Journal of English Studies, no. 26/1 (September 11, 2017): 55–72. http://dx.doi.org/10.7311/0860-5734.26.1.04.

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Samuel Taylor Coleridge’s 1797 poem “Kubla Khan” begins with the statement that Kubla Khan once caused a pleasure-dome to come into existence by dint of a kingly decree. The last line states that the narrator, should he gain sufficient poetic vision, would have “drunk the milk of paradise” and would “build that dome in air.” A new reading may be derived from a focus on precisely what these lines say and what they imply within the perspective of Gilles Deleuze and Felix Guattari’s work Anti-Oedipus. If the process of the narrator’s gaining poetic insight is set in motion by a conscious decree from Kubla Khan, then an Anti-Oedipal reading considers whether the end result is simply the consequence a powerful individual’s wishes, or else is paradoxically a liberation from those wishes.
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Wheeler, Kathleen. "''Kubla Khan'' and Eighteenth Century Aesthetic Theories." Wordsworth Circle 22, no. 1 (January 1991): 15–24. http://dx.doi.org/10.1086/twc24042640.

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Friedman, Max M. "“Kubla Khan” in Finnegans Wake." James Joyce Quarterly 47, no. 4 (2010): 643–45. http://dx.doi.org/10.1353/jjq.2010.0020.

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TINDOL, Robert. "Hybridization in Samuel Taylor Coleridge’s “Kubla Khan”." Comparative Literature: East & West 25, no. 1 (March 2016): 10–29. http://dx.doi.org/10.1080/25723618.2016.12015412.

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Rowe, M. W. "'Kubla Khan' and the Structure of the Psyche." English 40, no. 167 (June 1, 1991): 145–54. http://dx.doi.org/10.1093/english/40.167.145.

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Moon, Kenneth. "Lowry’s under the Volcano and Coleridge’s Kubla Khan." Explicator 44, no. 2 (January 1986): 44–47. http://dx.doi.org/10.1080/00144940.1986.11483914.

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Dissertations / Theses on the topic "Kubla Khan"

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Sasaki, Randall James. "The origin of the lost fleet of the mongol empire." [College Station, Tex. : Texas A&M University, 2008. http://hdl.handle.net/1969.1/ETD-TAMU-3100.

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Kellett, Lucy. ""Enough! or too much" : forms of textual excess in Blake, Wordsworth, Coleridge and De Quincey." Thesis, University of Oxford, 2016. http://ora.ox.ac.uk/objects/uuid:641b0fe2-3b07-46cf-94b6-7d27a2878686.

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My thesis explores the potential and the peril of Romantic literature's increasingly complex forms through a close comparative study of the works of William Blake, William Wordsworth, Samuel Taylor Coleridge and Thomas De Quincey. These writers exemplify the Romantic predicament of how to make vision manifest – how to communicate one's imaginative and intellectual expansiveness without diminishing it. They sought different strategies for increasing the capacity of literary form, ostensibly in the hope of communicating more: clarifying meaning, increasing accessibility and intensifying original experience. But textual expansion – materially, stylistically and intellectually – often threatens more opportunities for confused and partial meanings to proliferate, overwhelming the reader by dividing texts and undermining attempts at coherent thought. Expansion thus becomes excess, with all its worrying associations of superfluity. To further complicate matters, Burke's influential tenet of the Sublime makes a virtue out of excess and obscurity, raising the problematic spectre of deliberately confused/confusing texts that embody an aesthetic of incomprehension. I explore these paradoxes through four types of 'textual excess' demonstrated by the writers under discussion: firstly, the tension between poetry and prose adjuncts, such as prefaces and notes, in Wordsworth and Coleridge; secondly, De Quincey's indulgent verbosity and struggle to control the freeing shapelessness of prose; thirdly, Wordsworth's and De Quincey's parallel experiences of revision as both uncontrollably diffusive and statically concentrated; and lastly, Blake's more deliberate, systematic attempt to enact a literary Sublime in which the reader is forced out of passivity by the competing demands of verbal and visual media. All are motivated and thwarted in varying degrees by their anxious preoccupation with saying "Enough", and the difficulty of determining when this becomes “Too much”. These authorial dilemmas also incorporate larger concerns with man's (over)ambition at a time of rapid and unprecedented economic, social and intellectual acceleration from the Enlightenment to industrialism. The fear that the concept and process of 'progress', or 'improvement', marks deficiency rather than fulfilment haunts Romantic writers.
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WARNEMANT, JULIE E. ""KUBLA KHAN" BY S. T. COLERIDGE: A POEM IN THE MEDIEVAL DREAM VISION TRADITION." Thesis, 1986. http://hdl.handle.net/1911/13209.

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Wu, May-hong, and 吳美虹. "Nature in the Romantic Quest in Samuel Taylor Coleridge's "Christabel," "The Rime of the Ancient Mariner" and "Kubla Khan"." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/20744150838706980304.

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碩士
國立中正大學
外國語文研究所
89
The romantic imagination in nature for the Romantic poets zeroes in on a special topic in English Romanticism during the 19th century. In a word, the romantic imagination for Samuel Taylor Coleridge actually stands for the esemplastic power, which goes into the central parts of his poems. Samuel Taylor Coleridge, one of the top and eminent poets, fathered the Modern Poetry and the Romantic Revolution in English Literature, since the Romantic Revolution was giving the spirit of new birth to Modern Literature that spreads the emotional experience and the spiritual ecstasy. For instance, M. H. Abrams has commented, "Colerigde's poetic talent and insight are the seminal and excellent contributions to literature, and also regards him as the intellectual center of the English Romanticism movement." This thesis is divided into 5 parts, including the introduction, three chapters as the main body and the conclusion. First, this thesis aims to analyze the poetic mind and nature, as G. Wilson Knight has acclaimed, the quester has come to the world of "Hell, Purgatory and Paradise" in "Christabel," "The Rime of the Ancient Mariner" and "Kubla Khan." Second, this thesis focuses on how the poet-speaker explicates the poetic mind and nature in the romantic quest, and how the romantic imagination forms the poem as an organic whole. By its inward-looking journey, the poet-speaker, readers and the characters at the end have adopted the enlightenment of the moral indoctrination when they are on their road to seek after the grand central truth. After experiencing the spiritual odyssey, the poet-speaker, readers and the characters become "sadder and wiser" men. In addition, understanding the essence of good, evil, love, and moral, they reconstruct the spirit of internalization of the romantic quest, and are inspired by the enlightenment of the moral indoctrination. In Chapter One, firstly, what is Romanticism? Generally speaking, Romanticism is a "rebellion in a number of senses" that contains a wide freedom and the personal imagination, as which acts a perfect element in the poetic writings. Next, what is Coleridge's imagination? The poet-speaker in the "Conversation Poems" has explicated the poetic mind and nature, in which readers have touched with the variant forms of breathing of the romantic imagination, as "Nature's self is the breath of God." Chapter Two focuses on how the poet-speaker deals with nature in the romantic quest. The demonic group is close to the idea of Christian myth, which bases on the central spirit of the "apocalypse of imagination," just as Harold Bloom has mentioned, "the Romantics tended to take Milton's Satan as the archetype of the heroically defeated Promethean quester." So readers, the dreamer and the characters have experienced the metamorphic allusion of good, evil, moral, innate sin, misunderstanding, and understanding. They must go into the happiness and terror of "Hell, Purgatory and Paradise," respectively, which already reflect to the world of nature and the world of super-nature. Chapter Three copes with one thematic level of love and seeking after the grand central truth. As Harold Bloom has mentioned, "The higher Imagination shapes truth; the lower merely takes it, through nature, from the Shaping Spirit of God, and the Mariner's quest came to duplicate of his creation." The spirit of internalization of quest-romance is regarded as the central spirit of romantic quest, and also manifests it as the poet's higher imagination. Therefore, in my conclusion, the poet-speaker is an expert who deals with the dark world of nature, in which the poet-speaker has performed man's anxiety and guilt. However, at the end, human beings can discover love, truth and light, and also experience that the romantic imagination reshapes the poem as an organic whole.
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Books on the topic "Kubla Khan"

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Coleridge, Samuel Taylor. Kubla Khan. Esher: EdwardBurrett at the Penmiel Press, 1991.

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Krull, Kathleen. Kubla Khan: Emperor of everything. New York: Viking Children's Books, 2010.

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Krull, Kathleen. Kubla Khan: The emperor of everything. New York: Scholastic, 2010.

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Tsur, Reuven. The road to Kubla Khan: A cognitive approach. Jerusalem: Israel Science Publishers, 1987.

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Kemplen, Tony. Kubla can't: An out of sorts edition of Kubla Khan by Samuel Taylor Coleridge. Sheffield: Ring Pull, 1996.

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Coleridge, Samuel Taylor. Kubla Khan: A pop-up version of Coleridge's classic. New York: Viking, 1994.

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Coleridge, Samuel Taylor. Kubla Khan, or, A vision in a dream: A fragment. Merrickville, ON: Greyweathers Press, 2005.

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Griffes, Charles Tomlinson. The pleasure-dome of Kubla Khan: Symphonic poem for grand orchestra. New York, NY: G. Schirmer, 1993.

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Arronte, María Eugenia Perojo. S. T. Coleridge, Kubla Khan y el reto de la poesía. [Valladolid]: Universidad de Valladolid, Secretariado de Publicaciones e Intercambio Científico, 1998.

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Stevenson, Warren. A study of Coleridge's three great poems--Christabel, Kubla Khan, and The rime of the ancient mariner. Lewiston, N.Y: Edwin Mellen Press, 2001.

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Book chapters on the topic "Kubla Khan"

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Ward, David. "Kubla Khan." In Coleridge and the Nature of Imagination, 130–50. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137362629_7.

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Leadbetter, Gregory. "“Kubla Khan”." In Coleridge and the Daemonic Imagination, 183–200. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118522_9.

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Davidson, Graham. "Kubla Khan and Dejection: An Ode." In Coleridge’s Career, 88–114. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20497-7_5.

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Jasper, David. "‘Kubla Khan’, ‘The Rime of the Ancient Mariner’ and ‘Dejection’." In Coleridge as Poet and Religious Thinker, 43–72. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-07509-6_4.

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Perry, Seamus. "Samuel Taylor Coleridge, Kubla Khan, The Ancient Mariner and Christabel." In A Companion to Romanticism, 141–53. Oxford, UK: Blackwell Publishing Ltd, 2017. http://dx.doi.org/10.1002/9781405165396.ch12.

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Fulford, Tim. "Brothers in Lore: Fraternity and Priority in Thalaba, “Christabel,” and “Kubla Khan”." In Romantic Poetry and Literary Coteries, 63–78. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137518897_3.

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Hamlin, Cyrus. "The Faults of Vision: Identity and Poetry (A Dialogue of Voices, with an Essay on Kubla Khan)." In Identity of the Literary Text, 119–45. Toronto: University of Toronto Press, 1985. http://dx.doi.org/10.3138/9781487574796-008.

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Watson, George. "Kubla Khan." In Coleridge the Poet, 117–30. Routledge, 2016. http://dx.doi.org/10.4324/9781315616575-8.

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Yarlott, Geoffrey. "Kubla Khan." In Coleridge & the Abyssinian Maid, 126–54. Routledge, 2016. http://dx.doi.org/10.4324/9781315617770-5.

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Emmons, Shirlee, and Wilbur Watkin Lewis. "X." In Researching the Song, 488. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195152029.003.0024.

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Abstract xanadu: a city named in the poem “Kubla Khan” by Samuel Taylor *Coleridge. “In Xanadu did Kubla Khan a stately pleasure dome decree, where Alph the sacred river ran through caverns measureless to man down to a sunless sea.” So begins the poem, inspired by an opium-induced dream. Kubla Khan, or Kublai Khan, is a historical person. Born about 1215, he died in 1294.The grandson of Jenghiz Khan, he was the founder of the Yuan dynasty of China. He encouraged scholarship, the arts, and foreign trade, and he was visited by Marco Polo.
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Conference papers on the topic "Kubla Khan"

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Vladimír, Liščák. "Marco Polo a jeho znalost asijských jazyků." In Orientalia antiqua nova XXI. Západočeská univerzita v Plzni, 2021. http://dx.doi.org/10.24132/zcu.2021.10392-52-59.

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Marco Polo and his knowledge of Asian languages Marco Polo (1254–1324) claimed (or rather his editors) that he could speak (and read) in other languages in ad dition to his own, at least five. Although he spoke little Chinese or rather not, he spoke a number of languages used in East Asia at the time – most likely Turkic (in the Kuman dialect: (lingua) tartara; tartaresce; tartaresche), which was also spoken among Mongols, Arabized Per sians, Uighurs and perhaps even he knew Mongolian. While communicating with the Great Khan, Marco Polo was almost certainly able to speak and write Mongolian. Marco Polo usually referred to Chinese local names in Persian, so it is very likely that he spoke Persian and was able to read the Arabic script. In addition, Persian was the lingua franca used throughout the region at the time even at Kublai Khan’s court. The paper brings some particular examples from Marco’s Mss.
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Reports on the topic "Kubla Khan"

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Widerburg, Allen. "Kubla Khan" and its Critics. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2381.

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