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Waylett, Dianne Marie. "Does anyone know Lord Byron?" CSUSB ScholarWorks, 1998. https://scholarworks.lib.csusb.edu/etd-project/1507.
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Marandi, Seyed Mohammad. "Lord Byron, his critics and Orientalism." Thesis, University of Birmingham, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397121.
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Olsen, Gregory. "Byron and God: representations of religion in the writings of Lord Byron." Thesis, University of Auckland, 2010. http://hdl.handle.net/2292/6763.
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Although Lord Byron's poetry has been studied in some depth over the last two hundred years, one particular aspect of that poetry has often been slighted: his representation of religion. Religion is a major feature of Byron's poetry, both as a source of imagery and as a subject of commentary. In the early nineteenth century, readers could be expected to understand and to respond to a range of biblical references and theological concepts, and this thesis explores those representations. Ten of Byron's major poems are considered in detail here: Childe Harold's Pilgrimage, Don Juan, The Giaour, The Bride of Abydos, The Corsair, Lara, The Siege of Corinth, Manfred, Cain, and Heaven and Earth. These are the works which focus most heavily upon religious topics, whereas other writings by the poet are discussed only where particularly relevant. While most of these ten concern Christianity, The Giaour, The Bride of Abydos, The Corsair, Lara, and The Siege of Corinth deal in more detail with Islam, and some other religious systems are occasionally mentioned. In the consideration of such representations of religion, crucial considerations are the characterization of God, the differences between depictions of the clergy and depictions of the laity, the respect afforded to sacred texts, and especially the comparison of orthodoxy ('correct opinion') with orthopraxy ('correct practice'). Many of these points vary considerably throughout the corpus of Byron's poetry, but certain consistencies are evident. One is the generally-respectful representation of the figure of God. Another is the frequent condemnation of heteropraxy and the careful avoidance of criticism of orthodoxy, even to the extent of criticizing heteropraxy from an orthodox viewpoint. A third is the resistance to dogmatism, coupled with a scepticism or even a hostility towards ecclesiastical authority. Throughout his work, then, the poet validates a devout but unconventional faith, one which failed to please his more conservative contemporaries but which was nonetheless far from the atheism with which he is often charged.
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Webb, Stephen. "Lord Byron and Nation : Education and Reification." Thesis, Uppsala universitet, Historiska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-210032.
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Smith, Melissa Ann. "A TEI Transcription of Conversations with Lord Byron." Thesis, Virginia Tech, 2010. http://hdl.handle.net/10919/33006.
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This project accompanies a TEI transcription of Lady Blessingtonâ s Conversations with Lord Byron, currently available on the Life and Times of Lord Byron online archive. Although often cited in biographies of Lord Byron, Lady Blessingtonâ s Conversations of Lord Byron has received little critical attention. Further, the genre of Blessingtonâ s work, the conversation as a biographical form, suffers the same dearth of critical material.
My aims, then, are to 1) present a brief history of the conversation as biographical form; 2) examine the publication history of the Conversations and underscore the social dimensions of its publication; and 3) evaluate Blessingtonâ s rhetorical strategies in the Conversations and to argue that Blessingtonâ s work is superior to two other accounts of Byron (by James Kennedy and Thomas Medwin) in terms of its psychological depth.Master of Arts
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Carano, Carol Lorraine Phegley Jennifer. "Mad lords and Irishmen : representations of Lord Byron and Oscar Wilde since 1967 /." Diss., UMK access, 2008.
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Thesis (Ph. D.)--Dept. of English and Dept. of HIstory. University of Missouri--Kansas City, 2008."A dissertation in English and history." Advisor: Jennifer Phegley. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 6, 2009. Includes bibliographical references (leaves 233-292). Online version of the print edition.
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Mole, Thomas Seymour. "Byron's romantic celebrity : industrial culture and the hermeneutic of intimacy." Thesis, University of Bristol, 2003. http://hdl.handle.net/1983/36823ff2-0435-43b5-be8e-fcc88fdc179b.
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This thesis argues that modern celebrity culture took shape in the Romantic period, and that Byron should be understood as one of its earliest examples and most astute critics. It investigates the often strained interactions of artistic endeavour and commercial enterprise, the material conditions of Byron's publications, and the place of celebrity culture in the history of the self. It understands celebrity as a cultural apparatus structured by the relations between an individual, an industry and an audience, which emerged at a distinct historical moment. In the Romantic period, it contends, industrialised print culture overcrowded the public sphere with named individuals and alienated cultural producers and consumers. Celebrity tackled the surfeit of public personality by branding an individual's identity to make it amenable to commercial promotion, and palliated the sense of alienation by constructing a hermeneutic of intimacy. The thesis investigates Byron's engagement with industrial culture, showing how it empowered and embarrassed him. It considers how changes in his sense of audience while writing Childe Harold's Pilgrimage led Byron to construct the hermeneutic of intimacy in 'To lanthe'. Byron's celebrity included an important visual dimension, which he fostered in his Turkish Tales. The thesis therefore studies the circulation of his image, in authorised and appropriated versions, and the resulting advantages and anxieties for Byron. It argues that when he tried to move his poetry in a new direction with Hebrew Melodies, his attempt was compromised by generic constraints and publishing practices. The legal wrangles of 1816, it contends, made the hermeneutic of intimacy unsustainable. When he returned to Childe Harold, Byron experimented with alternative models of writing and reading. The thesis concludes by considering Don Juan, examining Byron's reading of Montaigne and arguing that the importance of celebrity culture in normalising the modern understanding of subjectivity has been underestimated.
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Howe, A. R. "System and poetry : studies in the writings of Lord Byron." Thesis, University of Cambridge, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604665.
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The thesis aims to offer new insights into Lord Byron's writing, focusing in particular on Don Juan. It attempts this through an investigation into the concept of 'system', a highly resonant term in the early nineteenth century and one the poet repeatedly invoked in a pejorative sense to indicate an unresponsive mind-set antithetical to the poetic. The introductory chapter offers an historical description of 'system' and its related vocabulary, drawing out the different applications of the world (intellectual religious, political and aesthetic). In particular, Byron's antisystematic attitude is related to and distinguished from philosophical scepticism, a subject central to some recent studies of Byron. The remaining four chapters explore the most significant manifestations of 'system' and the resistance to them cultivated in Byron's later writings. Chapter two considers Byron's prose intervention in the controversy over the nature of Pope's poetry in which he attacks a 'systematic' approach to literary writing. Particular emphasis is placed on Byron's engagement with the historical background to the controversy, especially Johnson's implied censure of Joseph Warton. The third chapter looks at the philosophical and religious aspects of Byron's thought through a reading of the drama Cain. The play is considered with reference to past critical interpretation, which has tended to view the play as expressive of a religious or philosophical 'position'. Navigating between these divergent arguments, the chapter suggests that the play resists any dogmatic interpretation and is most fruitfully thought of as a mediation on the role of the poet. Chapter four investigates the presentation of human consciousness in Don Juan through the poem's obsessive interest in physical process and its effects on mental states.
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Zembruski, Soeli Staub. "A tradução da ironia em Don Juan de Lord Byron." reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/xmlui/handle/123456789/123074.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2013.Made available in DSpace on 2014-08-06T17:45:33Z (GMT). No. of bitstreams: 1 326308.pdf: 1751176 bytes, checksum: b260d009c11087f8a428dbbe282a20ba (MD5) Previous issue date: 2013
Abstract : The present work investigates the possibilities and implications of the translation of irony on the published parts of Don Juan by George Gordon Byron (1818-1823) in Brazil by seven Brazilian translators of distinct historical and cultural contexts during 138 years. From the reflection about the irony concept and its evolution (MUECKE, 1995), the irony manifestations are observed. Some of the essential characteristics of irony constitution are listed and related to the poem Don Juan. From the ?irony markers? (HUTCHEON, 2000) a parameter to observe the reconstruction of that discursive strategy on the analyzed parts of the poem is built. Such reconstruction is the subject of the reflections about the translation of irony possibilities, of the importance of the context (MATEO, 2010), the translator?s roll as interpreter (ISER, 2002), of translation strategies (BERMAN, 2007), and the necessity of a translation project that matches with the main characteristics of the original work. On this way, different strategies elected by the translators are analyzed. These translations show the importance of Lord Byron?s works in Brazil. The translation solutions sign to the translation principles that guide each of the translations, and the contextualization as determiners for the translation of irony, so as to the increasing maturing of translation practice in our country.
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Nicholl, Kaila, and Kaila Nicholl. "Some Other Being: The Autobiographical Phantom in Wordsworth and Byron." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12504.
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I explore Wordsworth and Byron's use of a mediating "other Being," or a third-person narrative voice, that functions as a "guide" through their autobiographical texts. After establishing this poetic voice, both poets employ their "other Being" to navigate spaces of ruin. Founded on fragments of memory and experience, as well as mediatory gaps, the poetry of Wordsworth and Byron illuminates the autobiographical poet's struggle with textual self-representation and the sustention of a poetic subjectivity that often substitutes for the poet's own. Through the rhetorical device of prosopopoeia, Wordsworth and Byron find distinct ways to create a voice that will continue to "speak" for them in the lines of their text. While The Ruined Cottage represents a version of Wordsworth's understanding of breakdowns and poetic subjectivity, Byron's Childe Harold's Pilgrimage III and IV push Wordsworth's boundaries even to their limits and turn the autobiographical "other Being" into a "tyrant spirit."
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Barbour, John Francis. "Byron among the classics : a study of the influence of classical poetry on the work of lord Byron." Thesis, Durham University, 1994. http://etheses.dur.ac.uk/5816/.
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This study begins by defining epic to determine if Byron's claims, regarding Don Juan,to be writing an epic, are justified, concluding that though most epics preserve the form ofearlier epics, substituting a different "message" or heroic ethos, Byron, in defiance of thistradition, attempts to preserve the essence of Homeric epic, particularly its new heroicethos, but in a new form. This is where Byron and Vergil's imitations of Homer differ,Byron rejecting both Vergil's manner of imitation and his heroic ethos. In a series ofimitations, Byron parodies Vergil, borrowing his imagery to suggest the unnatural and thesterile. Differences are exposed in their respective treatments of war, Byron advocatingthe self-justifying act of love rather than the consolations of duty and fame offered byVergil, which rely on a perception of cosmic order lacking in Byron's view, a view whichlinks him to Homer and the Attic tragedians. The Greek view of the darkness andconfusion of the cosmos Byron finds congenial, appreciating the opportunities it affordsfor open-endedness, though aware that this open-endedness is always subsumed by largerclosure due to different levels of perspective (actors, chorus, and gods). In ChildeHarold's Pilgrimage, Byron attempts to emulate this multilevelledness as a means todistance himself from the cycles of Nature from which he is painfully excluded due to hismixed body and spirit nature, finally breaking out to channel these cycles of Natureproductively through art. In Byron's dramas, too, there are cycles of evil whose origins liein Attic tragedy. Ever present in Byron, as in classical tragedy, is the Promethean dilemmabetween submission, and defiance leading to inevitable defeat. In his later poetry, Byronis more reconciled to the cycles of life, though continuing his Promethean quest in thefields of love and literature.
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Squires, Matthew Lorin. "The Byronic Myth in Brazil: Cultural Perspectives on Lord Byron's Image in Brazilian Romanticism." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd758.pdf.
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Silva-Santisteban, Ricardo. "El Infiel de Lord Byron : una traducción desconocida de José Arnaldo Márquez." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/113883.
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Woodhouse, David Robert Sterry. "Shades of Pope : Byron's development as a satirist." Thesis, University of Cambridge, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242950.
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Vega, Olave Carolina. "Liquid writing: when subjectivity colours writing: a revision of Lord Byron's Childe Harold's pilgrimage and his letters." Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/143284.
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Davis, G. Todd. ""The age of oddities" Byronism and the fictional representations of Byron /." Oxford, Ohio : Miami University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1070042896.
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Agustini, Lucas de Lacerda Zaparolli de. "Don Juan de Lord Byron: estudo descritivo das traduções, tradução, comentários e notas." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8160/tde-01032016-161149/.
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Este trabalho de tradução e sobre tradução de Don Juan de lorde Byron pode ser dividido em duas partes: a primeira cuida das especificidades de autor, sua vida, obra, fortuna crítica, assim como o tratamento do mito de Don Juan na obra byroniana, além de um estudo descritivo das traduções de Don Juan de lorde Byron publicadas no Brasil. A segunda, compõe-se de comentários à guisa de introdução à tradução de Don Juan, e da tradução dos Cantos I, II, III e IV para a língua portuguesa, feita em versos, na mesma estrutura estrófica do original, abalizada por uma pletora de notas a respeito do texto e dos vieses tradutórios.This work of the translation and on the translation of Lord Byrons Don Juan can be divided into two parts: the first examines Byron\'s characteristics, life, work, literary criticism, as well as Byron\'s treatment of the myth of Don Juan, besides making a descriptive study of the translations of Don Juan of Lord Byron published in Brazil. The second part contains comments on the translation of Don Juan, the translations of Cantos I, II, III and IV, done in verse, in the same formal structure as the original, supplemented by a large number of notes on the text and background.
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Avkhimovich, Irina S. "Lord Byron's critique of despotism and militarism in the Russian Cantos of Don Juan." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/6680.
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Thesis (M.A.)--University of Missouri-Columbia, 2008.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 22, 2008) Includes bibliographical references.
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Sarha, Jennifer Johanna. "The construction of gendered and sexualised identity in the writings of Lord Byron." Thesis, University of Leeds, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487777.
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This thesis is concerned with the construction of gendered and sexualised identity in the writings of Lord Byron. The self is narrated as a performance of certain culturally coded ideals, but these ideals are constantly complicated by desires which disrupt uniform notions of gender. My thesis argues that it is through the complex negotiations between desires and cultural codes, between performances and subjectivities, that characterisation functions in Byron's works.
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Estevez, Cristina. "Creating identity : the role of George Gordon, Lord Byron, in realizing the Romantic poet." FIU Digital Commons, 2009. http://digitalcommons.fiu.edu/etd/3279.
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The Romantic Age in literature was a time of change and revision, especially in the world of heroes and the fictional worlds in which they lived and played. Many socalled "heroes" came into play at this time, but this was not enough for the Romantic poets, especially George Gordon, Lord Byron. The Byronic hero became the solution to the problem created by an unsatisfactory hero. In creating the Byronic hero, Byron changed literature, allowing poets and readers alike to participate actively in the processes of writing and reading. This work will examine Byron's development of his hero in Childe Harold's Pilgrimage and how other poets, such as Karel Hynek Macha in his Maj, used the Byronic hero as a model that would help them foster a revival of both literature and nationhood. This work explores why the Byronic hero was adopted and embraced by those in England and abroad.
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Orsini, Philippe Claudon Francis. "Le poète héros et le poète déchu romantisme et réalisation de l'idéal chez Lord Byron et Alfred de Musset /." Créteil : Université de Paris-Val-de-Marne, 2008. http://doxa.scd.univ-paris12.fr:8080/theses-npd/th0406674.htm.
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Oviedo, José Miguel. "ESTEBAN PUJALS, Espronceda y Lord Byron, Madrid, 1951, Consejo Superior de Investigaciones Cientificas. 510 pp." Pontificia Universidad Católica del Perú, 2017. http://repositorio.pucp.edu.pe/index/handle/123456789/113886.
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Oliver, Susan. "Borderlines : a study of borders and borderlands in the poetry of Walter Scott and Lord Byron." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615639.
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Talgø, Veronica. ""A great deceiver and a self-deceiver" : Fortellerteknikk og intertekstualitet i J.M.Coetzees Disgrace." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for språk og litteratur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-26664.
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Denne mastergraden er en intertekstuell og fortelleteknisk analyse av J. M. Coetzees Disgrace. Romanen forholder seg nært til et Sør-Afrika kort tid etter oppløsningen av apartheid. Den har blitt lest realistisk, og har blitt kraftig kritisert for å fremstille en pågående rasisme i Sør-Afrika. Denne avhandlingen leser romanen som en postmoderne tekst og bruker Gerrard Genette sine teorier om transtekstualitet for å vise hvor omfattende leken med litteratur er i Disgrace.
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Christou, Mariella. "Poesie et action : la grece insurgee (1809-1826) dans les visions de lord byron et de dionysios solomos." Paris 3, 1988. http://www.theses.fr/1988PA030016.
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Le sujet etudie la variete d'influences qu'exerca la grece pre-revolutionnaire et combattante sur l'oeuvre de deux poetes d'origine differente; byron, un anglais engage par la plume des sa jeunesse dans la vie sociale et politique des divers pays europeens a l'aube du xixe siecle, et solomos, un zantiote de langue maternelle grecque mais de culture italienne a une epoque ou les iles ioniennes conservaient encore les structures sociales et les traditions litteraires que leur avait leguees venise. Les deux hommes presentent par leur vecu et leur vocation autant de divergences que d'affinites. A travers l'examen de leur appartenance de classe, de leur personnalite et du cadre historique ou se situe leur vie et leur activite artistique et "politique", l'analyse met l'accent sur des aspects restes jusqu'ici insondes (tels le role social du poete, l'attachement a des traditions litteraires differentes, les lumieres en grece, la langue demotique, le lien entre antiquite et modernite, le philhellenisme, le voyage, la scene politique interne et externe) et propose de nouvelles interpretations afin de mieux illustrer le rapport intime que chaque poete entretient avec la grece de son temps ainsi que les attitudes politiques que chacun adopte face a cet evenement de poids qu'est la guerre d'independance grecque (1821) ou encore les visions poetiques que cette entite culturelle. .The study concentrates on the variety of influences that pre-revolutionary and insurgent greece exercised on the work of two poets of different origin : byron, an englishman, involved by his pen and since his youth in the social and political life of various european countries in the beginning of the xixth century, and solomos, a zantiot of italian culture but whose mothertongue was greek at a time when the ionian islands preserved the social structures and literary traditions instaured by the venitian conquest. The two men present, through their life and vocation, as many differences as affinities. Through an analysis of their class consciousness, their personnality and the historical background in which evolves their life and artistic and "political" activity, the study insists on certain aspects which still demand a thorough examination (such as the social role of the poet, their attachment to different literary traditions, enlightment in greece, the social impact of modern greek, the link between antiquity and modern greece, travel, philhellenism, the internal and external political scene) and suggests new interpretations in order to throw further light on the intimate relationship between each poet and the greece of his time, as well. .
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Orsini, Philippe. "Le poète héros et le poète déchu : romantisme et réalisation de l'idéal chez Lord Byron et Alfred de Musset." Paris 12, 2007. http://www.theses.fr/2007PA120047.
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L'influence de Byron en France, sur Musset en particulier, doit être reconsidérée, son étude n'ayant pas été renouvelée, de manière approfondie, depuis longtemps. La fortune assez semblable des deux poètes, surtout aujourd'hui, tient à une conception commune de la poésie et de ses relations avec la vie, des rapports du réel et de l'idéal, de l'action et de la fiction. Les cas de Byron et de Musset éclairent la nature de la poésie romantique en général, si l'on considère le "byronisme" comme un des quatre courants principaux du romantisme, dont il permet de préciser la définition, ou l'ambition : celles d'une réalisation de l'idéal simultanément dans et par la poésie "et" dans la vie réelle. Poésie et romantisme chez Byron et Musset sont essentiellement envisagés comme la confrontation de l'expérience et de la fiction, de la littérature et de la vie réelle, pour en constater le désaccord ou pour essayer d'en restaurer l'harmonie ou l'unité perdues. Cette tentative se heurte à la situation politique, artistique et religieuse d'une époque qui est pour Musset "l'antipode des grands siècles". Dès lors, la poursuite de l'idéal peut prendre deux formes : l'idéalisation à rebours du "mal et du malheur", conférant à l'oeuvre de Musset ou Byron ses caractéristiques principales : mélancolie, misanthropie, fantasmagorie, ou la nécessité pour le poète de suppléer par lui-même au manque de poésie de son temps. Byron parvient à réaliser plus complètement l'idéal du poète héros, qui rend possible l'accomplissement de la poésie dans la vie réelle. Musset représente plutôt (héroïquement aussi, d'un certaine manière), la déchéance de la poésie dans une société anti-poétiqueByron's influence in France, in particular on Musset, must be reconsidered. This subject has not been renewed for long. The fairly similar fortune of the two poets, especially nowadays, is due to a special conception, shared by both of them, of poetry and its relationships with life, as well as of the links between reality and ideal, action and fiction. The case of Byron and Musset throws light on the nature of romantic poetry in geneal : "byronism" may be considered as one of the four main currents of romanticism, the definition and ambition of which it helps to clarify as the realization of ideal simultaneously in and by poetry, "and" in real life. Poetry and romanticism in Byron and Musset, are essentially the confrontation and the pursuit of harmony between experience and fiction, literature and real life. This attempt, because of the political, artistic, and religious situation of the time, which is for Musset "l'antipode des grands siècle", can take only two forms : the paradoxical idealization of "le mal et le malheur", which provides Byron's and Musset's works with their main characteristics : melancholy, misanthropy, phantasmagoria ; or the necessity for the poet, all by himself, to make up for the lack of poetry of his time. Byron succeeds in realizing more completely the ideal of the poet hero, which makes possible the accomplishment of poetry in real life. Musset rather represents, heroically too, in a way, the decline of poetry in an unpoetic society
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Seal, Sarah E. "Finding Inspiration in Darkness: The Exploration of Obscurity in Romanticism through the Works of Lord Byron and Gustavo Adolfo Bécquer." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/364.
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Through the works of Lord Byron and Gustavo Adolfo Bécquer, I explored the function of the themes of darkness and obscurity in Romanticism. There was a clear connection between the inclusion of these themes and the rejection of the Enlightenment period, which is what I focused on in this thesis. I discovered that the Romantics found inspiration and beauty in the darker, stranger aspects of the natural world, while rejecting the logical and rational beliefs of the Enlightenment.
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Gargano, Olimpia. "L'image de l'Albanie à partir des récits de voyage des XIXe et XXe siècles, notamment à travers les œuvres de Mary Edith Durham (High Albania, 1909), Alexandre Degrand (Souvenirs de la Haute-Albanie, 1901), Ugo Ojetti (L'Albania, 1902)." Thesis, Nice, 2015. http://www.theses.fr/2015NICE2003.
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L’Albanie est demeurée longtemps l’un des pays européens les plus méconnus. Ce pays qui depuis la fin du XVe siècle était resté pendant presque cinq cents ans sous la domination ottomane était un mystérieux avant-poste de l’Islam au cœur de l’Europe. Ce fut seulement au tout début des années 1800 qu’on commença à l’inclure parmi les destinations du « Grand Tour ». Cette recherche a visé à dégager les typologies de la représentation par lesquelles les écrivains et les artistes européens donnèrent les « images » par lesquelles l’Albanie fut conçue par les étrangers. Les sources abordées vont du début du XIXe siècle aux années 1940. À partir d’un corpus primaire comprenant les Souvenirs de la Haute-Albanie du consul français Alexandre Degrand, L’Albania de l’écrivain-journaliste italien Ugo Ojetti, et High Albania de l’Anglaise Mary Edith Durham, le champ d’observation s’est élargi à inclure un large éventail de textes allant des journaux de voyage aux œuvres fictionnelles aux articles de presse. Une attention particulière a été portée au côté proprement figuratif des œuvres littéraires, consistant en des gravures, des croquis et d’autres formes de la visualisation ; leur observation a constitué un outil complémentaire aux fins de l’identification du réseau historico-conceptuel où prit forme l’image de l’Albanie. Enfin, une étude à part entière a été consacrée à des ouvrages se déroulant dans de pays fictionnels inspirés de l’Albanie ; rédigés entre la fin du XIXe et nos jours, ils montrent une concentration de clichés et de stéréotypes, constituant ainsi un test réactif pour détecter certaines des sources de l’image de l’Albanie dans le courant dominant contemporainAlbania has long been one of the less known European countries. This country which had remained for nearly five hundred years under Ottoman rule was a mysterious outpost of Islam in the heart of Europe. It was only in the early 1800s which it began to be considered worthwhile to include among the Grand Tour destinations. This research has been aimed at detecting and identifying representation patterns through which writers and European artists shaped the « images » by which Albania was conceived by foreigners. The sources range from early XIXth to the 1940s. Starting from a primary corpus consisting of Souvenirs de la Haute-Albanie by the French consul Alexandre Degrand, L’Albania by the Italian writer Ugo Ojetti, and High Albania by the English Mary Edith Durham, our observation field widened to include a broader survey of works ranging from travel diaries and fictional novels to newspaper articles. A prominent place belongs to the iconological corpus, namely to the engravings, sketches and other representational forms through which European literature illustrated Albanian subjects. Observing them has been a complementary tool for identifying the historical and conceptual framework in which the image of Albania took shape. Finally, a specific study has been devoted to works taking place in fictional countries inspired by Albania. Written from the late XIXth century to the present day, they show a rather high concentration of clichés and stereotypes scattered throughout European literature, thus acting as a reactive test to detect some of the sources of the current image of Albania
Pur essendo nel cuore del Mediterraneo, l’Albania è stata a lungo uno dei Paesi europei meno conosciuti. Agli occhi del resto d’Europa, questo Paese rimasto per quasi 500 anni sotto la dominazione ottomana rappresentava un misterioso avamposto dell’Islam di fronte alle coste italiane; fu soltanto agli inizi del 1800 che cominciò a essere considerato una meta da inserire fra le tappe del Grand Tour.Questa ricerca ha mirato a identificare i modelli di rappresentazione attraverso cui viaggiatori, scrittori e artisti europei hanno visto l’Albania, le sue tradizioni e il suo popolo, dando così origine a quelle che sarebbero diventate le sue «immagini» nella percezione collettiva. Le fonti vanno dai primi del XIX secolo, quando il Paese entrò nel pantheon della letteratura internazionale grazie al "Childe Harold" di Lord Byron, al 1940.Il corpus originario, costituito dai "Souvenirs de la Haute-Albanie" del console francese Alexandre Degrand, da "L’Albania" dello scrittore-giornalista italiano Ugo Ojetti, e da "High Albania" dell’inglese Mary Edith Durham, cui è stata dedicata un’attenzione particolare per la sua complessa e innovativa opera etno-antropologica, si è ampliato fino a comprendere un campo d’indagine che va dai diari di viaggio ai resoconti diplomatici, dalla narrativa alla stampa periodica.Inoltre, nella convinzione che nella creazione dell’immagine dell’Altro un posto rilevante spetta alla rappresentazione visuale in se stessa, è stata dedicata particolare attenzione al campo figurativo, consistente in dipinti, schizzi e altre forme della visualizzazione attraverso cui l’arte e la letteratura europea hanno rappresentato temi e motivi albanesi. La loro osservazione ha fornito ulteriori strumenti di analisi del quadro storico e concettuale in cui ha preso forma l’immagine dell’Albania. Infine, uno studio specifico è stato dedicato a una tipologia di rappresentazione alquanto particolare, fatta di testi narrativi ambientati in paesi immaginari ispirati all’Albania. Scritti tra la fine del XIX secolo e i giorni nostri, essi offrono un’elevata concentrazione di cliché e stereotipi sparsi nella letteratura di viaggio, fornendo un repertorio utile a individuare alcune delle fonti dei più diffusi modelli di rappresentazione dell’Albania
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Vásquez, Baldeón Roxana Valeria. "Efectos del programa "Aprendo jugando" para la mejora de la comprensión lectora de textos narrativos en niños de segundo grado de primaria del colegio Lord Byron." Master's thesis, Pontificia Universidad Católica del Perú, 2014. http://tesis.pucp.edu.pe/repositorio/handle/123456789/5846.
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La investigación consistió en la aplicación y validación del programa “Aprendo jugando” para la mejora de la comprensión lectora, el cual se basa en el aprendizaje significativo y en el constructivismo.
Se aplicó en el colegio particular Lord Byron en La Molina. La muestra estuvo constituida por 20 niños de 2do grado de primaria los cuales presentaban dificultades a nivel semántico en la comprensión de textos, mas no tenían dificultades perceptivas o léxicas. Para poder elegir a los niños se dialogó con la profesora del curso de Comunicación Integral y con la evaluadora de los niveles de aprendizaje del colegio. La distribución de los niños fue de 10 en el grupo experimental y 10 en el grupo control.
Se utilizó la prueba de evaluación de las competencias de comprensión lectora ECLE-1, la cual fue tomada a los 2 grupos (experimental y de control) antes de la
aplicación del programa. Seguidamente se aplicó el programa “Aprendo jugando” y al finalizar las 12 sesiones de 1 hora se tomó nuevamente la misma prueba como Post-test. Al analizar los resultados, se observó que los niños que habían sido expuestos al programa mejoraron significativamente.This research consisted on the application and validity of the program “Aprendojugando” in order to improve reading comprehension, this program is based on the meaningful learning approach and constructivism. It was applied at Lord Byron School in La Molina district; the sample consisted of 20 children studying the 2nd grade of primary. These students presented difficulties in the semantic level of reading comprehension; nevertheless they did not have perceptive or lexical difficulties. For choosing the pupils, a dialog was made with the Language Arts teacher, and with the evaluator of learning levels of the school. The children were distributed 10 in the experimental group and 10 in the control group. The test that was used to measure the competence of the students regarding reading comprehension was “The assessment of reading comprehension skills ECLE- 1 (Prueba de Evaluación de lascompetencias de comprensiónlectora), which was taken to the two groups (experimental and control) before the implementation of the program. After the program “Aprendojugando” that lasted 12 sessions of 1 hour each, a Post-Test was applied (ECLE-1). When analyzing the results, we found that children who had been exposed to the program improved significantly
Tesis
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Hobe, Bernd, and Gesine Schröder. "Flüchtig und finster." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-103654.
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Das Liedschaffen Felix Mendelssohn Bartholdys war zu Beginn des 21. Jahrhunderts nur zu knapp zwei Dritteln der tatsächlichen Produktion bekannt. Erst im Jahre 2007 erschienene, bis dahin ungedruckte oder an entlegener Stelle veröffentlichte Lieder werden in vorliegender Studie zusammen mit den übrigen, nicht mit einer Opuszahl versehenen Liedern und Duetten zu thematischen Untergruppen geordnet und knapp in textlich-musikalischer Hinsicht charakterisiert. Diese Lieder und Duette, die nach dem Wunsch des Komponisten in den allermeisten Fällen nicht in die Öffentlichkeit gelangen sollten, stellen das gewohnte Bild Mendelssohns, das des Heiter-Sorgfältigen, in ein neues Licht.
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Ogden, Rebecca Lee Jensen. "Merit Beyond Any Already Published: Austen and Authorship in the Romantic Age." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2417.
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In recent decades there have been many attempts to pull Austen into the fold of high Romantic literature. On one level, these thematic comparisons are useful, for Austen has long been anachronistically treated as separate from the Romantic tradition. In the past, her writings have essentially straddled Romantic classification, labeled either as hangers-on in the satiric eighteenth-century literary tradition or as early artifacts of a kind of proto-Victorianism. To a large extent, scholars have described Austen as a writer departing from, rather than embracing, the literary trends of the Romantic era. Yet, while recent publications depicting a “Romantic Austen” yield impressive insights into the timeliness of her fiction, they haven't fully addressed Austen's participation in some of the most crucial literary debates of her time. Thus, it is my intention in this essay to extend the discussion of Austen as a Romantic to her participation in Romantic-era debates over emergent literary categories of authorship and realism. I argue that we can best contextualize Austen by examining how her model of authorship differs from those that surfaced in literary conversations of the time, particularly those relating to the high Romantic myth of the solitary genius. Likewise, as questions of solitary authorship often overlap with discussions of realism and romance in literature, it is important to reexamine how Austen responds to these categories, particularly in the context of a strictly Romantic engagement with these terms. I find that, though Austen's writing has long been implicated in the emergence of realism in literature, little has been written to link this impulse to the earlier emergence of Romantic-era categories of authorship and literary creativity. I contend that Austen's self-projection (as both an author and realist) engages with Romantic-era literary debates over these categories; likewise, I argue that her response to these emergent concerns is more complex and nuanced than has heretofore been accounted for in literary scholarship.
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Fajardo, Tiffany L. "The World in Singing Made: David Markson's "Wittgenstein's Mistress"." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1861.
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In line with Wittgenstein's axiom that "what the solipsist means is quite correct; only it cannot be said, but makes itself manifest," this thesis aims to demonstrate how the gulf between analytic and continental philosophy can best be bridged through the mediation of art. The present thesis brings attention to Markson's work, lauded in the tradition of Faulkner, Joyce, and Lowry, as exemplary of the shift from modernity to postmodernity, wherein the human heart is not only in conflict with itself, but with the language out of which it is necessarily constituted. Markson limns the paradoxical condition of the subject severed from intersubjectivity, and affected not only by the grief of bereavement, which can be defined in Heideggarian terms as anxiety for the ontic negation of a being (i.e., death), but by loss, which I assert is the ontological ground for how Dasein encounters the nothing in anxiety proper.
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Evans, John Scoville. "Parisina: Literary and Historical Perspectives Across Six Centuries." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4074.
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This thesis explores the relationship between the many literary texts referring to the deaths of Ugo d'Este and Parisina Malatesta, who were executed in Ferrara in 1425 in accordance with an order by Niccolò III d'Este after he discovered their incestuous relationship. The texts are divided in three categories: (1) the fifteenth- and sixteenth-century Italian novellas and their translations; (2) the seventeenth-century Spanish tragedy; and (3) the nineteenth- and twentieth-century Romantic works. Although these categories divide the various texts chronologically, they also represent a thematic grouping as the texts within each category share common themes that set them apart from those in the other groups. While the various texts all tell the same story, each approaches the tragedy slightly differently based largely on the audience for which it was intended. Thus, the time and place of each text greatly affects its telling. Still, the fact that substantial differences exist between texts that were produced in both geographic and temporal proximity suggests that these are not all-determining factors. Although scholarship exists analyzing individual texts, a comprehensive study of the literary accounts relating to the tragedy has never been undertaken. Rather than detracting from the story, the differences put forth in each of the literary texts enrich the global reading experience by offering many perspectives on the tragedy. In addition, these differences influence how the reader reacts to each of the other texts. Familiarity with one version of the story changes the way a reader approaches the others. A parallel reading of the different versions of the story also shows the power culture has on interpretation. Texts referring to a singular event from one time and place sharply contrast with those that are the product of other circumstances.
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"Drink of Me, and You Shall Have Eternal Life: An Analysis of Lord Byron's "The Giaour" and the Greek Folkloric Vampire." Master's thesis, 2010. http://hdl.handle.net/2286/R.I.8764.
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abstract: This paper contains an examination of the impact of the Vampire Hysteria in Europe during the 1700’s on Lord Byron's “The Giaour.” Byron traveled to the continent in 1809 and wrote the poems that came to be known as his Oriental Romances after overhearing what would become “The Giaour ” in “ one of the many coffee-houses that abound in the Levant.” The main character, the Giaour, has characteristics typical of the Greek vampire, called vrykolakas. The vamping of characters, the cyclic imagery, and the juxtaposition of life and death as it is expressed within the poem are analyzed in comparison to vampiric folklore, especially that of Greece.Dissertation/Thesis
M.A. English 2010
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Nkamanyang, Pepertua Kininla Lola [Verfasser]. "Forms and functions of narration and focalization in some selected poems of Lord Byron : a narratological analysis / vorgelegt von Pepertua Kininla Lola Nkamanyang." 2008. http://d-nb.info/1002807247/34.
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Horová, Miroslava. "Historie a hra v dramatech lorda Byrona." Doctoral thesis, 2014. http://www.nusl.cz/ntk/nusl-342289.
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History is a major point of inquiry and exploration in all Byron's major, and many of his minor, works. Byron understands and conceptualizes history and its tight and troubled relationship with literature, drawing attention to the literariness of history and the historicity of literature in his wake. The aspiration to the 'truth' of history is, for Byron, a highly creative process, highlighting the cross-pollination of fact and fiction, and also exploring history's inherent theatricality. Historical writing shapes but, crucially, also distorts our understanding of history. The dramatic works of Lord Byron are, on the whole, traditionally the least critically explored territory of his oeuvre. Byron's singular understanding and conceptualization of history in his dramas is the focus of this study, comprising the seven dramatic works he wrote between 1820 and 1822. As this thesis shows, these dramas make up a dynamic dramatic project, creating a space of formal, discursive and thematic experimentation, which reveals not only Byron's intense involvement in matters of drama but also, in a wider perspective, his understanding and treatment of history. This study takes up Byron's treatment of history in his dramas and analyses it through the methodology of play laid out and adapted for use in literary...
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Horová, Miroslava. "Tragikomická poetika Lorda Byrona: zkoumání tématu stigmatizace v dílech Manfréd, Kain a Nebesa a země." Master's thesis, 2006. http://www.nusl.cz/ntk/nusl-269598.
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The general public image of Lord Byron (in)famously amounts to a set of gilded platitudes - the Romantic sex-symbol, the lover of women, men, wine and freedom, the revolutionary suffering the premature death of a true hero - all adding up to constitute the notorious notion of a celebrity, anchored in the melodrama of an exotic life with a tragic end. In short, ever since the phenomenal success of the first two cantos of Childe Harold's Pilgrimage in 1812, the poet has been distilled into a rather appetizing cocktail of hyperbole, originating in the theretofore unprecedented cult of personality epitomized by sheer stylishness and daunting eroticism. Thus in the long run, as far as the laity is concerned, we inevitably see Lord Byron join the catalogue of ill-famed idols featuring the disparate likes of John Wilmot or James Dean. Moreover, the scandalous momentum of the poet's life has continuously been pushing the oeuvre into a shameful shade, the consequence of which being that Byron's work is largely perceived as merely echoing, in fateful chimes, the biographical bane of incest, debauchery, intolerable cruelty in matrimony etcetera - the allegedly numerous moral trespasses eventually resulting in a dramatic fall from grace and exile. Stereotypes conjured out ofthe bog of Byron's life stifle the voices of...