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Journal articles on the topic 'Lord Byron'

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Published: 4 June 2021
Last updated: 27 April 2022

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1

Rössner, Stephan. "Lord Byron." Obesity Reviews 14, no. 3 (February 18, 2013): 263–64. http://dx.doi.org/10.1111/obr.12001.

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2

Lipman, Samuel. "'Lord Byron' Undone." Grand Street 5, no. 3 (1986): 180. http://dx.doi.org/10.2307/25006882.

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Disch, Thomas M. "My Roommate Lord Byron." Hudson Review 54, no. 4 (2002): 590. http://dx.doi.org/10.2307/3853312.

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4

Jones, Steven. "Lord Byron, Multimedia Artist." Byron Journal 29 (January 2001): 36–46. http://dx.doi.org/10.3828/bj.2001.5.

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5

Minta, Stephen. "Lord Byron and Mavrokordatos." Romanticism 12, no. 2 (July 2006): 126–42. http://dx.doi.org/10.3366/rom.2006.12.2.126.

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6

Ourania Chatsiou. "LORD BYRON: PARATEXT AND POETICS." Modern Language Review 109, no. 3 (2014): 640. http://dx.doi.org/10.5699/modelangrevi.109.3.0640.

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7

Story, Cullen. "Did Lord Byron Know Ugaritic?" Byron Journal 19 (January 1991): 146–48. http://dx.doi.org/10.3828/bj.1991.12.

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8

Gilroy, Amanda. "Lord Byron Borrows A Figure." Byron Journal 20 (January 1992): 89–91. http://dx.doi.org/10.3828/bj.1992.7.

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9

BARTON, ANNE. "John Clare Reads Lord Byron." Romanticism 2, no. 2 (July 1996): 127–48. http://dx.doi.org/10.3366/rom.1996.2.2.127.

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10

FLETCHER, CHRISTOPHER. "LORD BYRON - UNRECORDED AUTOGRAPH POEMS." Notes and Queries 43, no. 4 (December 1, 1996): 425—b—428. http://dx.doi.org/10.1093/nq/43-4-425b.

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11

FLETCHER, CHRISTOPHER. "LORD BYRON - UNRECORDED AUTOGRAPH POEMS." Notes and Queries 43, no. 4 (1996): 425—b—428. http://dx.doi.org/10.1093/nq/43.4.425-b.

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12

Lunkes, Luciano. "Lord Byron assombra a cozinha." Ágora 23, no. 1 (March 4, 2021): 188–202. http://dx.doi.org/10.17058/agora.v23i1.15961.

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O presente artigo investiga o arquétipo literário de Lord Byron na qualidade de ferramenta ficcional utilizada para compor o chef protagonista de Cozinha Confidencial: uma aventura nas entranhas da culinária, obra autobiográfica de Anthony Bourdain (1956-2018), bem como a ocorrência de uma guinada discursiva nas autobiografias de chefs celebridades desse novo milênio. Para a discussão, recorro a reflexões dos seguintes autores: Pierre Bourdieu (O poder simbólico), Chris Rojek (Cultura da celebridade), Myriam Bendhif-Syllas (Une histoire de l’écrivain maudit) e Franca A. Berllasi (Burroughs's Re-Invention of the Byronic Hero). .
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13

CALZADA, SARA MEDINA. "Byron’s Spanish Afterlives: Emilio Castelar’s Vida de Lord Byron." Byron Journal: Volume 49, Issue 2 49, no. 2 (December 1, 2021): 125–34. http://dx.doi.org/10.3828/bj.2021.16.

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This article examines Emilio Castelar’s Vida de Lord Byron (1873), the first Spanish biography of Byron. Borrowing most information from Moore’s and, especially, Lescure’s biographies of the poet, Castelar provides an apologetic and over-romantic portrait of Byron, in which he tries to reconstruct his private life and inner self, depicting him as a tragic hero who, despite his excesses, should be recognised as a universal genius. Castelar’s biography, which became an immediate success, illustrates the keen interest that Byron still aroused in Spain in the late nineteenth century and it deserves to be considered in the study of Spanish Byronism, a cultural phenomenon that includes but should not be limited to the literary reception of his poetry.
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14

Prévost, Maxime. "Présence de Lord Byron dans Prochain épisode d’Hubert Aquin." Études 30, no. 1 (January 24, 2005): 107–18. http://dx.doi.org/10.7202/009892ar.

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Résumé Le présent article s’intéresse à la présence, obsédante et obsessionnelle, de la figure mythique de Lord Byron dans Prochain épisode d’Hubert Aquin. Plus qu’une référence culturelle parmi d’autres, elle sera considérée comme le point focal de toutes les allusions littéraires et historiques du roman, qu’on pourrait définir comme la quête d’une identité nationale, romantique et révolutionnaire dont Byron est la mesure. Cette importance constante accordée à la vie et aux oeuvres de Byron et à « l’Hôtel d’Angleterre », où il aurait occupé une chambre et écrit Le prisonnier de Chillon en 1816, avant d’aller trouver la mort en route pour s’engager dans « la révolution nationale des Grecs », met à jour sur ce qu’il faut bien appeler l’anglophilie d’Hubert Aquin.
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15

Mills, Raymond. "The Last Illness of Lord Byron." Byron Journal 28 (January 2000): 56–67. http://dx.doi.org/10.3828/bj.2000.6.

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16

Clubbe, John. "Thomas Sully's Portrait of Lord Byron." Byron Journal 33, no. 1 (June 2005): 1–12. http://dx.doi.org/10.3828/bj.33.1.1.

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17

Soderholm, James. "Annabella Milbanke's ‘Thyrza to Lord Byron’." Byron Journal 21 (January 1993): 30–42. http://dx.doi.org/10.3828/bj.1993.2.

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18

HARVEY, A. D. "A LOST PARAGRAPH BY LORD BYRON." Notes and Queries 37, no. 1 (March 1, 1990): 26—a—26. http://dx.doi.org/10.1093/nq/37-1-26a.

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19

Wergeland, Henrik. "Gjendiktninger av Lord Byron (1833–1838)." Agora 28, no. 01-02 (February 28, 2010): 237–43. http://dx.doi.org/10.18261/issn1500-1571-2010-01-02-19.

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20

Duverne, Céline. "Balzac, émule versatile de Lord Byron." L'Année balzacienne 22, no. 1 (October 15, 2021): 75–89. http://dx.doi.org/10.3917/balz.022.0075.

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21

Bell, Hazel K. "Mad, bad Lord Byron: poet, rake - and indexer?" Indexer: The International Journal of Indexing: Volume 39, Issue 3 39, no. 3 (September 1, 2021): 283–92. http://dx.doi.org/10.3828/indexer.2021.26.

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Was the English poet Lord Byron an indexer? Hazel Bell examines the index in the 1926 edition of The poetical works of Lord Byron, which is written in a provocative style that reinforces the opinions expressed in the notes that accompany Byron’s poetry. Sadly, the indexer is not named. Whether or not it was written by the poet himself, it is a fascinating index that has sadly been omitted from a later edition.
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22

Khrisat, Abdulhafeth Ali. "The Image of the Oriental Muslim in Lord Byron’s The Giaour (1813)." English Language and Literature Studies 8, no. 3 (August 29, 2018): 59. http://dx.doi.org/10.5539/ells.v8n3p59.

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This paper aims to examine The Giaour (1813), a significant poetic work by Lord Byron, nineteenth century romantic British poet, in terms of its presentation of Oriental characters like Hassan and his wife, Leila. Byron uses references to the Oriental Islamic practices through his portrayal of Muslims’ celebration of Ramadan, call for prayer in the mosque, and allusions to the equality of women and men in the Qur’an. Byron, like other Orientalists, adopts an unfairly attitude towards the Orient. His portrait of the Oriental society as patriarchal, where the woman has no freedom at all, a prisoner, and a victim, is embodied in The Giaour’s character of Leila, Hassan’s wife. In brief, Lord Byron’s The Giaour reveals his stereotypical Orientalist’s attitude towards the Oriental society.
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23

Nicholson, Andrew, and Charles E. Robinson. "Lord Byron and His Contemporaries: Essays from the Sixth International Byron Seminar." Yearbook of English Studies 16 (1986): 305. http://dx.doi.org/10.2307/3507829.

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24

Mole, Tom. "Lord Byron and the end of fame." International Journal of Cultural Studies 11, no. 3 (September 2008): 343–61. http://dx.doi.org/10.1177/1367877908092589.

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25

Gurley, D. Gantt. "The Concept of Byrony." Konturen 7 (August 23, 2015): 14. http://dx.doi.org/10.5399/uo/konturen.7.0.3658.

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“The Concept of Byrony” examines Kierkegaard’s lyrical relation to Lord Byron. As an alternative to models of German influence, this paper discusses Kierkegaard’s quotations of Byron’s poetry and allusions to the poet himself. The paper establishes a poetical relationship between the two writers in terms of irony and metaphor. Kierkegaard’s sense of irony is creative but not unique; its roots can be located in earlier writings of the Danish Golden Age. Of particular importance is the development of irony in the works of Johan Ludvig Heiberg and the young writers that surrounded him, including the young Kierkegaard himself. It was in Heiberg’s salon where Byron seems to have first stepped into the Danish literary landscape. For Kierkegaard and Danish letters in general, the reception and celebrity-status of Byron perhaps play a more important role than his verse, although another acolyte of Heiberg’s, Frederik Paludan-Müller, wrote poetry that strongly illustrates Byron’s poetical influence in Danish verse. The paper also examines the Byronic notion of the empty sign, a metaphor that points to its own meaninglessness as a further poetic relationship. Moreover, the Byronic hero as a model for a lived life provided Kierkegaard with a powerful public mask that accompanied him to his last days. I term this mask and masquerade Byrony. In its conclusion the paper marks a significant similarity between the death-scenes and epitaphs of these major nineteenth-century European writers.
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26

Phipps, Jake. "Antithetical Minds: Eliot’s Byron and Byron’s Burns." Byron Journal 49, no. 1 (June 1, 2021): 15–28. http://dx.doi.org/10.3828/bj.2021.4.

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This article examines the influence which Robert Burns had on Lord Byron’s poetry and his creation of the Byronic Hero, while also viewing T.S. Eliot’s 1937 essay on Byron as a significant piece of Byron criticism - useful not just for its insights on Byron, but for the affinities it reveals between Byron and Burns, and in turn, what it reveals about some of Eliot’s own critical and poetic practices. Eliot ranked Byron as second only to Chaucer in terms of ‘readability’, and praised him for his gifts as a tale-teller and his art of digression. I argue that Burns’s poem ‘Tam O’Shanter’ was an important source for the techniques of digression and self-conscious performance found in Don Juan, as well as for Byron’s conception of the Byronic Hero, where, again, ‘Tam O’Shanter’, and The Jolly Beggars, are particularly illuminating.
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27

Bradbury, Oliver. "‘Come back to Venice, My Lord’: Alexander Scott's Letters to Lord Byron." Byron Journal 29 (January 2001): 47–61. http://dx.doi.org/10.3828/bj.2001.6.

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28

Egorova, L. V. "Lord Byron. Lyrical poetry translated by Georgy Shengeli." Voprosy literatury, no. 4 (August 22, 2019): 284–89. http://dx.doi.org/10.31425/0042-8795-2019-4-284-289.

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The book features Byron’s early poems Hours of Idleness, hitherto unpublished in Russian, as well as selected poems from 1809–1811 and 1816, and Hebrew Melodies. The book is relevant within the context of Byron’s legacy and Shengeli’s work. It is since the late 1980s that Shengeli’s previously unpublished poems have appeared in press, and we are on a path to better understanding the scope of his achievements. The book opens with Vladislav Rezvy’s excellent introduction to Shengeli’s life and work. Despite the article’s many merits, it still fails to discuss one important topic: Shengeli’s perception of Byron, the ‘comprehensive assimilation of the ideas, imagery, style and poetic techniques’ as described by A. Veselovsky in his time.
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29

Ożarska, Magdalena. "Łucja Rautenstrauchowa: A Polish Admirer of Lord Byron." Byron Journal 44, no. 2 (December 2016): 151–62. http://dx.doi.org/10.3828/bj.2016.20.

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30

Walker, Keith, Lord Byron, Jerome J. McGann, Barry Weller, Andrew Nicholson, and Lord Byron. "Lord Byron: The Complete Poetical Works. Vol. VI." Modern Language Review 88, no. 4 (October 1993): 951. http://dx.doi.org/10.2307/3734446.

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31

Hirst, Wolf. "Lord Byron Cuts a Figure: The Keatsian View." Byron Journal 13 (January 1985): 36–51. http://dx.doi.org/10.3828/bj.1985.3.

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32

Bone, J. Drummond, and Jerome J. McGann. "Lord Byron: The Complete Poetical Works. Volume IV." Modern Language Review 83, no. 4 (October 1988): 972. http://dx.doi.org/10.2307/3730935.

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33

Fitzgerald, Michael. "Did Lord Byron have Attention Deficit Hyperactivity Disorder?" Journal of Medical Biography 9, no. 1 (February 2001): 31–33. http://dx.doi.org/10.1177/096777200100900110.

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34

Douglass, Paul. "What Lord Byron Learned from Lady Caroline Lamb." European Romantic Review 16, no. 3 (July 2005): 273–81. http://dx.doi.org/10.1080/10509580500209917.

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35

McLean, Thomas. "Jane Porter and the Wonder of Lord Byron." Romanticism 18, no. 3 (October 2012): 250–59. http://dx.doi.org/10.3366/rom.2012.0096.

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36

Abu Zaid, Reham. "Oriental Elements In The Poetry of Lord Byron." Bulletin of The Faculty of Languages & Translation 5, no. 2 (July 1, 2013): 62–100. http://dx.doi.org/10.21608/bflt.2013.166529.

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37

Maalouf, May. "Male Postpartum Preface: Cervantes and Lord Byron’s Prefaces to Don Quixote and Childe Harold’s Pilgrimage." Hawliyat 17 (July 11, 2018): 11–32. http://dx.doi.org/10.31377/haw.v17i0.65.

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The purpose of this paper is to attend to the preface as an important element in understanding the symbiotic relationship between author and text, especially when a male author assumes the female power of procreation. In the prefaces to Don Quixote Part I and II and Childe Harold's Pilgrimage, Cervantes and Lord Byron, respectively, identify their main heroes as their 'child of the imagination/brain '. Nevertheless, in many instances we encounter moments of anxiety manifested in a dialectic of engagement and disengagement, owning and disowning, of denying and defending theirfictional personages. To Cervantes, Don Quixote is "child of his brain", the son, and yet hes also the stepson, who eventually ends up no more than a brave knight; to Byron, as well, Childe Harold was initially called Childe Burun, but later on is referred to as just a "fictitious character" from whom Byron tried to disengage throughout the poem. This equivocal and dialectical discourse ofembracement and abandonment could be better understood by extending the birthing metaphor to encompass postpartum anxiety. In the prefaces, both Cervantes and Byron Platonic male spiritual pregnancy is combined with the female physical and psychological symptoms of giving birth and its qftermath. Thus, the preface becomes a birth certificate not only legitimizing the hero, but also problematizing the parental relationship between father/author and son/text or hem, for it involves more than the ontological history Of the hem or the text.
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38

Byrd, M. Lynn. "Bad Books/Bad Blood: Feminism, Eugenics, and Culture in Harriet Beecher Stowe's Lady Byron Vindicated." Prospects 23 (October 1998): 147–69. http://dx.doi.org/10.1017/s036123330000630x.

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In September 1869, Harriet Beecher Stowe published “The True Story of Lady Byron's Life” in the Atlantic Monthly and Macmillan's Magazine. Public outcry was so great that less than a year later she published Lady Byron Vindicated: A History of the Byron Controversy, From Its Beginning in 1816 to the Present Time. This was a four-hundred-page volume that defended not only Lady Byron but also Mrs. Stowe. The book only fanned the flames of rebuke and debate. From 1869 to 1870, at least forty-one review articles of Stowe's work were published, including a response by Mark Twain. In the same time period, eight books were published in response, including Medora Leigh's autobiography. It announces in its subtitle that it contains “an introduction and commentary of the charges brought against Lord Byron by Mrs. Beecher Stowe” (Leigh defends the poet).
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39

Bradbury, Oliver. "‘Come back to Venice, My Lord’: Alexander Scott's Letters to Lord Byron (2)." Byron Journal 30 (January 2002): 80–92. http://dx.doi.org/10.3828/bj.2002.9.

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40

Mahdi, Dr Basma Harbi, and Assist Lecturer Suaad Abd Ali Kareem. "Representations of the Oriental Woman in Lord Byron’s “Turkish Tales”." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 223, no. 1 (December 1, 2017): 37–50. http://dx.doi.org/10.36473/ujhss.v223i1.312.

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This study deals with the representations of the oriental woman in the Western narrative on orient. The Western representations of oriental woman are products of specific moments and developments in culture. For their own rhetorical and political purposes, the Western writers employ a discourse representing an Eastern woman, whose Otherness is always subject to qualification and change. The concern of this study is to reveal how this narrative is revolved around certain concept that the oriental woman is victimized. Byron’s conception of the oriental woman is shaped by these Orientalist ideas. In “Turkish Tales,” Byron uses the figure of the Oriental woman and the harem system. What we find in these tales is oriental women who are both domestic and disobedient, and who try to resist their bounded existence; the harem. Byron often portrays the harem as a confined domestic space against which women may reasonably rebel. But their acts of rebellion almost always end in failure.
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41

Wilcox, David. "The Clothing of a Regency Poet, Lord Byron (1788–1824)." Costume 55, no. 2 (September 2021): 212–39. http://dx.doi.org/10.3366/cost.2021.0200.

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Byron was a best-selling poet and a celebrity with a notorious reputation. This article seeks to examine how his public image and private person were related, the part clothing played in the projection of his public image, and the degree of control he exerted over his body and his self-image. The article examines a number of sources relating to Lord Byron — his journals and letters, his poetry and public output, biographies, bills and accounts, paintings and illustrations, and the surviving clothing associated with the poet. From these a clothing narrative of the poet's early life, up until the time of his departure for Europe in 1816, can be constructed and examined in relation to the fashions of his era and the idiosyncrasies of the poet. Some of the surviving clothes are examined for their cut and construction and discussed in relation to others of the period. A companion article, dealing with his life abroad until the time of his death in 1824, will follow at a later date.
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42

Roessel, David. "Exploding Magazines: Byron’s The Siege of Corinth, Francesco Morosini and the Destruction of the Parthenon." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 5 (May 1, 2013): 9. http://dx.doi.org/10.12681/syn.17440.

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This paper links several threads connected to Byron‟s least regarded Turkish Tale. Why, when the English Parliament decided in June 1816 to purchase the Elgin Marbles for the British Museum, did Byron appear to be silent on a subject that he had expressed strong feelings about some years earlier? Why, when he attacked Lord Elgin on the Parthenon marbles, did he not link him in infamy with Francesco Morosini, who had fired the shot that blew up the Parthenon? And why, in The Siege of Corinth, did Byron intentionally depart from the account in his historical source?My paper argues that The Siege of Corinth, one of his Turkish Tales that includes a conflict between Venetians and Turks, a siege, and an explosion, contains within it Byron‟s reflections on these issues The Siege of Corinth, in short, has more layers than have previously been explored.
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43

Christie, William, and Jeffery W. Vail. "The Literary Relationship of Lord Byron and Thomas Moore." Studies in Romanticism 42, no. 1 (2003): 138. http://dx.doi.org/10.2307/25601608.

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44

Kelsall, Malcolm, and Jeffery W. Vail. "The Literary Relationship of Lord Byron & Thomas Moore." Yearbook of English Studies 34 (2004): 298. http://dx.doi.org/10.2307/3509533.

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45

Byron, Robin. "‘Hints from Horace’ An unpublished note by Lord Byron." Byron Journal 16 (January 1988): 86–87. http://dx.doi.org/10.3828/bj.1988.8.

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46

Marandi, Seyed Mohammad, and Hossein Pirnajmuddin. "Childe Harold's Journey to the East and “Authenticity”." International Letters of Social and Humanistic Sciences 12 (October 2013): 14–27. http://dx.doi.org/10.18052/www.scipress.com/ilshs.12.14.

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This essay deals with the notion of orientalist discourse in Lord Byron‟s Childe Harold's Pilgrimage. Concentrating on the dialectical attitudes towards the „Orient‟ in Byron‟s poem the writers try to show, through a contrapuntal textual analysis, how signs emerge of a somewhat stereotypical and often monolithic Orient. It is argued that the work‟s claim on the authenticity of the representations of the East is a subtle textual strategy. This seems to be true despite the existence of seemingly more favourable views towards „Orientals‟, especially in the footnotes, compared to Turkish Tales. Central to the study is the idea that similar discursive practices also seem to influence most of Byron‟s critics, which include contemporary scholars who have conducted numerous forms of textual analysis through differing theoretical approaches.
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47

Morrison, Robert. "Blackwood's Byron: The Lakers, the Cockneys, and the ‘throne of poetical supremacy’." Romanticism 23, no. 3 (October 2017): 272–81. http://dx.doi.org/10.3366/rom.2017.0342.

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Blackwood's in its earliest numbers was a staunch admirer of Lord Byron. But when he published Beppo, it damned him in a June 1818 review as a hypocrite and a reveller, and thereafter the magazine lurched between celebrating him for his genius and castigating him for his perversion of it. Byron objected to the uneven treatment he received at the hands of the Blackwood's critics, but in ‘Some Observations Upon an Article in Blackwood's Edinburgh Magazine’ he echoes their views on several contemporary poets, and seems to reconcile himself to the exuberant unpredictability of the magazine.
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48

Karam, Savo. "The Uncanny Aura of the Femme Fatale’s Icon in Byron’s DonJuan." Advances in Social Science and Culture 2, no. 3 (July 17, 2020): p25. http://dx.doi.org/10.22158/assc.v2n3p25.

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The femme fatale trope, the incarnation of the artistic ideal of the writer’s creative imagination, is one of the most captivating female facades to haunt the Western literary tradition. Defined by her liminality, the femme fatale embraces an uncanny appearance that is terrifying but concurrently enthralling. Such oxymoronic combination defines her threatening and sublime representation which echoes Freud’s phenomenon of the uncanny that Lord Byron incarnates through his portrayal of the fatal woman motif. As a dark Romantic poet, Byron perceived beauty in the bizarre, unrestrained attitude of the fatal woman’s figure which shakes the rigid moral dimension of Victorian literature. What is intriguing about Byron’s depiction of his fatal woman is the supernatural, eerie power of her erotic appeal which she adroitly deploys to consume and haunt her victim’s imagination. Many researches tackled Byron’s contribution to the Gothic lore such as the initiation of the male vampire theme; other areas that were of interest to scholars depicted Byron’s homme fatal (the Byron seducer) trope. However, little critical attention pertaining to Byron’s femme fatale motif has been paid, and since his delineation of the femme fatale remains ambivalent and incomplete, this untouched area deserves substantial attention. Although Byron did not initiate the fatal woman figure, it is feasible to study how he conceives this archetype and the extent to which he incorporates Freud’s theory of the uncanny in his Gothic portrayal of two fatal females, Adeline and Catherine, in Don Juan.
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49

Lloyd-Jones, Ralph. "Parry's Polarities: Lord Byron and William Edward Parry, Arctic Explorer." Byron Journal 24 (January 1996): 59–67. http://dx.doi.org/10.3828/bj.1996.6.

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50

White, Adam. "Identity in Place: Lord Byron, John Clare and Lyric Poetry." Byron Journal 40, no. 2 (January 2012): 115–27. http://dx.doi.org/10.3828/bj.2012.15.

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