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Relevant bibliographies by topics / Lyrical Ballads

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Academic literature on the topic 'Lyrical Ballads'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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Journal articles on the topic "Lyrical Ballads"

1

Camarda, Julie. "Lyrical Ballads, Balladic Lyrics: The Case of Wordsworth’s “The Thorn”." Wordsworth Circle 52, no. 2 (March 1, 2021): 217–37. http://dx.doi.org/10.1086/713530.

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Wordsworth, William. "Preface toThe Lyrical Ballads." Arts Education Policy Review 105, no. 2 (November 2003): 33–36. http://dx.doi.org/10.1080/10632910309603461.

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O'Brien, Lee. "Emily Brontë's Lyrical Ballads." Victorian Poetry 57, no. 4 (2019): 511–32. http://dx.doi.org/10.1353/vp.2019.0030.

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Elena Yu., Kulikova. "“And Again, the Skald Will Add Someone Else’s Song”: “Marine”, “Scottish”, “May” and Other Ballad Stylizations by Georgy Ivanov." Humanitarian Vector 15, no. 5 (October 2020): 16–27. http://dx.doi.org/10.21209/1996-7853-2020-15-5-16-27.

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The thematic justification involves demand for detecting and identifying patterns of transformation and modification of ballads by poets of the Silver Age. The twentieth century loved poetry experiments, a game with form, and there are a variety of genres: sonnets, rondos, gazella, pantoons, ballads in the works of symbolists and especially those of the Acmeists. Acmeist ballads reveal a part of the early twentieth century poetic world and contain both the traditional elements of the genre and the features of modernism. The works by Georgy Ivanov, the so-called “youngest acmeist”, who was a member of the Petrograd “Workshop of poets”, presents a variety of lyrical genres. The purpose of our study is to consider the ballads and ballad stylization of G. Ivanov. The purpose of the work determines its methodological basis, which includes the historical and literary, phenomenological, typological and comparative approaches. The stylization which is inherent in all of Ivanov’s ballads (“Song of the Pirate Ola”, “May Ballad”, “Scottish Ballad”, “Ballad about the Publisher”) and his ballad poems, allows to see the genre in a new aspect. The poet observes ballad rules – a tragic plot, romantic “vagueness” of narration, ballad motifs (ominous raven, night stories, turning into the past, etc.). However, these rules are distorted and stylized. Traditional ballad plots are so intensified that forcing the features creates a comic or ironic effect, the combination of motives turns out to be multilayer. G. Ivanov creates a parody in some cases and in some cases, a stylized ballad. The game and the love of stylization which characterize G. Ivanov throughout his creative life open up a new genre that he practically created by himself. Keywords: ballad genre, G. Ivanov, stylization, parody, motive, lyrical plot

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Liugaitė-Černiauskienė, Modesta. "Folk Ballad beyond the Genre Definition." Tautosakos darbai 63 (July 20, 2022): 123–37. http://dx.doi.org/10.51554/td.22.63.06.

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The ballad has long existed in the periphery of the Lithuanian folkloristics. In this article, the folk ballad’s role and place in the Lithuanian folksong tradition is explored discussing two classical works of the Lithuanian folklore research characterized by their rather diverse theoretical assumptions. Both works were published in the end of the 1960s. The first one is the study on the Lithuanian folk ballads by Pranė Jokimaitienė (1968), and the second one is the monograph by Donatas Sauka discussing the uniqueness and value of folklore (1970). The author of the article suggests examining the folk ballad not only in terms of the genre, but also from the broader interdisciplinary perspective, thus combining both above-mentioned points of view by Jokimaitienė and Sauka. Such approach is strengthened by the research history of the ballad – a very complex and complicated phenomenon. Limiting the ballad analysis exclusively by the Lithuanian material on the one hand, and by the pure folklore on the other, hinders us from adequately placing the ballad in the Lithuanian folklore system. Therefore, the author suggests renouncing the narrow concept of the ballad as a text, at the same time regarding it beyond the definition of the genre and taking into account its social, cultural, historical and anthropological contexts. The article aims at discussing the peculiarities of the ballads’ existence in the Lithuanian environment in terms of development of the Lithuanian folkloristics. Notably, ballads have always found themselves at the outskirts of the idealizing template of the research in Lithuanian folksong. Various nations have seen very diverse adaptations of the ballad plots, and this international diversity of folk ballads along with their dissemination across other genres opposes making clear decisions regarding their identity, even when the general definition is applied. Giving in to the temptation of submitting the generic definition, the folklorist adopts the views of a literary scholar: the definition might look essentially correct (the ballad is “a lyric-epic composition characterized by dramatic features” or “a narrative folksong with lyrical and dramatic character”, etc.), but will hardly be of use. Compositions with similar plots might be attributed to different genres in various national folklores, which works according to their own folklore systems. Besides, even variants of the same type might embrace a rather broad scope: from the stylistically pure ballads to the lyric transformations with ballad motives. This complicates the wish to combine all compositions and types into a single generic group. Here, one must bear in mind the already established tradition of folklore research. In Lithuania, development of folkloristics has shaped a general image of the folklore universe, which has in turn dictated how the whole folksong corpus is ordered and systematized. Finally, the author draws the readers’ attention to the fact that ballads – the folksong layer of foreign origins and abounding in signs of “otherness” – have become unique compositions in Lithuania, not similar either to European samples nor to the authentic canonic Lithuanian folksongs. Having appropriated a topic or some wandering story line, Lithuanians frequently do their own transformations in terms of content and form. It is concluded that the Lithuanian ballads have sprung from interactions between the local folksong tradition and the balladic expression, thus acquiring an additional meaning and value.

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WU, D. "LYRICAL BALLADS(1798): THE BEDDOES COPY." Library s6-15, no. 4 (December 1, 1993): 332–35. http://dx.doi.org/10.1093/library/s6-15.4.332.

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Thomas, Gordon K. "The "Lyrical Ballads" Ode: "Dialogized Heteroglossia"." Wordsworth Circle 20, no. 2 (March 1989): 102–6. http://dx.doi.org/10.1086/twc24042844.

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Larkin, Peter. "Lyrical Ballads: Wordsworth's Book of Questions." Wordsworth Circle 20, no. 2 (March 1989): 106–12. http://dx.doi.org/10.1086/twc24042845.

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Martin, Philip W., and Richard Cronin. "1798: The Year of the Lyrical Ballads." Modern Language Review 96, no. 2 (April 2001): 472. http://dx.doi.org/10.2307/3737368.

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Graver, Bruce, and Ronald Tetreault. "Editing Lyrical Ballads for the Electronic Environment." Romanticism on the Net, no. 9 (1998): 0. http://dx.doi.org/10.7202/005783ar.

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Dissertations / Theses on the topic "Lyrical Ballads"

1

Fleming, James R. "Life in death/death in life trauma, testimony and the 1798 Lyrical ballads /." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0014346.

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Krouse, Melanie. "Nature and the Infanticidal Mother in William Wordsworth's "The Thorn"." University of Toledo Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1418986278.

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Knowles, Thomas. "Lyrical ballards : the wounded romanticism of J.G. Ballard." Thesis, Nottingham Trent University, 2015. http://irep.ntu.ac.uk/id/eprint/32190/.

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This thesis aims to provide a new account of the post-war British author J. G. Ballard (1930-2009) and his work, and in particular of his complex engagement with and critique of Romanticism. As such it represents an original contribution to knowledge in the areas of both J. G. Ballard criticism and in the study of Romantic legacies. Ballard’s ambivalent response to the legacies of Romanticism is seen to form a part of his overall ambivalence and ambiguity as a writer. In addition to the traditional ‘high Romantic’ aesthetic and ideology of Romanticism, Ballard is seen to draw upon Gothic, decadent and symbolist strands of Romanticism. After introducing the key Romantic echoes which I observe in Ballard, and the critical and cultural legacies of Romanticism in the nineteenth and twentieth centuries which he is responding to, I trace these elements through selected works covering the breadth of his oeuvre. Rather than offering a survey of the entirety of his work, of which there are several in print, the thesis considers a selection of key texts at different stages of Ballard’s career in order to bring out the evolving Romantic resonances of his work. In chapter 1 I examine the apocalyptic bard figures in a number of Ballard’s short stories published between 1956 and 1964; in chapter 2 I focus upon the marriage between mind and world in The Drowned World (1962); chapter 3 considers The Atrocity Exhibition (1970) and Crash (1973) as the urban and suburban sites of the wounding of a Romantic sensibility; chapter 4 concentrates upon The Unlimited Dream Company (1979) and The Day of Creation (1987) as meditations upon the role of the imagination in a multiply-mediated modernity; and chapter 5 investigates Millennium People (2003) and Kingdom Come (2006) as postmodern detective stories that draw upon the tradition of the visionary urban and suburban wanderer.

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Raju, David Naik. "Country ballads an' lyrics, a transcendental philosophy of education." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ60244.pdf.

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Stamper, Randall Lawrence. "Gonna Spread the News all Around: Early, African-American Popular Song as Spoken Newspaper." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/2136.

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Jiang, Jie-Wei, and 江介維. "The Dialectic of Temporality and Immortality: Memory in William Wordsworth’s Lyrical Ballads." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/60906762685073260269.

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碩士
國立臺灣大學
外國語文學研究所
99
This paper is aimed to trace out the dialectic between temporality and immortality in Wordsworth’s Lyrical Ballads. The major medium that renders these two ideas dialogic rests with the discourse of memory in Wordsworth’s poems. The discourse of memory itself takes various forms: ranging all the way from meditative recollection of the past, reflection on the epitaph and monument of the deceased, implementation of the burial ritual, and to the form, implications, and vocation of poetry per se. This paper is divided into three chapters along with a substantial introduction and a succinct conclusion. In the first chapter, the poem “Tintern Abbey” would serve as the chief text for our scrutiny and analysis to bring out the subtle relationship between memory and temporality. In the second chapter, a number of poems, mostly dedicated to the motifs of death, grave, and nature, would be brought into our discussion to clarify the delicate link between memory and immortality. Following the discussion of the preceding two chapters comes the third chapter, which is aimed at an elaboration of the ongoing rapport between temporality and immortality through a comprehensive overview of all those potentially interlocked poems in Lyrical Ballads. As a whole, this paper will clarify how Wordsworth addresses himself to the most fundamental consideration of time, life and death, and their influences on the human heart, as are adroitly arranged and represented in his Lyrical Ballads. Also, it is based on a thorough understanding of these conventional motifs that we could move forward to examine the dialectic of temporality and immortality, mostly through the medium of memory, in Wordsworth’s poetry.

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Ling-Hui, Wu, and 吳玲慧. "Circle, Torsion, Virtue, and the Zero Point of Gravity in Wordsworth's Optic World: A Study of The Prelude and Lyrical Ballads as Cartesian Mechanism." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/89816662842913677623.

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博士
國立臺灣師範大學
英語學系
98
Unlike most Wordsworthian studies, this dissertation aims to investigate Wordsworth in the perspective of physis/physics/physiology. It looks into Wordsworth’s world as an optic world (in which imagination is seen as “visionary gleam” and life is found to be full of “spots of time”) and as a mechanical world (in which circle, torsion, gravity, etc., are working entities for natural or human beings). It takes for its scope of study two main works of Wordsworth’s, namely, The Prelude and the Lyrical Ballads. And it refers to several Western thinkers, especially Descartes, for the physical investigation of the works. In addition, both The Prelude and the Lyrical Ballads are considered to be confessional works, explicitly and implicitly. To confess is to recognize “truth” and “virtue” (in the sense of power, force, or strength as well as in the sense of moral goodness). What Wordsworth recognizes, as expressed in both works, are the dark and light “spots of time,” which are the critical moments that foster the poet’s soul with fear and beauty, that stop life’s temporary motion or torsion with its centrifugal and centripetal forces, that make possible the replacement of the x axis of space and the y axis of time with the z axis of universal eternity, and that lead the poet to go through a full circle and enter the zero point of gravity, where mechanical motion becomes everlasting rest and “renovated virtue” becomes pure soul. In order to explicate the optical and mechanical views on Wordsworth, the dissertation traces philosophical ideas from Plato to Deleuze besides reviewing some modern Wordsworthian studies on the “spots of time.” Furthermore, it explains such technical terms as torsion, virtue, circle, and 0 of gravity, in consideration of the dual aspects of quantity and quality, motion and rest, centrifugal and centripetal forces, nature and society, fact and imagination, space and time, x axis and y axis, body and soul, etc. The dissertation concludes that Wordsworth’s confessional literature is closely related to Descartes’ mechanical versus mental ideas, especially in the sense that to “virtualize” the “spots of time” is to idealistically make them both “virtual” by subordinating physical nature and actual fact to the mind’s imaginative creation, and “virtuous” by elevating the temporary deeds and names to the permanent truth and fame.

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Books on the topic "Lyrical Ballads"

1

Wordsworth, William. Lyrical ballads. Otley, England: Woodstock Books, 2002.

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Wordsworth, William. Lyrical ballads. Oxford: Woodstock Books, 1990.

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Wordsworth, William. Lyrical ballads. Poole: Woodstock Books, 1997.

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Wordsworth, William. Lyrical ballads. 2nd ed. Harlow, England: Pearson Longman, 2007.

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Wordsworth, William. Lyrical ballads. Abingdon, Oxon: Routledge, 2005.

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Wordsworth, William. Lyrical ballads. 2nd ed. London: Routledge, 1991.

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Wordsworth, William. Lyrical ballads. London: Longman, 1992.

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Wordsworth, William. Lyrical ballads 1805. 3rd ed. Plymouth: Northcote House, 1987.

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Blades, John. Wordsworth and Coleridge: Lyrical ballads. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2004.

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Wordsworth, William. Lyrical ballads: 1798 and 1800. Peterborough, Ontario: Broadview Press, 2008.

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Book chapters on the topic "Lyrical Ballads"

1

Turner, John. "Lyrical Ballads (1798)." In Wordsworth: Play and Politics, 117–39. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-18122-3_8.

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Wordsworth, William. "From Lyrical Ballads to Lyrical Tales." In Mary Robinson and the Genesis of Romanticism, 166–89. New York: Routledge, 2017.: Routledge, 2016. http://dx.doi.org/10.4324/9781315466132-8.

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Williams, John. "New Directions: Lyrical Ballads." In William Wordsworth, 47–71. London: Macmillan Education UK, 2002. http://dx.doi.org/10.1007/978-1-137-26601-9_4.

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Campbell, Patrick. "Lyrical Ballads: Recent Interpretative Stances." In Wordsworth and Coleridge: Lyrical Ballads, 35–65. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-21564-5_3.

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Blades, John. "Critical Responses to Lyrical Ballads." In Wordsworth and Coleridge, 264–86. London: Macmillan Education UK, 2004. http://dx.doi.org/10.1007/978-0-230-80197-4_11.

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Churms, Stephanie Elizabeth. "Lyrical Ballads and Occult Identities." In Romanticism and Popular Magic, 131–63. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04810-5_5.

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Jarrells, Anthony S. "Lyrical Ballads and Terrorist Systems." In Britain’s Bloodless Revolutions, 60–96. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230503298_3.

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Williams, Todd O. "Cultivating Empathy: Wordsworth’s Lyrical Ballads." In A Therapeutic Approach to Teaching Poetry, 93–105. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137102034_6.

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McEathron, Scott. "Wordsworth and Coleridge, Lyrical Ballads." In A Companion to Romanticism, 155–68. Oxford, UK: Blackwell Publishing Ltd, 2017. http://dx.doi.org/10.1002/9781405165396.ch13.

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Campbell, Patrick. "Lyrical Ballads: The Current of Opinion." In Wordsworth and Coleridge: Lyrical Ballads, 1–14. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-21564-5_1.

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