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Relevant bibliographies by topics / M. H. Abrams

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Academic literature on the topic 'M. H. Abrams'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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Journal articles on the topic "M. H. Abrams"

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Beer, John, and Lawrence Lipking. "High Romantic Argument: Essays for M. H. Abrams." Modern Language Review 82, no. 1 (1987): 179. http://dx.doi.org/10.2307/3729935.

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Williams, J. J. "A Life in Criticism: An Interview with M. H. Abrams." Minnesota review 2007, no. 69 (2007): 71–93. http://dx.doi.org/10.1215/00265667-2007-69-71.

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Curran, Stuart. "The Fourth Dimension of a Poem and Other Essays. M. H. Abrams." Wordsworth Circle 44, no. 4 (2013): 172–73. http://dx.doi.org/10.1086/twc24044446.

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Hamilton, Ross. "Iconic HumanismThe Fourth Dimension of a Poem and Other Essays. By M. H. Abrams." Essays in Criticism 66, no. 4 (2016): 534–39. http://dx.doi.org/10.1093/escrit/cgw016.

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Oroskhan, Muhammad Hussein, and Esmaeil Zohdi. "Nima Yushij's "Afsaneh" as a Striking Exemplar of the 'Greater Romantic Lyric'." International Letters of Social and Humanistic Sciences 66 (February 2016): 23–30. http://dx.doi.org/10.18052/www.scipress.com/ilshs.66.23.

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Persian poetry lingered upon the old classical Persian prosody for more than a thousand year that it stagnated and stopped flowering new concepts and forms. However, Nima broke the dull and monotonous routine of Persian poetry by writing the first true modernist poem. When Nima's "Afsaneh" appeared, traditionalist adamantly opposed its new artistic and aesthetic view due to revealing some similarity with great European romantic examples. The similarity can never be considered as a weak point of "Afsaneh" because Nima has masterfully used European romantic elements to refresh the long-standing

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Koering, Jérémie. "The other “Sch,” or When Damisch Met Schapiro." October 167 (February 2019): 3–24. http://dx.doi.org/10.1162/octo_a_00336.

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French art-historian/philosopher Hubert Damisch and American art-historian Meyer Schapiro maintained an intellectual friendship of rare intensity for nearly forty years. Their many letters bear witness to this: From art history to psychoanalysis, philosophy, anthropology, sociology, and literature, they exchanged ideas in almost every field of the humanities and social sciences. The special issue which this text introduces focuses on the years 1972 and 1973, a period during which Damisch spent much time in the United States and met, in addition to Schapiro, Michel Foucault, Max Black, M. H. Ab

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McCombie, F. "Abrams, M. H. (ed. M. Fischer), Doing Things with Texts: Essays in Criticism and Critical Theory. Pp. xiii + 429. New York and London: W. W. Norton, 1989." Notes and Queries 38, no. 3 (1991): 429–30. http://dx.doi.org/10.1093/notesj/38.3.429.

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Harpham, Geoffrey Galt. "Genre and the Institution of Research: Three American Instances." PMLA/Publications of the Modern Language Association of America 122, no. 5 (2007): 1635–43. http://dx.doi.org/10.1632/pmla.2007.122.5.1635.

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No concept is more fundamental to literary study than genre. It is virtually impossible to think seriously about literature without considering the codes or conventions that structure literary texts. Aristotle's distinction between the “poetic kinds” of epic and drama and Horace's insistence on poetic decorum are early attempts to distinguish among types of creative expression in order to understand and appreciate the specific excellences of each. The most enduring typology of genres divides literature into three classes, depending on who speaks in and therefore controls the work. As M. H. Abr

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Frias, Joana Matos. "Do Espelho ao Espelho: Fiama, a palavra reflecte a outra palavra." Revista Diadorim 20, no. 1 (2018): 10–21. http://dx.doi.org/10.35520/diadorim.2018.v20n1a17872.

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Estabelecendo um vínculo assumido com a célebre expressão de W. B. Yeats “mirror turn lamp” (1936), que esteve na origem do título do não menos célebre ensaio de M. H. Abrams, The Mirror and the Lamp (1960), dedicado à teoria poética do Romantismo, este ensaio parte da leitura de dois versos de Fiama Hasse Pais Brandão para uma tentativa de sistematização do discurso metapoético daquela que é uma das escritoras mais auto-conscientes da literatura portuguesa do século XX. Neste sentido, procura-se reconstituir e problematizar esse discurso dando especial destaque à obra em que esses verso

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Sofyan, Ilhamdi Hafiz. "“There Is No Good War”: The Firebombing of Dresden and Kurt Vonnegut’s View Towards World War II in Slaughterhouse-Five." Vivid Journal of Language and Literature 6, no. 2 (2019): 60. http://dx.doi.org/10.25077/vj.6.2.60-67.2017.

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This study discusses Kurt Vonnegut's view of war reflected in his novel Slaughterhouse-Five and also his efforts in conveying his views through his novel. This novel is based on the experience of Kurt Vonnegut during World War II when he was imprisoned in a German city called Dresden and witnessed the destruction of the city on February 13, 1945 in an Allied bombing operation. In the novel, Vonnegut rewrote his experience in the form of a fiction. In discussing this literary work, I used the expressive theory by M. H. Abrams which was supported by a historical and biographical approach. In ana

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Dissertations / Theses on the topic "M. H. Abrams"

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Gustafson, Melissa Brown. "The Valuation of Literature: Triangulating the Rhetorical with the Economic Metaphor." Diss., CLICK HERE for online access, 2004. http://contentdm.lib.byu.edu/ETD/image/etd510.pdf.

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Books on the topic "M. H. Abrams"

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Bainbridge, Simon. Romanticism and War. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935338.013.111.

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This article examines the development of scholarship on literary responses to the Revolutionary and Napoleonic Wars, 1793–1815. It examines the reasons for the surprising lack of research on this area in both traditional and new historicist accounts of romanticism, as seen in the work of M. H. Abrams and Jerome J. McGann, despite the pioneering work of Betty T. Bennett. It then examines the major studies of the topic produced by Gillian Russell, Simon Bainbridge, Philip Shaw, Mary A. Favret, Neil Ramsey, and others. Particular focus is placed on key critical issues, including the distance from

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Book chapters on the topic "M. H. Abrams"

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Ende, Stuart A. "A Bibliography of M. H. Abrams." In High Romantic Argument, edited by Lawrence Lipking. Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501727689-010.

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Mcfarland, Thomas. "A Coleridgean Criticism of the Work of M. H. Abrams." In High Romantic Argument, edited by Lawrence Lipking. Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501727689-006.

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Lipking, Lawrence. "The Genie in the Lamp: M. H. Abrams and the Motives of Literary History." In High Romantic Argument, edited by Lawrence Lipking. Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501727689-007.

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Stoudt, Charlotte. "Imre Salusinszky, Criticism in Society; M. H. Abrams, The Correspondent Breeze: Essays on English Romanticism." In Yeats Annual No. 8. Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-08861-4_26.

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Booth, Wayne C. "History as Metaphor: Or, Is M. H. Abrams a Mirror, or a Lamp, or a Fountain, or ... ?" In High Romantic Argument, edited by Lawrence Lipking. Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501727689-005.

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"10. A Life in Criticism: M. H. Abrams." In How to Be an Intellectual. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823263837-012.

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Hasty, Christopher. "Complexity and Passage." In The Philosophy of Rhythm. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199347773.003.0016.

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Chapter 15 treats rhythm as the shaping of events and their succession, rather than as a pre-existent or transcendent order of isochronous division or fixed pattern. Although “rhythm” has come to imply the regularity of a repeated unit or pattern, the author argues that it also evokes the dynamic, temporal connotations of flow conceived not as of a homogeneous substance (“time”) but rather as a fluid, active, and characterful creation of things or events. The chapter thus prioritizes a living, subjective sense of rhythm over a non-vital, objective concept. The author relates this concept to poetry through a reading of the opening of Keats’s “Hymn to Pan,” from Endymion, analyzing the continuing “life” of the vocal impulse along the lines and through the word-sounds taken as “mouth events”—a reading after the manner of M. H. Abrams.

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