Relevant bibliographies by topics / Milton, John, 1608-1674. Paradise lost

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  2. Dissertations / Theses
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Academic literature on the topic 'Milton, John, 1608-1674. Paradise lost'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Milton, John, 1608-1674. Paradise lost"

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Murgia-Elizalde, Mario. "De utopía y paraíso: presencias de Tomás Moro en John Milton." La Colmena, no. 105 (March 13, 2020): 13. http://dx.doi.org/10.36677/lacolmena.v0i105.12969.

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Se exploran las posibilidades intertextuales existentes entre la Utopía de Tomás Moro (1478-1535) y algunos textos en prosa y verso del poeta y polemista John Milton (1608- 1674). La discusión se da a partir de la novela Milton in America, del británico Peter Ackroyd (1949), en la que se sugieren ciertas relaciones (y controversias) confesionales, literarias e ideológicas entre los pensadores. A partir de ahí, se hace una revisión de pasajes en los que la presencia de Moro en la obra de Milton, tema casi inexplorado académicamente, resulta más evidente. Se propone aquí que, a pesar de las dife
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Gallo, Pierino. "François-René de Chateaubriand, Œuvres complètes, dir. B. Didier, John Milton, Paradise Lost (1674) - Le Paradis perdu (1836)." Studi Francesi, no. 197 (LXVI | II) (August 1, 2022): 424–25. http://dx.doi.org/10.4000/studifrancesi.50083.

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Ghermani, Laïla. "Le Fils, représentation visible du Père dans Paradise Lost (1674) : de l'hétérodoxie religieuse à la crise de la christo-mimesis chez John Milton." Dix-septième siècle 257, no. 4 (2012): 595. http://dx.doi.org/10.3917/dss.124.0595.

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Seixas Fernandes, Fabiano. "‘PARADISE LOST’: ORDENAÇÃO EPISÓDICA E O PROBLEMA DO LIVRE-ARBÍTRIO." Gragoatá 20, no. 39 (2015). http://dx.doi.org/10.22409/gragoata.v20i39.33364.

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A fama internacional de John Milton (1608-74) se deve a seu épico Paradise Lost (1667; 2.ed.1674), cujo explícito objetivo é “justificar aos homens os procedimentos de Deus” (01.26), ou seja: promover uma justificativa da queda, responsabilizando a humanidade por sua ruína, isentando a divina providência e lhe confirmando a misericórdia. O artigo propõe que se pense Paradise Lost como um experimento mental centrado no conceito de livre-arbítrio: a estratégia de Milton consistiria em manipular ou inserir episódios nas possíveis lacunas do básico enredo bíblico que lhe serve de base, que preench
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Batista, Sérgio Henrique Rocha. "VILÃO E ALÉM: SATANÁS EM PARADISE LOST." fólio - Revista de Letras 10, no. 1 (2018). http://dx.doi.org/10.22481/folio.v10i1.3846.

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A presença de Satanás enquanto personagem literária é, hoje, um lugar comum, habitando ele em obras clássicas, em romances populares, quadrinhos, séries de televisão entre outros; além de sua presença explícita, há ainda seu arquétipo, que o torna ainda mais fecundo e abrangente. É desejo do autor do presente artigo estudar as formas como esse personagem e seu tipo se manifestam na literatura ocidental moderna; para tanto, aqui será analisada uma das mais importantes aparições do Satanás literário, Paradise Lost, de John Milton (1608-1674). Neste poema épico Satanás representa mais do que apen
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Kabir, Nahid. "Depiction of Muslims in Selected Australian Media." M/C Journal 9, no. 4 (2006). http://dx.doi.org/10.5204/mcj.2642.

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 Give me the liberty to know, to utter, and to argue freely according to conscience, above all liberties. —John Milton (1608-1674)
 
 
 Introduction
 
 The publication of 12 cartoons depicting images of Prophet Mohammed [Peace Be Upon Him] first in Denmark’s Jyllands-Posten on 30 September 2005, and later reprinted in European media and two New Zealand newspapers, sparked protests around the Muslim world. The Australian newspapers – with the exception of The Courier-Mail, which published one cartoon – refrained from reprinting the cartoons, a
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Dissertations / Theses on the topic "Milton, John, 1608-1674. Paradise lost"

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Voss, Annemarie. "John Milton's Paradise lost in Germany : reception and German-language criticism." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/762991.

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This survey focuses on German-language studies of John Milton's Paradise Lost, based on a bibliography of more than 140 German-language publications dating from 1651 to the present. Its purpose is to describe and evaluate these studies and to make their arguments accessible to readers who have difficulties locating, obtaining, and/or reading these texts.Chapters 1-4 give an account of Milton's reception in Germany and Switzerland. Topics discussed include the evaluation of Milton as poet and man, the influence of Milton's Paradise Lost on the development of German literature (Klopstock's Messi
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Wilson, Emma Annette. "John Milton's use of logic in 'Paradise Lost'." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/850.

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Hannon, Elizabeth. "The influence of Paradise Lost on the hymns of Charles Wesley." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25417.

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An overview of the prose writings of John Wesley, and the hymn writing of his brother Charles, shows that John Milton was an important influence on both men. A search of the literature indicates that critics have rarely noticed this, and although some work has been done on John's abridgement of Paradise Lost, there are no qualitative studies of its effect on the hymnody of Charles. Although the singing of hymns is a potential way of influencing language and doctrine of all singers, it is particularly important for people who have little other education. Charles Wesley, as the most prolific En
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Koo, Youngwhoe. "Idea of Natural Law in Milton's Comus and Paradise Lost." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277958/.

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This dissertation tries to locate Milton's optimistic view of man and nature as expressed in Comus, Doctrine and Discipline of Divorce, and Paradise Lost in the long tradition of natural law that goes back to Aristotle, Cicero, and Aquinas.
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Ghermani, Laïla. "Le visible et l'invisible dans Paradise Lost de John Milton (1608-1674) : genèse et essor d'une poétique hérétique." Paris 3, 2008. http://www.theses.fr/2008PA030133.

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Comment le poète miltonien peut-il affirmer qu’il va voir et dire les choses invisibles aux yeux des mortels (« […] see and tell / Of things invisible to mortal eyes » (III, 54-55)) ou encore qu’il va montrer les exploits invisibles des anges (« invisible exploits » V, 565) dans son épopée ? L’objectif de la présente étude est de montrer que l’entreprise de rendre visible l’invisible est profondément originale d’un point de vue à la fois esthétique et théologique. En effet, pour formuler un tel argument, John Milton s’appuie sur une théologie qui lui est propre et qu’il revendique comme héréti
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St-Jacques, François. "Étude comparative de trois traductions de Paradise Lost de l'anglais au français : définition d'une méthodologie quantitative de l'équivalence en traduction littéraire." Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/27977/27977.pdf.

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Frey, Christopher Lorne. "Body marks in early modern English epic : Spenser's Faerie Queene and Milton's Paradise Lost." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97835.

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As epic was considered a culturally comprehensive genre, so Spenser's Faerie Queene and Milton's Paradise Lost provide an effective locus for inquiry into literary representations of body marks in the Renaissance, and hence of the body itself. While grounded on central principles of Renaissance poetics such as delightful teaching, utpictura poesis, and catharsis, Spenser's and Milton's graphic accounts of wounds and diverse other types of body marks show corporeality can have positive import for the soul and heroic identity, just as they are shaped in part by bodily experienees. This dissertat
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Wallbanks, Mark. "The vicissitudes of the authentic self: a literary mapping of the authentic self from John Milton's Paradise lost to Bret Easton Ellis' Glamorama /Mark Wallbanks." HKBU Institutional Repository, 2017. https://repository.hkbu.edu.hk/etd_oa/364.

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Since the rise of individualism in the seventeenth century there has been increasing pressure on individuals to define themselves in the public eye. This has led to the recent phenomena of identity politics and self-branding. Yet how is one's true identity - if such a thing exists - ever expressed externally? How do individuals deal with the inner and outer aspects of identity? These are some of the issues which impinge upon the ethics of authenticity. This thesis investigates the development of the concept of the authentic self from its inception in the modern period to the postmodern. Throug
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Caland, Fabienne Claire. "Seuils, passages, parole : Les lieux initiatiques dans "The lord of the rings" (Tolkien), "Paradise lost" (Milton) et "Inferno" (Dante)." Limoges, 1999. http://www.theses.fr/1999LIMOA015.

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Le voyage que ce soit dans l'espace, le temps ou la hierarchie sociale, est l'un des themes fondamentaux de la litterature. Pour mettre en evidence la relation intime entre l'etre et sa traversee, trois types de voyage ont retenu notre attention : proposes par tolkien, milton et dante, les voyages litteraires issus de la culture judeo-chretienne nous entrainent du xiveme siecle pour le poeme de dante au xxeme siecle pour le roman de tolkien. Ils ne peuvent toutefois se resumer en une lutte entre le bien et le mal ; ils sont davantage une peregrination, le parcours personnel et universel de neo
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White, Michael 1971. "The relationship between the grotesque and revolutionary thought in Milton's Paradise lost and Shelley's Prometheus unbound /." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20187.

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No substantial studies, at least to my knowledge, have yet been dedicated either to Milton's or to Shelley's extensive poetic use of the grotesque. This omission surprises me, especially given the voluminous critical attention both authors receive. Neither Milton nor Shelley's grotesquerie can be viewed as the basis of artistic method or artistic achievement as we might with, say, Rabelais, or Poe, or even Kafka. And neither Milton nor Shelley is self-consciously an artist of "the grotesque." In fact, Milton, from his seventeenth century perspective, would scarcely have regarded the term as be
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Books on the topic "Milton, John, 1608-1674. Paradise lost"

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William, Zunder, ed. Paradise lost: John Milton. St. Martin's Press, 1999.

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Stevenson, Kay Gilliland. Paradise lost in short: Smith, Stillingfleet, and the transformation of epic. Fairleigh Dickinson University Press, 1998.

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Loewenstein, David. Milton--Paradise lost. Cambridge University Press, 1993.

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Klemp, P. J. Paradise lost: An annotated bibliography. The Scarecrow Press, 1996.

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Edwards, Mike. John Milton: Paradise Lost. Red Globe Press, 2013.

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Edwards, Mike. John Milton: Paradise Lost. Macmillan Education UK, 2013.

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Duran, Angelica, Gustave Doré, John Milton, and Flame Tree Studio (Literature and Science). Paradise Lost. Flame Tree Publishing, 2022.

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MacCaffrey, Isabel Gamble. Paradise Lost as "Myth". Harvard University Press, 2014.

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Paradise Lost John Milton. Pearson Education Limited, 2009.

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Reisner, Noam. John Milton's 'Paradise Lost'. Edinburgh University Press, 2011.

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Book chapters on the topic "Milton, John, 1608-1674. Paradise lost"

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Zwierlein, Anne-Julia. "32. John Milton, Paradise Lost (1667/1674)." In Handbook of English Renaissance Literature, edited by Ingo Berensmeyer. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110444889-033.

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Ghermani, Laïla. "La dynamique apologétique chez John Milton (1608-1674) : le cas de Paradise Lost." In L’apologétique chrétienne. Presses universitaires de Rennes, 2012. http://dx.doi.org/10.4000/books.pur.114870.

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"John Milton, The making of a Christian poet (1641-1644)." In English Renaissance Literary Criticism, edited by Brian Vickers. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198186793.003.0036.

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Abstract John Milton (1608-74), the last great poet of the English Renaissance, was educated at St Paul’ s School (c.1620-4, under Alexander Gill), and at Christ’ s College Cambridge (1625-32). After six years spent at his father’ s house in the country, where he gave himself up ‘ with the most complete leisure to reading through the Greek and Latin writers’ -a period in which he published Comus. A masque (1637), and Lycidas (1638)-he spent most of 1638---g in Italy, being accepted into the Svogliati academy in Florence, and meeting many Italian writers and musicians (including Dati, Frescobaldi, and the imprisoned Galileo). In 1640 he began tutoring private pupils in London, and became involved in controversies on behalf of the Puritans against the Church of England, publishing a series of tracts, including Areopagitica (1644). In 1649 the Council of State appointed him Secretary for the Foreign Tongues, with the duty of writing official defences of Cromwell’ s policies. Imprisoned in 1659, after the defeat of the Parliamentarians, he was allowed to resume private life, publishing Paradise Lost in 1667, Paradise Regained and Samson Agonistes in 1671.
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Friedlander, Ari. "Rogue Sexuality’s Afterlives, or Milton’s Charitable Divorce and the Rise of Companionate Marriage." In Rogue Sexuality in Early Modern English Literature. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192863171.003.0006.

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Abstract This chapter ties the matter of biopolitics to that of socio-sexual identity, arguing for their dual centrality in mid-seventeenth-century debates over that which might initially seem most different from it, companionate marriage. The chapter contends that rogue sexuality offers a template for marriage organized around desire rather than socioeconomic advantage, bringing the often-overlooked category of lower social status into the histories of early modern marriage and sexuality. I then turn to John Milton’s divorce tracts (1643–5) and Paradise Lost (1667, 1674), arguing that Milton’s radical theory of divorce appropriates rogue marriage in arguing for the legitimacy of temporary marriage based on affinity, but does so in order to render marital sexuality the property of the socially elite. Moreover, I argue that Milton uses rogue sexuality to manipulate readerly desire during his celebration of marital sexuality in Paradise Lost. The chapter thus shows how the different elements of rogue sexuality—identity and appropriation; reproduction and biopolitics; fantasy and metarepresentation—collide to help shape companionate marriage, one of the early modern period’s most enduring legacies, and a central node of modern biopolitical governance.
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Levy, Sharon. "The United States of Vanished Wetlands." In The Marsh Builders. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190246402.003.0011.

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Before he became a revolutionary general and the nation’s first president, George Washington was a destroyer of wetlands. In 1763, he surveyed the edges of a million-acre expanse of wet forest that lay along the Virginia–North Carolina state line. He described the Great Dismal Swamp as a “glorious paradise” full of wildfowl and game. Still, he seemed to have no qualms about dismantling Eden. In 1764 he applied with five partners for a charter to create a business called “Adventurers for draining the great Dismal Swamp.” Their goal was to chop down and sell the timber from majestic cypress and cedar trees, then to plow the land for crops. The brutal work of digging drainage ditches and canals was done by slaves. By the time of the Revolutionary War, the Adventurers Company was producing 8 million shingles a year for sale—valuable slivers of wood cut from the swamp’s enormous bald cypress trees. There was profit in undoing wetlands. Draining a wetland also seemed to make a place healthier. People who colonized swampy land were plagued by a dreadful illness, one that often killed, and left survivors with recurring bouts of a bonerattling fever. Malaria—the name itself means “bad air”—was believed to be triggered by poisonous vapors rising from still waters. The drainage and destruction of wetlands was an unwritten founding principle of the US. The pattern began with some of the earliest European settlers. Well before the colonies won their independence, the loss of wetlands had led to pollution that changed the ecology of rivers and bays. Over the centuries, wetlands loss and water pollution have accelerated in tandem, driven by the need for farmland, the urge for profit, and the fear of disease. The history of these interwoven changes on land and underwater begins in the Chesapeake Bay, the site of the first permanent British colony in America. In the summer of 1608, Captain John Smith and the colonists of Jamestown were starving.
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