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Journal articles on the topic 'Nonsense literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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1

Tilghman, B. R. "LITERATURE, PHILOSOPHY AND NONSENSE." British Journal of Aesthetics 30, no. 3 (1990): 256–65. http://dx.doi.org/10.1093/bjaesthetics/30.3.256.

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2

Hołobut, Agata, and Władysław Chłopicki. "Editorial: Humour in nonsense literature." European Journal of Humour Research 5, no. 3 (November 21, 2017): 1. http://dx.doi.org/10.7592/ejhr2017.5.3.holobut.

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3

ORTÍN, MARCEL. "JOSEP CARNER DAVANT LA NONSENSE LITERATURE." Catalan Review, no. 33 (June 2019): 19–38. http://dx.doi.org/10.3828/catr.33.2.

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4

TOBIN, JAMES. "CENTS AND NONSENSE." Yale Review 99, no. 3 (2011): 206–10. http://dx.doi.org/10.1353/tyr.2011.0032.

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5

TOBIN, JAMES. "CENTS AND NONSENSE." Yale Review 99, no. 3 (June 16, 2011): 206–10. http://dx.doi.org/10.1111/j.1467-9736.2011.00733.x.

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6

Shortsleeve, Kevin. "Edward Gorey, Children's Literature, and Nonsense Verse." Children's Literature Association Quarterly 27, no. 1 (2002): 27–39. http://dx.doi.org/10.1353/chq.0.1442.

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7

McClelland, Ivy L. "Appendix: Nonsense Rhymes." Bulletin of Spanish Studies 86, no. 7-8 (November 2009): 31–42. http://dx.doi.org/10.1080/14753821003679064.

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8

Fredman, Stephen, and Alison Rieke. "The Senses of Nonsense." American Literature 65, no. 3 (September 1993): 589. http://dx.doi.org/10.2307/2927406.

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9

Sundmark, Björn. "With Captain Hellsing at the Helm: Sailing the Seas of Nonsense in Sjörövarbok." Studia Scandinavica, no. 3(23) (December 13, 2019): 24–37. http://dx.doi.org/10.26881/ss.2019.23.01.

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The article analyses and sheds light on the nonsense techniques used in Lennart Hellsing’s Sjörövarbok (1965) (The Pirate Book). In this article, it is argued, furthermore, that Hellsing’s nonsense writings fit in with his role in Swedish children’s literature in the latter half of the 20th century as both a critic and a carrier of tradition. Theoretically and methodologically the study draws on the critical apparatus developed mainly by Wim Tigges. It is shown that Sjörövarbok is a prime example of nonsense literature, particularly in the use of repetition (names, verbs) and simultaneity of meaning.
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10

Readman, Mark. "Comforting Nonsense of Creativity." Exchanges: The Interdisciplinary Research Journal 8, no. 1 (October 29, 2020): 40–56. http://dx.doi.org/10.31273/eirj.v8i1.651.

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Jonah Lehrer’s book Imagine: How Creativity Works was discredited when it was discovered that it included fabricated quotes by Bob Dylan. It was also criticised for cherry picking the science of creativity and adding little of worth to the literature on the subject. While this may be true, I suggest that much scientific literature about creativity is already epistemologically and methodologically incoherent, and characterised by the treatment of creativity as something with stable ontic status, rather than something which is always, inevitably produced through cultural processes of interpretation and association. An examination, using the tools of discourse analysis, of some of the research papers cited by Lehrer, along with other related examples, reveals some of the assumptions and rhetorical manoeuvres at work. Despite the overt falsehoods in his book, the stories that Jonah Lehrer tells us are consistent with the stories that the research, science, and policy tell us about creativity – all are equally fanciful. Nevertheless, if we choose to suspend our disbelief in such stories, and their rhetorical prestidigitation, there are some comforts and pleasures to be obtained from the illusion of essential humanity that they create.
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11

Höschl, Cyril. "Prediction: Nonsense or Hope?" British Journal of Psychiatry 163, S21 (September 1993): 46–54. http://dx.doi.org/10.1192/s0007125000292490.

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Psychiatry and psychopharmacology are no longer aiming to make a decisive breakthrough at the end of the century. Rather than seeking explanations, research workers are looking for ‘predictions’. Three main types of prediction are emerging: a tautological, a heuristic, and an irrelevant one. Few predictions found in the recent literature can be marked as ‘logical’ ones. Nevertheless, predictions play two important roles: they generate new hypotheses that can be falsified in properly designed scientific experiments; they also may serve to falsify given hypotheses. The main recent findings on predictions in psychiatry are briefly summarised.
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12

Mabbs-Zeno, Carl C. "Making Sense of Nonsense." Politics and the Life Sciences 11, no. 2 (August 1992): 271. http://dx.doi.org/10.1017/s0730938400015306.

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Alemneh Dejene has aptly subtitled this book “A View from the Village.” Its contribution is in providing the detail borne of experience in one of the world's least forgiving economic environments. It uses extensive personal interviews with peasants to penetrate the logic of existence in rural Ethiopia without relying on emotional or superficial impressions from the interviewer. The author found the right questions to ask and presents the answers he received clearly. He modestly avoids the error of deriving the solutions to Ethiopia's problems from a limited set of observations, even though the observations represent an important addition to the international literature.
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13

Bannister, Don. "The nonsense of ‘Effectiveness’." DECP Debate 1, no. 89 (February 1999): 10–12. http://dx.doi.org/10.53841/bpsdeb.1999.1.89.10.

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I found this article byDon Bannisterwhen searching through literature on effectiveness whilst exploring current references on work with failing schools. It wasn’t what I expected to chance upon, but as a fan of Don Bannister and a constructionist in style and thinking, it was a short article that had an enormous impact upon thoughts about talking to children, parents and teachers. It would interesting to hear what readers think, ‘paying heed’, what does this mean to educational psychologists?The piece originally appeared inNew Forum, August 1980 and was reprinted inChanges1998, Vol. 16, 3 with the attached postscript from Miller Mair.
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14

Pikalova, Anna. "Linguistic peculiarities of Edward Lear’s limericks." InterConf, no. 29(139) (January 20, 2023): 95–101. http://dx.doi.org/10.51582/interconf.19-20.01.2023.009.

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This paper deals with the peculiarities of Edward Lear’s limericks. It provides the view of nonsense in the English literature. E. Lear’s principle of nonsense is considered. The main linguistics and stylistics features of the poet’s limericks have been distinguished.
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15

Dwan, David. "Important Nonsense: Yeats and Symbolism." New Literary History 50, no. 2 (2019): 219–43. http://dx.doi.org/10.1353/nlh.2019.0013.

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16

Kidd, Stephen E. "‘NONSENSE’ IN COMIC SCHOLIA." Classical Quarterly 67, no. 2 (July 26, 2017): 507–21. http://dx.doi.org/10.1017/s0009838817000477.

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In 1968 E.K. Borthwick, with a brilliant conjecture, cleared up a passage from Aristophanes’Peacethat had been considered ‘nonsense’ since antiquity. ‘Bell goldfinch’ (κώδων ἀκαλανθίς) the line seemed to be saying: a jumbled idea at best, gibberish at worst (1078). The scholium reads ad loc.: ταῦτα δὲ πάντα ἐπίτηδες ἀδιανοήτως ἔφρασεν, ‘all this is said as deliberate nonsense’, and later scholars generally follow suit (W.W. Merry, for example, in his 1900 edition ofPeacerefers to the line as ‘magnificent nonsense’). But Borthwick showed that this was not the case: ‘even nonsense expressions in Aristophanes’, he writes, ‘are not haphazard collocations of incongruous words signifying nothing’. What, then, to do with the ancient scholar (and those later ones) who failed to understand the passage, claiming it instead to be ‘nonsense’?
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17

Anderson, Emily. "‘There was a young girl of the Somme, / Who sat on a number five bomb’: The Representation of Violence in First World War Trench Newspaper Nonsense Rhymes." Literature & History 27, no. 2 (August 21, 2018): 129–47. http://dx.doi.org/10.1177/0306197318792388.

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The nonsense rhymes that were almost ubiquitous in First World War trench newspapers (periodicals produced by servicemen while on active service) present vivid, humorous, and arresting representations of violence. This article draws attention to servicemen’s widespread use of limericks and parodic nursery rhymes to depict soldiers being, variously, shot, shelled, and bayoneted, and establishes the hitherto unrecognised representational significance of these poems. Those portrayals of the First World War most frequently celebrated for their truthfulness and emotiveness tend to be both solemn and, in different ways, ‘new’. In contrast, written in the traditions of nineteenth-century nonsense literature and reflecting the popularity of nonsense in contemporary comic periodicals, nonsensical trench newspaper poems indicate the durability of nonsense as a form of Great War representation.
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18

Sant, Ann Jessie Van, and Lance Bertelsen. "The Nonsense Club: Literature and Popular Culture, 1749-1764." Modern Language Review 84, no. 4 (October 1989): 931. http://dx.doi.org/10.2307/3731183.

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19

Epstein, William H., and Lance Bertelsen. "The Nonsense Club: Literature and Popular Culture, 1749-1764." Eighteenth-Century Studies 21, no. 3 (1988): 392. http://dx.doi.org/10.2307/2738700.

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20

Sartore, Edoardo. "Was Moore Talking Nonsense?" Grazer Philosophische Studien 100, no. 3 (December 14, 2023): 277–301. http://dx.doi.org/10.1163/18756735-00000198.

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Abstract This article examines Wittgenstein’s criticism of Moore’s use of “know”, as he developed it in On Certainty. Arguing against much of the literature, the author claims that, by Wittgenstein’s own lights, Moore was not talking nonsense. He does so by showing, first, that the standard reading is based on the idea that hinge propositions are non-epistemic, and second, that Wittgenstein’s alleged adoption of the non-epistemic view is not adequately supported by the textual evidence. The author argues that claims to the contrary depend on an undue conflation, on the part of interpreters, of Wittgenstein’s treatment of psychological avowals in Philosophical Investigations and his discussion of hinge propositions in On Certainty. Moreover, a closer look at Wittgenstein’s objections to Moore shows that Wittgenstein himself repeatedly charged Moore with a similar confusion between the status of psychological statements and the status of his common-sense truisms.
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21

Okrent, John. "from "My Heart and the Nonsense"." Missouri Review 47, no. 1 (March 2024): 61–68. http://dx.doi.org/10.1353/mis.2024.a923740.

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22

Rao, Vamshi K., Christine J. DiDonato, and Paul D. Larsen. "Friedreich’s Ataxia: Clinical Presentation of a Compound Heterozygote Child with a Rare Nonsense Mutation and Comparison with Previously Published Cases." Case Reports in Neurological Medicine 2018 (August 9, 2018): 1–5. http://dx.doi.org/10.1155/2018/8587203.

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Friedreich’s ataxia is a neurodegenerative disorder associated with a GAA trinucleotide repeat expansion in intron 1 of the frataxin (FXN) gene. It is the most common autosomal recessive cerebellar ataxia, with a mean age of onset at 16 years. Nearly 95-98% of patients are homozygous for a 90-1300 GAA repeat expansion with only 2-5% demonstrating compound heterozygosity. Compound heterozygous individuals have a repeat expansion in one allele and a point mutation/deletion/insertion in the other. Compound heterozygosity and point mutations are very rare causes of Friedreich’s ataxia and nonsense mutations are a further rarity among point mutations. We report a rare compound heterozygous Friedrich’s ataxia patient who was found to have one expanded GAA FXN allele and a nonsense point mutation in the other. We summarize the four previously published cases of nonsense mutations and compare the phenotype to that of our patient. We compared clinical information from our patient with other nonsense FXN mutations reported in the literature. This nonsense mutation, to our knowledge, has only been described once previously; interestingly the individual was also of Cuban ancestry. A comparison with previously published cases of nonsense mutations demonstrates some common clinical characteristics.
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23

Heyman, Michael. "Pigs, pastures, pepper pickers, pitchforks: Carl Sandburg’s Rootabaga Stories and the tall tale." European Journal of Humour Research 5, no. 3 (November 21, 2017): 56. http://dx.doi.org/10.7592/ejhr2017.5.3.heyman.

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Past studies of American nonsense literature have tended to lump it together with the British, for many good reasons. This article, however, distinguishes American nonsense, not just from the British, but from any other tradition, by way of its folk origins and cultural context. One of the least-recognized writers of nonsense is Carl Sandburg, who is famous for his iconic American poetry, but his Rootabaga Stories (1922-30) are some of the best and most distinctive representatives of the genre. Sandburg’s nonsense short stories are lyrical and strange, but their value lies also in their distinctive American origins. They are distinguished in having particularly American themes, cultural tendencies, and geography, but also in their formal techniques, which hearken back to American folklore and the tall tale in particular, as in W. B. Laughead’s Paul Bunyan (1922).
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24

Doronkina, N. "STRUCTURES OF COMPOSITIONAL SPEECH FORMS IN ENGLISH-LANGUAGE NONSENSE LITERATURE." International Humanitarian University Herald. Philology 1, no. 52 (2021): 54–57. http://dx.doi.org/10.32841/2409-1154.2021.52-1.13.

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25

Hołobut, Agata. "Obrazy niepowagi: O tłumaczeniu poezji nonsensu na przykładzie wiersza The Akond of Swat Edwarda Leara." Przekładaniec, no. 40 (2020): 205–39. http://dx.doi.org/10.4467/16891864pc.20.010.13173.

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Images of Irreverence: Nonsense Poetry in Translation as Exemplified by Edward Lear’s Poem The Akond of Swat The paper deals with selected “rewritings” of Edward Lear’s nonsense poem The Akond of Swat, focusing specifically on the translators’, illustrators’, adapters’ and editors’ attitudes towards the allusive nature of the poem – the reference it makes to the historical figure of the Pashtun religious leader Abdul Ghaffūr, also known as the Akond (or Wali) of Swat or Saidū Bābā, which may be viewed as problematic from a postcolonial viewpoint. Recent translated and illustrated versions of the poem inscribe it with new aesthetic and ideological values. Two Polish translations considered in the paper, produced by Andrzej Nowicki and Stanisław Barańczak respectively, demonstrate changing approaches to the nonsense genre displayed in Polish literary circles (gradual transition from pure to parodistic nonsense). Graphic representations of the poem discussed in the paper testify to the artists’ interpretive powers in redefining the genre of Lear’s poem: rebranding it as an infantile fairy tale on the one hand and a disturbing reflection on tyranny and “the war on terrorism” on the other.
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26

Lowney, J. "Langston Hughes and the "Nonsense" of Bebop." American Literature 72, no. 2 (June 1, 2000): 357–85. http://dx.doi.org/10.1215/00029831-72-2-357.

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27

Matthews, J. H. "Rikki Ducornet's Non-Nonsense Almost-Fairy Tales." Symposium: A Quarterly Journal in Modern Literatures 42, no. 4 (December 1988): 312–28. http://dx.doi.org/10.1080/00397709.1989.10733661.

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28

Everett, Percival. "Abstraction and Nonsense: The real in fiction." Yale Review 111, no. 2 (June 2023): 128–37. http://dx.doi.org/10.1353/tyr.2023.a900487.

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29

Ladenson, Elisabeth. "Proustian Nonsense: A Partial Taxonomy." Paragraph 45, no. 1 (March 2022): 22–38. http://dx.doi.org/10.3366/para.2022.0383.

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This article presents a catalogue of some of the ways in which Proust's novel fails to make sense. The major categories of non-sense examined here are: minor inconsistencies due to the unfinished quality of the work; chronological incoherences; and inconsistent distinctions between narrator and author, with particular attention to textual entailments of the differences between the author and his semi-autobiographical narrator in terms of homosexuality, Jewishness and snobbery.
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30

Kern, Scott E., and Jordan M. Winter. "Elegance, silence and nonsense in the mutations literature for solid tumors." Cancer Biology & Therapy 5, no. 4 (April 2006): 349–59. http://dx.doi.org/10.4161/cbt.5.4.2551.

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31

Tian, Peiyu. "A Study of the Literary Nonsense in Lewis Carrolls Through the Looking-Glass and What Alice Found There." Communications in Humanities Research 2, no. 1 (February 28, 2023): 404–9. http://dx.doi.org/10.54254/2753-7064/2/2022510.

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Nonsense Literature has always been an obscure viewpoint of literature studies. Through the Looking-Glass and What Alice Found There (referred to as Through the Looking-Glass hence) witnessed Lewis Carroll bring this peculiar genre into the spotlight. He designed a series of fictional characters and devised several poems on which he endowed the united characteristic of talking nonsense. This essay aims at analyzing the nonsensical discourse in Through the Looking-Glass, which includes nonsensical utterances, nonsensical poems, and illogical narrations. Starting with skepticisms from the proposals on implicature, the essay proceeds onto the Language Game theory of Wittgenstein, followed by the life story of Carroll himself and the analysis of a typical nonsensical poem. As the existing studies of Nonsensical Literature fails to merge the work with the man, this essay intends to establish a new method of cross referencing in order to achieve a more profound understanding of said literature as well as Lewis Carroll.
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32

Dutoit, Thomas. "The Philosophy of Nonsense. The Intuitions of Victorian Nonsense Literature, and: The Violence of Language (review)." L'Esprit Créateur 38, no. 4 (1998): 144–45. http://dx.doi.org/10.1353/esp.2010.0231.

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33

Edwards, Michael. "Wordsworth and the poetics of nonsense." English Academy Review 14, no. 1 (December 1997): 109–24. http://dx.doi.org/10.1080/10131759785310121.

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34

Ryan, Karen. "Aksenov's ptichii iazyk: Nonsense Reconsidered." Slavic and East European Journal 46, no. 1 (2002): 29. http://dx.doi.org/10.2307/3086230.

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35

Kulka, Tomas. "False Metaphors and Nonsense: Retort to Nelson Goodman." Poetics Today 13, no. 4 (1992): 809. http://dx.doi.org/10.2307/1773301.

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36

Hołobut, Agata. "Images of Irreverence: Nonsense Poetry in Translation as Exemplified by Edward Lear’s Poem “The Akond of Swat”." Przekładaniec, Special issue 1/2022 (December 30, 2022): 144–78. http://dx.doi.org/10.4467/16891864epc.22.007.16521.

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This article discusses selected “rewritings” of Edward Lear’s nonsense poem “The Akond of Swat”, focusing specifically on the translators’, illustrators’, adapters’ and editors’ attitudes towards the allusive nature of the poem – and specifically the reference it makes to the historical figure of the Pashtun religious leader Abdul Ghaffūr, also known as the Akond (or Wali) of Swat or Saidū Bābā, which may be viewed as orientalist or parodistic from a contemporary viewpoint. Recent translated and illustrated versions of the poem inscribe it with new aesthetic and ideological values. Two Polish translations considered in this article, produced by Andrzej Nowicki and Stanisław Barańczak respectively, demonstrate changing approaches to the nonsense genre evidenced in Polish literary circles (revealing a gradual transition from pure to parodistic nonsense). Graphic representations of the poem discussed in the article testify to the artists’ interpretive powers in redefining the genre of Lear’s poem, rebranding it as an infantile fairy tale on the one hand and a disturbing reflection on tyranny and “the war on terrorism” on the other.
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37

Holdstein, Deborah. "From the Editor." College Composition & Communication 58, no. 3 (February 1, 2007): 321–24. http://dx.doi.org/10.58680/ccc20075909.

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38

Iarossi, Giancarlo, Valerio Marino, Paolo Enrico Maltese, Leonardo Colombo, Fabiana D’Esposito, Elena Manara, Kristjana Dhuli, et al. "Expanding the Clinical and Genetic Spectrum of RAB28-Related Cone-Rod Dystrophy: Pathogenicity of Novel Variants in Italian Families." International Journal of Molecular Sciences 22, no. 1 (December 31, 2020): 381. http://dx.doi.org/10.3390/ijms22010381.

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The small Ras-related GTPase Rab-28 is highly expressed in photoreceptor cells, where it possibly participates in membrane trafficking. To date, six alterations in the RAB28 gene have been associated with autosomal recessive cone-rod dystrophies. Confirmed variants include splicing variants, missense and nonsense mutations. Here, we present a thorough phenotypical and genotypical characterization of five individuals belonging to four Italian families, constituting the largest cohort of RAB28 patients reported in literature to date. All probands displayed similar clinical phenotype consisting of photophobia, decreased visual acuity, central outer retinal thinning, and impaired color vision. By sequencing the four probands, we identified: a novel homozygous splicing variant; two novel nonsense variants in homozygosis; a novel missense variant in compound heterozygous state with a previously reported nonsense variant. Exhaustive molecular dynamics simulations of the missense variant p.(Thr26Asn) in both its active and inactive states revealed an allosteric structural mechanism that impairs the binding of Mg2+, thus decreasing the affinity for GTP. The impaired GTP-GDP exchange ultimately locks Rab-28 in a GDP-bound inactive state. The loss-of-function mutation p.(Thr26Asn) was present in a compound heterozygosis with the nonsense variant p.(Arg137*), which does not cause mRNA-mediated decay, but is rather likely degraded due to its incomplete folding. The frameshift p.(Thr26Valfs4*) and nonsense p.(Leu13*) and p.(Trp107*) variants, if translated, would lack several key structural components necessary for the correct functioning of the encoded protein.
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39

Kérchy, Anna. "The Acoustics of Nonsense in Lewis Carroll's Alice Tales." International Research in Children's Literature 13, Supplement (July 2020): 175–90. http://dx.doi.org/10.3366/ircl.2020.0345.

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This article explores how Charles Lutwidge Dodgson's fantasies about Alice's adventures in Wonderland and through the looking-glass (1865, 1871), published under the pen-name Lewis Carroll, renewed the genre of children's literature by turning the vocal play of literary nonsense into the organising principle of child-centric, non-didactic, ludic narratives. 1 It shows how his language games strategically undermine tyrannical ideological structures, whether in the form of discursive ‘regimes of truth’ (Foucault 80), the institution of monarchy, the adult–child hierarchy maintained by a pedagogy of fear, or speciesist supremacy of human over animal.
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40

Anna Barton. "Delirious Bulldogs and Nasty Crockery: Tennyson as Nonsense Poet." Victorian Poetry 47, no. 1 (2009): 313–30. http://dx.doi.org/10.1353/vp.0.0038.

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41

SHORLEY, C. "Review. Sense, Antisense, Nonsense. Champigny, Robert." French Studies 42, no. 1 (January 1, 1988): 115. http://dx.doi.org/10.1093/fs/42.1.115-a.

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42

Renaud, Emma. "A Precursor of Nonsense: John Taylor, the Water Poet." Cahiers Élisabéthains: A Journal of English Renaissance Studies 48, no. 1 (October 1995): 37–43. http://dx.doi.org/10.1177/018476789504800108.

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43

Gardner, Kevin. "“Nonsense Precipitate”: A Reading ofThe DunciadI, 123–24." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 28, no. 3-4 (October 2, 2015): 166–69. http://dx.doi.org/10.1080/0895769x.2016.1166930.

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44

de Oliveira, Cassio. "Literary Nonsense in Daniil Kharms'sIncidents." Slavonica 16, no. 2 (November 2010): 65–78. http://dx.doi.org/10.1179/136174210x12814458213646.

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45

Herrick, Dylan. "AN ACOUSTIC DESCRIPTION OF CENTRAL CATALAN VOWELS BASED ON REAL AND NONSENSE WORD DATA." Catalan Review: Volume 21, Issue 1 21, no. 1 (January 1, 2007): 231–56. http://dx.doi.org/10.3828/catr.21.10.

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This paper examines the extent to which vowel height data taken from real words differs from data taken from nonsense words, and it finds no significant differences. As a result, it provides quantitative acoustic data for the seven stressed and three unstressed vowels of Standard Catalan (as uttered by female speakers). The data are drawn from three distinct phonetic contexts, i.e., /bVp/, /bVt/, and /bVk/, and the /bVp/ context consists entirely of nonsense words (the other contexts were all real words). A comparison and statistical analysis of the data for each vowel phoneme show that there are neither considerable nor statistically significant differences in the vowel height (F1 values) among the data from the three different phonetic contexts. In terms of vowel height, nonsense words provide as accurate a picrure of the Catalan data as real words do.
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46

Luyat, Anne. "Conrad, Faulkner, and the Problem of Nonsense by Maurice Ebileeni." Conradiana 50, no. 1 (2018): 81–83. http://dx.doi.org/10.1353/cnd.2018.0004.

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47

Lecercle, Jean-Jacques. "« The boy stood on the burning deck » : poétique du nonsense." Études anglaises 57, no. 1 (2004): 92. http://dx.doi.org/10.3917/etan.571.102.

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48

Swaab, Peter. "Romantic Poetry and Victorian Nonsense Poetry: Some Directions of Travel." Romanticism 25, no. 1 (April 2019): 90–102. http://dx.doi.org/10.3366/rom.2019.0404.

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This essay explores links between Victorian nonsense poetry and poetry of the Romantic period, with a focus on narratives of quest, voyaging and escape. It discusses brief instances from various writers of the two periods and moves on to a more developed comparison between Wordsworth and Edward Lear, centring on ‘The Blind Highland Boy’. The comparison between periods leads to an argument that self-critique and scepticism were quite robustly in place from the start in the Romantic period, and that obstacles to sense could at times be experienced not just as perplexity but as enjoyment shared with an audience. It also points to a further appreciation of some of the less canonical works by the most canonical writers, and suggests a tradition in which Romantic aspiration was often coolly linked to a sense of absurdity.
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49

Luyat, Anne. "Conrad, Faulkner, and the Problem of Nonsense by Maurice Ebileeni." Conradiana 48, no. 1 (2016): 95–97. http://dx.doi.org/10.1353/cnd.2016.0009.

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50

Pérez Téllez, José Enrique. "Las formas del absurdo y el sinsentido en la literatura = Kinds of absurdity and nonsense in the literature." Signa: Revista de la Asociación Española de Semiótica 25 (January 1, 2016): 865. http://dx.doi.org/10.5944/signa.vol25.2016.16921.

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