Relevant bibliographies by topics / Percy Bysshe

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Academic literature on the topic 'Percy Bysshe'

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Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Percy Bysshe"

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Fulford, Tim, and Michael O'Neill. "Percy Bysshe Shelley." Modern Language Review 90, no. 2 (April 1995): 419. http://dx.doi.org/10.2307/3734568.

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Bakić-Mirić, Nataša, and Mirjana Lončar-Vujnović. "Percy Bysshe Shelley: The neglected genius." Зборник радова Филозофског факултета у Приштини 49, no. 3 (2019): 129–45. http://dx.doi.org/10.5937/zrffp49-21447.

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Haekel, Ralf. "Towards the Soul: Percy Bysshe Shelley'sEpipsychidion." European Romantic Review 22, no. 5 (October 2011): 667–84. http://dx.doi.org/10.1080/10509585.2011.601681.

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Stephens, Paul. "Percy Bysshe Shelley: Poet and Revolutionary." Keats-Shelley Review 33, no. 1 (January 2, 2019): 134–36. http://dx.doi.org/10.1080/09524142.2019.1611285.

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Borushko, Matthew C. "Percy Bysshe Shelley and the Sciences." Literature Compass 2, no. 1 (January 2005): **. http://dx.doi.org/10.1111/j.1741-4113.2005.00205.x.

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Clemit, P. "Review: Percy Bysshe Shelley. The prose works of Percy Bysshe Shelley, vol. I, ed. EB Murray." Notes and Queries 43, no. 2 (June 1, 1996): 223–34. http://dx.doi.org/10.1093/nq/43.2.223.

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Paley, Morton D., Donald H. Reiman, Neil Fraistat, and Percy Bysshe Shelley. "The Complete Poetry of Percy Bysshe Shelley." Studies in Romanticism 40, no. 2 (2001): 300. http://dx.doi.org/10.2307/25601508.

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Varinelli, Valentina. "The Complete Poetry of Percy Bysshe Shelley." European Romantic Review 33, no. 1 (January 2, 2022): 109–15. http://dx.doi.org/10.1080/10509585.2021.2019402.

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Coffey, Bysshe Inigo. "Percy Bysshe Shelley and China’s Gayest Art." Wordsworth Circle 51, no. 2 (March 2020): 221–41. http://dx.doi.org/10.1086/709153.

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Motion, Andrew. "The Complete Poetry of Percy Bysshe Shelley." Hopkins Review 15, no. 4 (September 2022): 194–98. http://dx.doi.org/10.1353/thr.2022.0094.

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Dissertations / Theses on the topic "Percy Bysshe"

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Brookshire, David J. "Percy Bysshe Shelley and the Gothic." College Park, Md.: University of Maryland, 2009. http://hdl.handle.net/1903/9467.

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Thesis (Ph.D.) -- University of Maryland, College Park, 2009.
Thesis research directed by: Dept of .English. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Hannant, Fiona. "The religious thought of Percy Bysshe Shelley." Thesis, University of Sheffield, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319416.

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Schmid, Susanne. "Shelley's German afterlives, 1814 - 2000 /." New York, NY [u.a.] : Palgrave Macmillan, 2007. http://www.loc.gov/catdir/enhancements/fy0704/2006047154-b.html.

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Fell, Annabelle E. "Soul-making in the writing of Percy Bysshe Shelley." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq28565.pdf.

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Lowe, Peter James. "Christian Romanticism : T.S. Eliot's response to Percy Bysshe Shelley." Thesis, Durham University, 2002. http://etheses.dur.ac.uk/4127/.

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This thesis presents a reading of T. S. Eliot's response to the work of Percy Bysshe Shelley, focusing on Eliot's Christian faith and the role it played in this response. Chapter One shows how Shelley was a great influence on Eliot's early work and how, after his Christian conversion, Eliot repudiated his influence. The chapter will show how previous readings of Eliot's relations with Romanticism have tended to centre on a Bloomian poetic 'anxiety of influence'. 1 will then offer my religious reading of Eliot's thought, and show how the period of initial repudiation gives way to a rapprochement with past poetic influences, as Eliot eventually accommodates past influences into his Christian scheme. Chapter Two examines the ways in which Shelley and Eliot address the issue of self-consciousness and our inherent sense of isolation. Chapter Three looks at the treatment of human love m the work of both poets. In both cases, Shelley desires, unsuccessfully, some release from selfhood, either in social communion or with an ideal lover. It is only with the adoption of a divine perspective that human relations can be set in context - something that Eliot came to realise in his later work. Chapter Four looks at the way the two poets reacted to the work of Dante, stressing that Eliot's Christian faith enabled him to relate to Dante's work in a way that Shelley, although appropriating Dantean motifs in his own work, could never fully attain. Chapter Five looks at the way both Eliot and Shelley address the fundamental shortcomings of language, showing how Eliot, in the years after his conversion, could be reconciled to linguistic shortfall because he could relate it to a higher, divine reality. Shelley, like Eliot in his early years, was vexed by this problem because he did not have the faith that offered a transcendent view of it. A concluding section draws together these chapters and sums up my reading of Eliot’s faith, and the extent to which it affected his response to the work of Shelley.
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Laniel-Musitelli, Sophie. "Science et poésie dans l'oeuvre de Percy Bysshe Shelley." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030109.

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L’époque romantique marque un tournant décisif dans les relations entre création littéraire et connaissance scientifique. Le discours scientifique se dote progressivement d’un langage et d’une méthode spécifiques, rompant avec la philosophie naturelle, qui conjuguait jusqu’alors considérations physiques et métaphysiques, observation et célébration de la nature. À l’heure où William Wordsworth lance l’aphorisme « we murder to dissect », déclaration d’indépendance de la parole poétique vis-à-vis du discours scientifique, Percy Bysshe Shelley (1792-1822) étudie avec assiduité les sciences à Eton puis à Oxford, avant d’entreprendre une formation médicale au Saint Bartholomew’s Hospital de Londres. Cette thèse met en évidence la transfiguration poétique des concepts et théories scientifiques dont Shelley avait pris connaissance à travers ses lectures et sa formation, ainsi que le saut imaginatif qui subvertit ces représentations en les intégrant aux réseaux des métaphores que le texte tisse selon ses propres lois. En une métamorphose féconde, Shelley déploie les soubassements mythiques et imaginaires, ainsi que les prolongements éthiques et métaphysiques des écrits scientifiques sur lesquels il se pencha. Cette étude se situe à la rencontre de deux ambitions heuristiques, de deux exigences formelles. Science et poésie sont à la recherche des harmonies cachées qui sous-tendent le monde des apparences. Soumettre l’absolu à la mesure, soumettre la beauté à la métrique poétique, soumettre la complexité infinie du monde naturel au calcul mathématique : telles sont les entreprises parallèles de la poésie de Shelley et de la science de son temps
The Romantic era was a time of tremendous change in the relationship between literary creation and scientific knowledge. Scientists framed a specific language and distinctive methods as they moved away from natural philosophy, which had thus far combined physics with metaphysics and united the observation of nature with its celebration. While William Wordsworth stated that « we murder to dissect », thus declaring the secession of poetic writing from scientific discourse, Percy Bysshe Shelley (1792-1822) was steadily studying science at Eton and then at Oxford, before embarking on a medical training at Saint Bartholomew’s Hospital in London. This thesis explores the poetic transfiguration of the scientific theories and concepts that Shelley came across in his readings and during his studies. It focuses on the way science is subverted by the poet’s imagination, as scientific representations undergo a fruitful metamorphosis, and become pa! rt of the webs of metaphors woven by the text according to its own laws. Shelley recreates the mythical and imaginary foundations as well as the ethical and metaphysical implications which lie dormant in the scientific writings he looks into. This study examines the encounter of two heuristic endeavours, of two highly formalised ways of writing. Science and poetry are in search of the hidden harmonies which underlie appearances. Measuring the measureless, encompassing absolute beauty within poetic metrics, subsuming the infinite richness of the natural world within the rules of mathematical calculation, such are the parallel endeavours of Shelley’s poetry and the science of his age
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Cerimonia, Daniella. "Making the Foreign familiar : Giacomo Leopardi and Percy Bysshe Shelley translation." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.528879.

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Steyaert, Kris Omer Eli Antoon Sebastiaan. "Selective affinities and poetic appropriation : Percy Bysshe Shelley and Willem Kloos." Thesis, University College London (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271494.

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Roberts, Merrilees Fay. "Poetical and philosophical reticence in the major poetry of Percy Bysshe Shelley." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/30945.

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This thesis explores how Shelley's poetic reticence characteristically produces hermeneutical and ethical aporias within received ways of thinking. These aporias elicit critiques of the philosophical and social discourses that support them. Shelley's poetry employs narratological ambiguity, omission and above all communicative reserve to make the reader more aware of his or her interpretative responsibility to engage with or resolve these strategic gaps. His reticence also allows his reader to conceptualise an enlarged constitution of the Subject. I develop a phenomenological approach to reading Shelley's major verse inspired by Wolfgang Iser's work on the productive functioning of textual gaps and blanks. I show how Shelley's poems, by destabilising their own processes, produce dynamic intersubjective experience. As in Sartre's phenomenological aesthetics, (upon which Iser's work is based) where the world is productively re-constituted through an act of imagination, Shelley's reticence makes visible the dialectical relations between world and consciousness. To some extent each uses the other to supply its content. But whereas textual self-reflexivity is normally seen as resulting in intellectualised meta-phenomena (such as irony), the self-critique generated by Shelley's reticence paradoxically results in a positive hermeneutic that challenges influential deconstructive readings of Shelley's aporias as figuring moments of philosophical limitation. Reticence, therefore, has a double function in Shelley's work: it marks areas of uncertainty, scepticism and psychological anguish; it also provides ways of choosing to become knowingly seduced by temporary self-representations that satisfy nostalgia for a more essentialist conception of identity or meaning. This doubleness creates a dialectic that is never resolved, and which continually drives the hermeneutic tensions in Shelley's texts and thought. Shelley's reader is left with the possibility of choosing nostalgia in a generous spirit of self-parody; but nevertheless, reticence also keeps such illusions of fixity, however satisfying, feeling illusory.
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Whickman, Paul William. "Romantic blasphemy : sacrilege and creativity in the literature of Percy Bysshe Shelley." Thesis, University of Nottingham, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.659195.

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This thesis considers the nature and significance of perceived blasphemy in the literature of Percy Bysshe Shelley and in the 'Romantic' period more widely. The central concern of this study is the consideration of Shelley's perception of the collusion of political and religious tyranny in relation to the increasing conflation of political with religious discourse throughout the Long Eighteenth Century. Alongside this, this inquiry has several further interrelated and overlapping strands. I consider the significance of perceived blasphemy in influencing the print history and 'bibliographical codes' of both Shelley's works and other Romantic period texts. I argue that not only were blasphemous or 'injurious' texts, due to the lack of copyright protection, those most widely read and disseminated - thus substantially shaping the Romantic reading public - they also served to enfranchise a readership. As a result, not only did the 'blasphemous' content or themes of a particular work influence the public perception of the author, the fact that such works were pirated by less 'respectable' publishers alongside pornographic or more ostensibly politically radical texts further inflected an author's reception. This was certainly the case with Shelley, who became most commonly associated with his most ostensibly antireligious poem Queen Mab. This was despite its exclusion from Mary Shelley's Posthumous Poems of Percy 8ysshe Shelley {1824}. Shelley's works are therefore considered in relation to the publishing realities and literary historical context of his age.
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Books on the topic "Percy Bysshe"

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O’Neill, Michael. Percy Bysshe Shelley. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20294-2.

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Reiman, Donald H. Percy Bysshe Shelley. Boston: Twayne Publishers, 1990.

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Shelley, Percy Bysshe. Percy Bysshe Shelley. New York: Pearson Longman, 2009.

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Harold, Bloom, ed. Percy Bysshe Shelley. New York: Chelsea House Publishers, 1985.

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Reiman, Donald H. Percy Bysshe Shelley. Boston: Twayne Publishers, 1989.

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Harold, Bloom, ed. Percy Bysshe Shelley. Broomall, PA: Chelsea House, 2001.

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Shelley, Percy Bysshe. Percy Bysshe Shelley. New York: Garland Pub., 1985.

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Shelley, Percy Bysshe. Percy Bysshe Shelley: [selected poems]. London: J.M. Dent, 1998.

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Shelley, Percy Bysshe. Percy Bysshe Shelley: Selected poems. New York: Gramercy Books, 1994.

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Kelvin, Everest, and English Association, eds. Percy Bysshe Shelley: Bicentenary essays. Cambridge (England): D.S. Brewer, 1992.

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Book chapters on the topic "Percy Bysshe"

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Schmid, Susanne. "Shelley, Percy Bysshe." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17071-1.

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Müller, Wolfgang G. "Percy Bysshe Shelley." In Kindler Kompakt: Englische Literatur, 19. Jahrhundert, 63–69. Stuttgart: J.B. Metzler, 2015. http://dx.doi.org/10.1007/978-3-476-05527-9_9.

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Müller, Wolfgang G. "Shelley, Percy Bysshe." In Englischsprachige Autoren, 247–51. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02951-5_91.

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Martin, Brian. "Percy Bysshe Shelley." In The Nineteenth Century (1798–1900), 197–220. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20159-4_17.

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Wilkes, Joanne. "‘Percy Bysshe Shelley’." In The Selected Works of Margaret Oliphant, Part I Volume 2, 351–52. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003513162-16.

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Chandler, James. "Percy Bysshe Shelley." In The Cambridge Companion to English Poets, 344–59. Cambridge University Press, 2011. http://dx.doi.org/10.1017/ccol9780521874342.019.

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"PERCY BYSSHE SHELLEY." In 100 Poets, 113–14. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1z9n1r9.40.

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"Percy Bysshe Shelley." In A Literary History of England Vol. 4, 131–41. Routledge, 2004. http://dx.doi.org/10.4324/9780203393055-19.

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SHELLEY, PERCY BYSSHE. "PERCY BYSSHE SHELLEY." In Lofty Dogmas, 319–22. University of Arkansas Press, 2005. http://dx.doi.org/10.2307/j.ctvmx3j3j.89.

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Hogle, Jerrold E. "Percy Bysshe Shelley." In Literature of the Romantic Period, 118–42. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198711209.003.0006.

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Abstract To turn to the history of scholarly work on Shelley is to confront a succession of fervid disagreements, sometimes wildly divergent interpretations of his works, and sudden changes of opinion about him in short spans of time. These conflicts, for the most part, point to the very different assumptions by which he and his writing have often been perceived. The reactions of contemporaries to what he actually published from 1810 to 1821, given his unmistakable political and anti-orthodox stances, vary across a wide continuum depending on each reviewer ‘s social and religious affiliations, as we can see in what is reprinted from those years in White (1938), Hayden, Reiman (1972), Red path, and Barcus. Moreover, the rehabilitation of both his personal reputation and the aims of his writing after his sudden death have been heavily determined, though there have been exceptions, by where his interpreters have placed themselves between those who would turn him into the ethereal ‘pure poet ‘ safe for developing middle-class tastes (including Mary Shelley, the first of his posthumous editors) and those who would retain him as a voice for radical social reform (from Horace Smith to Bernard Shaw).
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