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Relevant bibliographies by topics / Prometheus unbound (Shelley, Percy Bysshe)

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Academic literature on the topic 'Prometheus unbound (Shelley, Percy Bysshe)'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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Journal articles on the topic "Prometheus unbound (Shelley, Percy Bysshe)"

1

Lee, Monika. "Dream Shapes as Quest or Question in Shelley's Prometheus Unbound." Romantik: Journal for the Study of Romanticisms 5, no. 1 (2016): 111. http://dx.doi.org/10.7146/rom.v5i1.26421.

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In Percy Bysshe Shelley’s Prometheus Unbound, the Oceanides – Asia, Panthea, and Ione – direct the evolution of poetic consciousness through their lyricism which expresses human intuition and what Shelley calls in his ‘Defence of Poetry’ (1820) ‘the before unapprehended relations of things’. Their presence in Shelley’s lyrical drama leads from both abstract transcendental and literalist perspectives on reality in Act I to a more flexible and creative inner perspective in Act 2. The internal spaces evoked by the language of the Oceanides, spaces of reverie and dream, are the locus of metaphor –

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Dedovic-Atilla, Elma. "Byron’s and Shelley’s Revolutionary Ideas in Literature." English Studies at NBU 3, no. 1 (2017): 27–48. http://dx.doi.org/10.33919/esnbu.17.1.2.

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The paper explores the revolutionary spirit of literary works of two Romantic poets: George Gordon Byron and Percy Bysshe Shelley. In the period of conservative early 19th century English society that held high regard for propriety, tradition, decorum, conventions and institutionalized religion, the two poets’ multi-layered rebellious and subversive writing and thinking instigated public uproar and elitist outrage, threatening to undermine traditional concepts and practices. Acting as precursors to new era notions and liberties, their opuses present literary voices of protest against 19th cent

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3

Fay, Elizabeth. "Archaic Contamination: Hegel and the History of Dead Matter." PMLA/Publications of the Modern Language Association of America 118, no. 3 (2003): 581–90. http://dx.doi.org/10.1632/003081203x47840.

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I tell every body it [the Life] will be an Egyptian Pyramid in which there will be a compleat mummy of Johnson that Literary Monarch.—James Boswell (qtd. in Wendorf 105)Michel de Certeau thinks about reading as an archaic practice: “Readers are travelers; they move across lands belonging to someone else … despoiling the wealth of Egypt to enjoy it themselves” (174). Embedded in Certeau's romanticization of reading is a history of how Egypt has been read: as wealth to be plundered, as endlessly available texts, as the ruin of time. Pose against this lostness Friedrich Nietzsche's contention tha

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Prosser, Ashleigh. "Resurrecting Frankenstein: Peter Ackroyd’s The Casebook of Victor Frankenstein and the metafictional monster within." Australasian Journal of Popular Culture 8, no. 2 (2019): 179–96. http://dx.doi.org/10.1386/ajpc_00004_1.

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This article examines Peter Ackroyd’s popular Gothic novel The Casebook of Victor Frankenstein (2008), which is a reimagining of Mary Shelley’s famous Gothic novel Frankenstein, or, The Modern Prometheus ([1818] 2003). The basic premise of Ackroyd’s narrative seemingly resembles Shelley’s own, as Victor Frankenstein woefully reflects on the events that have brought about his mysterious downfall, and like the original text the voice of the Monster interrupts his creator to recount passages from his own afterlife. However, Ackroyd’s adaption is instead set within the historical context of the or

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Dissertations / Theses on the topic "Prometheus unbound (Shelley, Percy Bysshe)"

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Ruston, Sharon. "P.B. Shelley and the science of life." Thesis, University of Liverpool, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366974.

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Carpenter, Roy. "The question of genre in Shelley's lyrical dramas /." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69600.

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In both Prometheus Unbound and Hellas Shelley used the drama of Aeschylus as the model for composition. Accordingly, the plays' subtitle "Lyrical Drama" refers to the two major components of Aeschylean drama: the lyrics recited by the chorus and the drama of character dialogue. In taking up this specific literary genre, the poet also inherited a complex model of the socio-political system of ancient Greece, with which the dramatists had been able to explore contemporary issues. Through various means, Shelley adapted Aeschylean drama to his own language and style, using the genre's inherent cap

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3

Corbit, James B. "The Shelleyan vortex a study of the evolutionary development of the spiral within Percy Bysshe Shelley's "Alaster," "Mount Blanc" and "Prometheus Unbound" /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2003. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.A.)--Kutztown University of Pennsylvania, 2003.<br>Source: Masters Abstracts International, Volume: 45-06, page: 2843. Typescript. Abstract precedes thesis as preliminary leaves iii-iv. Includes bibliographical references (leaves 118-126).

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4

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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5

Van, Wyk Wihan. "Shelleyan monsters: the figure of Percy Shelley in Mary Shelley’s Frankenstein and Peter Ackroyd’s The Casebook of Victor Frankenstein." University of the Western Cape, 2015. http://hdl.handle.net/11394/4860.

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Magister Artium - MA<br>This thesis will examine the representation of the figure of Percy Shelley in the text of Mary Shelley’s Frankenstein (1818). My hypothesis is that Percy Shelley represents to Mary Shelley a figure who embodies the contrasting and more startling aspects of both the Romantic Movement and the Enlightenment era. This I will demonstrate through a close examination of the text of Frankenstein and through an exploration of the figure of Percy Shelley as he is represented in the novel. The representation of Shelley is most marked in the figures of Victor and the Creature, but

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Books on the topic "Prometheus unbound (Shelley, Percy Bysshe)"

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Shelly, Percy Bysshe. Prometheus Unbound - Percy Bysshe Shelly. Book Jungle, 2007.

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Shelley, Percy Bysshe. Prometheus Unbound (Collected Works of Percy Bysshe Shelley). Classic Books, 2000.

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3

Grabo, Carl. Newton among Poets: Shelley's Use of Science in Prometheus Unbound. University of North Carolina Press, 2009.

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Grabo, Carl. A Newton Among Poets: Shelley's Use Of Science In Prometheus Unbound. Kessinger Publishing, LLC, 2006.

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Grabo, Carl. A Newton Among Poets: Shelley's Use Of Science In Prometheus Unbound. Kessinger Publishing, LLC, 2007.

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Guthrie, William Norman. Modern Poet Prophets: Essays Critical And Interpretative. Kessinger Publishing, LLC, 2005.

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Guthrie, William Norman. Modern Poet Prophets: Essays Critical And Interpretative. Kessinger Publishing, LLC, 2007.

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8

Shelley, Percy Bysshe. Percy Bysshe Shelley: The Homeric Hyms and Prometheus Drafts Notebook: Bodleian Ms. Shelley Adds. E.12 (Shelley, Percy Bysshe, V. 18.). Routledge, 1996.

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9

Shelley Unbound: Uncovering Frankenstein's True Creator. Feral House, 2013.

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Book chapters on the topic "Prometheus unbound (Shelley, Percy Bysshe)"

1

O'Neill, Michael. "Percy Bysshe Shelley, Prometheus Unbound." In A Companion to Romanticism. Blackwell Publishing Ltd, 2017. http://dx.doi.org/10.1002/9781405165396.ch25.

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Schmid, Susanne. "Shelley, Percy Bysshe: Prometheus Unbound." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17077-1.

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"Prometheus Unbound." In The Life of Percy Bysshe Shelley. John Wiley & Sons, Ltd, 2019. http://dx.doi.org/10.1002/9781118534014.ch23.

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4

"Transtextual Transformations of Prometheus Bound in Percy Bysshe Shelley’s Prometheus Unbound: Prometheus’ Gifts to Humankind." In Brill's Companion to the Reception of Aeschylus. BRILL, 2017. http://dx.doi.org/10.1163/9789004348820_012.

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5

Shelley, Percy Bysshe. "On 'Frankenstein; or, The Modern Prometheus' (1818)." In The Prose Works of Percy Bysshe Shelley, Vol. 1, edited by E. B. Murray. Oxford University Press, 1993. http://dx.doi.org/10.1093/oseo/instance.00065579.

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Shelley, Percy Bysshe. "Preface to 'Frankenstein; or, the Modern Prometheus' (1817)." In The Prose Works of Percy Bysshe Shelley, Vol. 1, edited by E. B. Murray. Oxford University Press, 1993. http://dx.doi.org/10.1093/oseo/instance.00065564.

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7

Reno, Seth T. "Shelleyan Love." In Amorous Aesthetics. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786940834.003.0004.

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In this chapter, I show that Percy Shelley picks up on the waning of intellectual love in Wordsworth, continuing to develop this Romantic tradition after Wordsworth moves on to a more religious sensibility. The chapter outlines the development of Percy Shelley’s treatment of love over the entire course of his career. I examine five ‘clusters’ of writings that reveal his adoption, adaption, and revision of Wordsworthian, Godwinian, and Classical notions of love: (1) his essay ‘On Love’ (1819) and its related texts; (2) Queen Mab (1813) and the Alastorvolume (1815); (3) a sequence of lyrics from 1816-1818; (4) the Prometheus Unbound volume (1820); and (5) Epipsychidion (1821) and later poems. Shelleyan love has received the most scholarly attention in studies of Romanticism, yet it is almost always within the contexts of sex, sexuality, and metaphor; instead, I argue that Shelleyan love can also be understood as an aesthetic model of interconnectedness proposing a nascent negative dialectics, a concept developed by Theodor Adorno that both defers and affirms the reconciliation of subject and object at the heart of critical theory and love.

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