Relevant bibliographies by topics / Shelley, Percy Bysshe, in fiction

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Academic literature on the topic 'Shelley, Percy Bysshe, in fiction'

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Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Shelley, Percy Bysshe, in fiction"

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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 (September 1, 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 original story’s creation in the early nineteenth century. Ackroyd’s Frankenstein studies at Oxford, befriends radical Romantic poet Percy Bysshe Shelley, moves to London to conduct his reanimation experiments and even accompanies the Shelleys, Byron and Polidori on that fateful holiday when the original novel was conceived. This article explores how Ackroyd’s novel, as a form of the contemporary ‘popular’ Gothic, functions as an uncanny doppelgänger of Shelley’s Frankenstein. By blurring the boundaries between history and fiction, the original text and the context of its creation haunt Ackroyd’s adaptation in uncannily doubled and self-reflexive ways that speak to Frankenstein’s legacy for the Gothic in popular culture. The dénouement of Ackroyd’s narrative reveals that the Monster is Frankenstein’s psychological doppelgänger, a projection of insanity, and thus Frankenstein himself is the Monster. This article proposes that this final twist is an uncanny reflection of the narrative’s own ‘Frankenstein-ian’ monstrous metafictional construction, for it argues that Ackroyd’s story is a ‘strange case(book)’ haunted by the ghosts of its Gothic literary predecessors.
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Revzina, O. G. "Reflections on Linguistic Poetics." Critique and Semiotics 37, no. 2 (2019): 116–27. http://dx.doi.org/10.25205/2307-1737-2019-2-116-127.

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Cognitive poetics is a part of cognitive science. Cognitive science is a scholarly paradigm of the second half of the 20th – first decades of 21st cent. Cognitive science shares all traits of scholarly paradigm: critics of predecessors, new understanding of investigation object and new conceptual apparatus, new tasks and effective methods of its solution, and its indraft, in the capacity of obligatory, into material of scholarly of fiction. It’s always written about discourse of fiction, that it is at the interface of literary criticism and linguistics. It is exactly literary texts that form the “figure” of modern cognitive poetics, whereas its “background” is religious, humorous texts and also mass-media products. Cognitive poetics devotes itself to the exploration of mental processes, accompanied by communication of reader and text. Notions of prototype and uniformity, conceptual metaphor and metaphorical blending are treated, resting on works of M. Freeman, G. Lakoff, K. Hautley, P. Stockwell. Special attention is payed to incompatibility of cognitive poetics, that proclaims deligitimation of fiction, with philological and structural-semiotic approaches, with ideas of aesthetic function of language and aesthetic value of verbal work of fiction, with concepts of mimesis and catharsis by Aristoteles. In the last part analysis by M. L. Gasparov of the verse by A. Fet (Чудная картина, Как ты мне родна: Белая равнина, Полная луна, свет небес высоких и блестящий снег И саней далеких Одинокий бег) and the verse by Percy Bysshe Shelley «Ozymandias» are discussed. M. L. Gasparov is far from cognitive poetics, but he builds his analysis, resting on the major human cognitive capacity – visual perception and tridimensional text space, reconstructed by him, which implicitly refers to cognitive deixis. Holistic perception is superposed with strong emotional experience and unselfish satisfaction. P. Stockwell, on the contrary, starts from the notion of cognitive deixis and describes its kinds, but, analyzing “Ozymandias”, he applies to well-known figures of different senders and receivers. The parallel is made between sculpture and poet and then – between destroyed statue and text as an archetype. The verse is also concentrated on the production process of creation and on the act of reading: traveler reads inscription and then reads it to narrator, which in its turn reads it to us in the form of verse. Finally Stockwell reaches that explanation of the impact on the reader, made by this verse. Thus, incompatible in theory turns to be pretty compatible in practice.
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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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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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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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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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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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Duffy, Cian. "The Neglected Shelley; The Oxford Handbook of Percy Bysshe Shelley." European Romantic Review 27, no. 4 (June 28, 2016): 526–32. http://dx.doi.org/10.1080/10509585.2016.1190090.

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Dissertations / Theses on the topic "Shelley, Percy Bysshe, in fiction"

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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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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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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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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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Duffy, Cian. "Shelley and the revolutionary sublime /." Cambridge [u.a.] : Cambridge Univ. Press, 2005. http://www.loc.gov/catdir/enhancements/fy0659/2006274988-d.html.

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Mercer, Anna. "Rethinking the collaborative literary relationship of Percy Bysshe Shelley and Mary Wollstonecraft Shelley." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/18022/.

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This thesis offers a reassessment of the literary relationship and instances of creative collaboration between Percy Bysshe Shelley (PBS) and Mary Wollstonecraft Shelley (MWS). Rather than focusing on biography, I study the textual connections between the Shelleys’ works - though I have drawn on biographical information to put their collaboration into a historical context. I establish that their written works are profoundly influenced by and constructed through their intellectual exchange. Spoken discussions can never be recovered, but the evidence provided in the Shelleys’ writings, manuscripts, and non-fiction allows informed inferences to be made about how their compositions are interrelated. The study begins with the Shelleys’ meeting and their subsequent elopement in 1814, and continues on to PBS’s death in 1822, and beyond. It includes several case studies examined in detail. I give due attention to the work of existing scholars that have recognised the Shelleys’ collaboration, but emphasise that a comprehensive study of the Shelleys’ texts in light of their status as a literary couple has been lacking. More recent studies in Romanticism have shown a marked interest in the significance of collective creativity: PBS and MWS have the potential to provide one of the most intriguing examples of this paradigm, and critics have called for a ‘major study of this collaboration’ (Charles E. Robinson). I demonstrate MWS’s involvement in the production of PBS’s writings, and I identify shared working spaces. My analysis reveals the reciprocity of a relationship that in popular culture - including much of the discourse surrounding the Frankenstein manuscript - is often misrepresented as that of a patriarchal husband exerting intellectual dominance over his wife.
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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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Books on the topic "Shelley, Percy Bysshe, in fiction"

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

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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. New York: Gramercy Books, 1994.

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

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Shelley, Percy Bysshe. The complete poems of Percy Bysshe Shelley. New York: Modern Library, 1994.

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Shelley, Percy Bysshe. The Complete Poems of Percy Bysshe Shelley. New York: Random House Publishing Group, 2000.

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Shelley, Percy Bysshe. Percy Bysshe Shelley: Selected poetry and prose. London: Routledge, 1991.

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Morley, Margaret. Wild spirit: The story of Percy Bysshe Shelley. London: Coronet, 1993.

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Shelley, Percy Bysshe. Percy Bysshe Shelley.: Including Percy Bysshe Shelley's holographs and copies in the hand of Mary W. Shelley ... as well as the holograph draft of Keats's Robin Hood. New York: Garland, 1997.

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Shelley, Percy Bysshe. Percy Bysshe Shelley.: Bodleian MS. Shelley adds. d.7 : a facsimile edition with full transcription and textual notes. New York: Garland, 1987.

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Book chapters on the topic "Shelley, Percy Bysshe, in fiction"

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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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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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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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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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"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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"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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Rennie, Eliza. "Mrs. Percy Bysshe Shelley." In Mary Shelley, 96–113. Routledge, 2020. http://dx.doi.org/10.4324/9780429348273-34.

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Barcus, James E. "Introduction." In Percy Bysshe Shelley, 1–39. Routledge, 2003. http://dx.doi.org/10.4324/9780203206898-1.

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