Log in

Relevant bibliographies by topics / Shelley Shelley, Percy Bysshe Sublime, The, in literature / Dissertations / Theses

To see the other types of publications on this topic, follow the link: Shelley Shelley, Percy Bysshe Sublime, The, in literature.

Dissertations / Theses on the topic 'Shelley Shelley, Percy Bysshe Sublime, The, in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 19 dissertations / theses for your research on the topic 'Shelley Shelley, Percy Bysshe Sublime, The, in literature.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.

1

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Wallace, Jennifer. "Shelley and Hellenism : the ambiguous image of Greece in the poetry of Percy Bysshe Shelley." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259531.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

5

Stewart, James C. "The ghost of Godwin intertextuality and embedded correspondence in the works of the Shelley circle /." Birmingham, Ala. : University of Alabama at Birmingham, 2008. https://www.mhsl.uab.edu/dt/2008m/stewart.pdf.

Full text

Abstract:

Thesis (M.A.)--University of Alabama at Birmingham, 2008.
Additional advisors: Randa Graves, Daniel Siegel, Samantha Webb. Description based on contents viewed Feb. 10, 2009; title from PDF t.p. Includes bibliographical references (p. 68-71).

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

7

Peterson, Susan Joan. "From discourse to activism : trajectories of Percy Bysshe Shelley's nonviolence philosophy in literatures of resistance /." View online ; access limited to URI, 2004. http://0-wwwlib.umi.com.helin.uri.edu/dissertations/dlnow/3135913.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Leslie, Lisa Diane. "'How can I exist apart from my sister?' : sisters in the life and literature of Percy Bysshe Shelley, Mary Shelley, and Claire Clairmont." Thesis, University of Liverpool, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369536.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Goulding, Christopher. "The influence of James Lind on the scientific and philosophical thought of Percy Bysshe Shelley." Thesis, University of Newcastle Upon Tyne, 2002. http://hdl.handle.net/10443/899.

Full text

Abstract:

Though James Lind MD, FRS (1736-1812) has long been a feature of Shelleyan biography, references to him have been superficial, and subject to often repeated inaccuracies. Frequently dismissed as an eccentric or passed over altogether, Lind has become a purely biographical figure, associated only with a brief episode in the poet's childhood. Despite Shelley's own assertion that he owed more to Lind than to his own father, generations of critics have largely ignored the possibility of any influence by him on Shelley's creative work. Lind was, in fact, an extremely accomplished practitioner in every field of natural philosophy that interested Shelley, and that was later to infuse his poetry with its unique scientific metaphorical imagery. These subjects included medicine, astronomy, chemistry, geology, and meteorology. Though an obscure figure himself, Lind was a friend or correspondent of many of the greatest figures of the Enlightenment, such as Benjamin Franklin, William Herschel, David Hume, James Watt, and many others. Drawing upon original archival and historical research, Lind is proposed as a new influence on Shelleyan passages whose scientific character may already have been recognised, but with Lind now providing a more likely origin or more direct link for influences thus far attributed to other conjectural sources. Lind is also introduced as a potential source for certain segments of the poet's work whose possible significance has hitherto gone entirely unrecognised. This thesis aims to raise the profile of James Lind as an influence on Percy Shelley's work, and also to contribute new material to our understanding of Shelley's scientific thought. Comparisons are also made with existing scientific commentary on Shelley's work. In pursuit of these aims, this thesis is necessarily themed with reference to the scientific subjects under discussion, rather than chronologically, or textually.

APA, Harvard, Vancouver, ISO, and other styles

10

Mazzeo, Tilar Jenon. "Producing the Romantic 'literary' : travel literature, plagiarism, and the Italian Shelley/Byron circle /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/9412.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Peyrache-Leborgne, Dominique. "Poétique du sublime romantique (Diderot, Schiller, Wordsworth, Shelley, Hugo, Michelet)." Paris 3, 1993. http://www.theses.fr/1994PA030003.

Full text

Abstract:

Aux dix-huitieme et au dix-neuvieme siecles, le sublime s'est progressivement constitue comme une tradition esthetique et philosophique, en france, en angleterre et en allemagne, autour de grands textes theoriques et poetiques, notamment ceux de diderot, schiller, wordsworth, shelley, hugo et michelet. Du sublime du crime au concept d'humanite ideale, le sublime chez diderot et schiller sous-tend un humanisme conquerant. Avec le romantisme, il devient plus paradoxal en se definissant surtout par son contraire, l'humble et le grotesque. Le sublime devient aussi une experience visionnaire et poetique fondee sur une dialectique entre nature et esprit, monde sensible et transcendance, histoire et mythe. La modernite du sublime, sa valeur d'actualite, vient de cette fonction d'inauguration, de "tabula rasa" poetique, que lui ont assignee les romantiques
During the eighteenth, then the nineteenth centuries, the sublime became an aesthetic and philosophical tradition, in english, french and german literature, particularly in the theoretical and poetical works of diderot, schiller, wordsworth, hugo and michelet. With diderot and schiller, the sublime is not only linked to the burkian "delight", it underlies a concept of ideal humanity. With the romanticism, the sublime becomes more paradoxical, being defined by its contrary - the grotesque, the humble, in hugo and wordsworth - or by a visionary experience (in hugo, shelley, michelet) based upon a dialectic between nature and spirit, sensible universe and transcendance, history and myth

APA, Harvard, Vancouver, ISO, and other styles

12

Sultana, Fehmida. "Romantic orientalism and Islam : Southey, Shelley, Moore, and Byron /." Thesis, Connect to Dissertations & Theses @ Tufts University, 1989.

Find full text

Abstract:

Thesis (Ph.D.)--Tufts University, 1989.
Submitted to the Dept. of English. Includes bibliographical references (leaves 209-215). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

APA, Harvard, Vancouver, ISO, and other styles

13

Mushakavanhu, Tinashe. "Anarchies of the mind : a contrapuntal reading of the poetry and prose of Percy Bysshe Shelley and Dambudzo Marechera." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/69686/.

Full text

Abstract:

The thesis examines the historical and contemporary engagements of philosophical anarchism in the selected writings of Percy Bysshe Shelley and Dambudzo Marechera in a bid to establish an anarchic poetics that emerges between them. Both use poetry and prose to express opposition to values and relations characterising authoritarian societies while also expressing alternative social, political and personal values. The unusual pairing of two writers who wrote and lived in very different times inevitably prompts an enquiry into the various trajectories of philosophical anarchism, Romanticism and postcoloniality in world literature. The aim is to blur the stereotypical nature of writers and writings from specific regions of the world and instead argue for an interliterary and intertextuality tradition as the new critical idiom. This thesis also analyses the social functioning of poetry and fiction in social reform and political revolution. Juxtaposing the perspectives of and writings from different spatio- temporal and cultural locations is necessary to emphasise the continuity of ideas, the evolution of theory and philosophy and the historical interconnectedness of humanity as explained by Edward Said's notion of 'contrapuntal juxtaposition.' The writings of Shelley and Marechera do raise important questions about society and the state and continue to address serious political issues. As will be demonstrated, the literature of Shelley and Marechera is not static, it grows and develops with each new reading, it is continually changing, and for this reason it is essentially moving. This study contributes to the fields of literary anarchist theory, postcolonialism as well as Romantic studies by extending a conceptual bridge between the political and literary histories of ideas in which Shelley and Marechera are both ambassadors.

APA, Harvard, Vancouver, ISO, and other styles

14

Haines, Simon F. E. "A critical study of the poetry and prose of Percy Bysshe Shelley : illustrating the limiting effect of his ideas on his imagination." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303534.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Roy, Malini. "Shape-shifters : Romantic-era representations of the child in the Wollstonecraft-Godwin family circle." Thesis, University of Oxford, 2008. http://ora.ouls.ox.ac.uk/objects/uuid:59d59e07-eb4d-46b3-a7c972cd12102b2d.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

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.

Full text

Abstract:

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 being applicable to literary criticism at all. And as a late Romantic, Shelley defined himself rather as a poet of the imagination. Nonetheless I will show that both artists avail themselves of a grotesque aesthetic to achieve some of their most powerful and provocative poetry: we may here consider, for instance, Milton's memorable descriptions of the incongruities of Hell and the deformities of its fallen denizens in Paradise Lost, or Shelley's Gothic touches and his perplexing distortion of conventional linguistic and dramatic form in Prometheus Unbound.
Aside from general considerations of the grotesque in these texts, I will especially focus on how Milton's and Shelley's uses of the grotesque mode provide us with unique, and often fascinating vantage points from which to appreciate their respective political concerns and revolutionary interests. While I expect this critical approach will elucidate Milton and Shelley in their own separate artistic and political spheres, I am especially interested to compare and contrast the poets, to show how the quite different uses made of the grotesque in Prometheus Unbound and Paradise Lost reflect the various ways in which Shelley responds to Milton in his role as a revolutionary forefather.

APA, Harvard, Vancouver, ISO, and other styles

17

Franson, Craig. "Suspended pangs : figures of agony in the discourse of Romanticism /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1421623051&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

Full text

Abstract:

Thesis (Ph. D.)--University of Oregon, 2007.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 222-230). Also available for download via the World Wide Web; free to University of Oregon users.

APA, Harvard, Vancouver, ISO, and other styles

18

Ogden, Rebecca Lee Jensen. "Merit Beyond Any Already Published: Austen and Authorship in the Romantic Age." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2417.

Full text

Abstract:

In recent decades there have been many attempts to pull Austen into the fold of high Romantic literature. On one level, these thematic comparisons are useful, for Austen has long been anachronistically treated as separate from the Romantic tradition. In the past, her writings have essentially straddled Romantic classification, labeled either as hangers-on in the satiric eighteenth-century literary tradition or as early artifacts of a kind of proto-Victorianism. To a large extent, scholars have described Austen as a writer departing from, rather than embracing, the literary trends of the Romantic era. Yet, while recent publications depicting a “Romantic Austen” yield impressive insights into the timeliness of her fiction, they haven't fully addressed Austen's participation in some of the most crucial literary debates of her time. Thus, it is my intention in this essay to extend the discussion of Austen as a Romantic to her participation in Romantic-era debates over emergent literary categories of authorship and realism. I argue that we can best contextualize Austen by examining how her model of authorship differs from those that surfaced in literary conversations of the time, particularly those relating to the high Romantic myth of the solitary genius. Likewise, as questions of solitary authorship often overlap with discussions of realism and romance in literature, it is important to reexamine how Austen responds to these categories, particularly in the context of a strictly Romantic engagement with these terms. I find that, though Austen's writing has long been implicated in the emergence of realism in literature, little has been written to link this impulse to the earlier emergence of Romantic-era categories of authorship and literary creativity. I contend that Austen's self-projection (as both an author and realist) engages with Romantic-era literary debates over these categories; likewise, I argue that her response to these emergent concerns is more complex and nuanced than has heretofore been accounted for in literary scholarship.

APA, Harvard, Vancouver, ISO, and other styles

19

Vestri, Talia Michele. "The sibling in the self: kinship and subjectivity in British Romanticism." Thesis, 2018. https://hdl.handle.net/2144/31680.

Full text

Abstract:

This dissertation examines the role of sibling kinship in shaping the poetry, drama, and fiction of English Romanticism (1789-1832). While critics have long associated Romanticism with a myth of solitary authorship and an archetype of isolated genius, I demonstrate that Romantic authors imagined subjectivity in the plural, curating a vision of identity-formation that is collective, shared, multiple, and relational. Embodied in the portrayal of sibling relationships, this inter-subjective paradigm delivers new frameworks for understanding the Romantic self as situated within networks of others—networks of those who are not quite the same yet not quite different; those who are both familiar and yet unknown. My study is the first to present a sustained consideration of the way Romantic writers invoked literary siblinghood as a model for the collaborative and collective nature of selfhood, and I propose that this focus on lateral sibling kinship offers alternatives to the conventional reproductive lenses through which the late-eighteenth and early-nineteenth-century family has been previously understood. Drawing from recent work in feminist and queer theory, psychology and psychoanalysis, and sociocultural histories of kinship, this dissertation contributes new readings of canonical texts by Percy Bysshe Shelley, Joanna Baillie, William Wordsworth, Jane Austen, and Mary Shelley. Chapter One considers two stage dramas by P. B. Shelley and Baillie as rewritings of Sophocles’s Antigone. In both plays, sisters use their fraternal-sororal relations to redefine familial systems of reproduction via horizontal means of transmission rather than through vertical lines of biological inheritance. In Chapter Two, I extend this discussion of sibling networks to Wordsworth’s Lyrical Ballads, where, I suggest, we find trans-subjective inter-relations that define the poet’s vision well beyond autobiographical references to his sister Dorothy. Austen’s novels serve as the focus of Chapter Three, which argues that the self-contained “I” of the Bildungsroman genre, as Austen incorporates it, in fact depends upon intimate epistemological exchanges between sororal characters who undergo a mutually influential process of development. Chapter Four concludes with a discussion of Mary Shelley’s Frankenstein. I suggest that the author critiques her central male protagonist for his failures to recognize how the reciprocity of male-female sibling sympathies underlies homosocial bonds. Taken together, these readings advance a version of Romantic subjectivity based upon lateral integration rather than egotistical solipsism.
2020-10-08T00:00:00Z

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!