Relevant bibliographies by topics / Swift, Jonathan, 1667-1745

Academic literature on the topic 'Swift, Jonathan, 1667-1745'

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Published: 4 June 2021
Last updated: 28 February 2023

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Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Journal articles on the topic "Swift, Jonathan, 1667-1745":

1

Carter, Richard. "Jonathan Swift (1667–1745): master satirist, eccentric dean and frustrated lover." Journal of Medical Biography 15, no. 3 (August 2007): 181–85. http://dx.doi.org/10.1258/j.jmb.2007.06-12.

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Jonathan Swift, Irish author and poet, became an Anglican Dean with a macabre interest in medicine. He wrote 'Verses on the Death of Dr Swift' predicting how his death would be received in Dublin and London.
2

Mahony, Robert. "Locating Swift: Essays from Dublin on the 250th Anniversary of the Death of Jonathan Swift 1667-1745 (review)." Eighteenth-Century Fiction 11, no. 3 (1999): 371–73. http://dx.doi.org/10.1353/ecf.1999.0027.

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3

Ruiz-Moneva, Maria Angeles. "The use of whereas and whereas-clauses in Swift's The Drapier's Letters." Logos et Littera, December 31, 2020, 24–45. http://dx.doi.org/10.31902/ll.2019.7.3.

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Jonathan Swift (1667-1745) was actively involved in the political affairs of the Ireland of his life-time. Even though he belonged to the higher social classes, namely, the Anglo-Irish ruling minority, he sought to make the whole of the Irish population aware of their economic and political conditions, so that his “Countrymen” or “Fellow-Servants” (as he addressed the whole of the Irish) may pursue to improve their situation. In order to become closer to his intended audience, he decided to use several personae or fictional characters. One of these was the drapier, as the identity chosen in most of the series of seven Letters known as The Drapier’s Letters (1724). Although he adopted many colloquial expressions and the register that a shop-keeper would employ, he was fully aware of the legal implications both of the whole issue at large and also of the particular proposals that he was making. This apparent inconsistency was meant to provide the Irish with the tools which he found necessary for them in their struggle to attain better political and economic conditions. It may be hypothesized that one of the aspects illustrating Swift’s use of both colloquial language and the legal register is the connector whereas: on the one hand, as a discourse marker with its everyday meanings; on the other hand, with legal senses. The present paper seeks to explore and systematise these uses.
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Books

Dissertations / Theses on the topic "Swift, Jonathan, 1667-1745":

1

HIBON, BERNARD. "L'oeuvre poetique de jonathan swift." Paris 3, 1989. http://www.theses.fr/1989PA030132.

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La premiere ambition de swift fut de devenir poete, et il composa d'abord des odes; ou il s'efforca d'imiter abraham cowley et s'inspira des idees de sir william temple. Les premiers essais sont des echecs, mais l'on y trouve deja les themes de l'oeuvre en prose a venir. A partir de 1698, la poesie change de ton. Les themes deviennent plus personnels, et swift compose souvent une poesie de circonstance. Appreciee du vivant de l'auteur, qui en etait fier, cette poesie fut ensuite souvent mal comprise et tenue pour mineure. On negligea notamment sa dimension humoristique. Elle apparait pourtant comme un complement indispensable au reste de l'oeuvre, et nous permet de mieux cerner la personnalite de l'auteur que sa production en prose
In the early part of his life, swift wanted to become a poet, and he began to write odes, in which he imitated abraham cowley. He was also influenced by the ideas of sir william temple. Swift's first attempt was a failure, but we find in the odes many of the themes that will be developed later in the prose works. From 1698 on, the poems are quite different. The themes are more personal, and swift's poetry is often occasional. Swift's poems were held in high esteem in his lifetime, but after the poet's death, this aspect of his genius was gradually misunderstood and considered to be of minor importance. The humour of swift's verse was neglected. Yet, swift's poetry is a necessary complement to his other works, and it gives the reader a better view of the author's personality than his prose works
2

He, Xiyao. "The doubting deanJonathan Swift's Critique of reason in the age of enlightenment." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/291.

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By drawing on the two waves of critique of the Enlightenment and its version of reasonone after the French Revolution and the other after WWIIthis research pushes the timeline to an even earlier point and tries to study the critique of the Enlightenment and its version of reason within the Enlightenment itself. In doing so it chooses the English/Irish writer Jonathan Swift for case study, because in his works he repeatedly levels scathing criticisms of his age and the reason upheld by many of his contemporaries.;In his critique of the Enlightenment and its version of reason Swift appeals to a long tradition in Western intellectual history which regards human reason as twofold: a discursive part which proceeds in a step-by-step manner, through analysis, calculation, and demonstration; and an intuitive part which reaches the conclusion directly, immediately, and with much certainty. The Enlightenment, however, breaks the balance between the two by promoting discursive reason and eliminating intuitive reason. As a result, discursive reason is easily instrumentalized without the check of intuitive reason, which is thrown into oblivion.;Swift's critique is essentially a protest against this trend that was going on at his time. In contrast to it, he denounces discursive reason while champions intuitive reason. In his critique, the main target is discursive reason, and it necessarily also involves the most representative embodiment of discursive reason that was prospering at the time, namely, natural science. The critique of discursive reason and of science is made partly by relying on intuitive reason, which makes it, in a sense, also reason's critique of itself.;Of course, Swift does not regard human reason, either intuitive or discursive, as the panacea for human beings. As a priest of the Anglican Church, he thinks reason should always be subordinate to faithin other words, reason is limited. But perhaps ironically, in his emphasis on the limit of reason and the consequent need for faith as embodied and ensured in an authoritative institution, Swift reveals his own bigotry, intolerance and authoritarianism, which shows how he was historically and ideologically limited.
3

Menzies, Ruth. "Les "Voyages de Gulliver" de Jonathan Swift et la tradition française du voyage imaginaire : parcours intertextuels et identité générique." La Réunion, 2004. http://elgebar.univ-reunion.fr/login?url=http://thesesenligne.univ.run/04_06_Menzies.pdf.

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Les "Voyages de Gulliver" s'inscrivent dans la tradition du voyage imaginaire, genre fondé par Lucien de Samosate, et qui a connu un grand essor en France au XVIIe siècle. Les liens entre l'oeuvre de Swift et les récits en français relèvent de deux types. D'une part, des relations intertextuelles rattachent les "Voyages" à plusieurs hypotextes (l'"Histoire véritable" dans la version des d'Ablancourt, le "Quart livre" de Rabelais et "L'autre monde" de Cyrano de Bergerac). D'autre part, certaines similitudes résultent de l'appartenance commune au genre du voyage imaginaire. Partageant de nombreux codes et topoi͏̈ avec l'"Histoire des Sévarambes" de Veiras, "La Terre australe connue" de Foigny, et les "Voyages et aventures de Jacques Massé" de Tyssot de Patot, le récit de Swift s'ancre dans un réseau générique, et mène une réflexion critique sur la société, sur les rapports entre vérité et fiction ainsi que sur la continuité littéraire, quíl incarne et perpétue
"Gulliver's travels" belong to the imaginary voyage tradition, founded by Lucian of Samosata and particularly popular in 17th-Century France. The links between Swift's work and the texts in French are of two types. The "Travels" are intertextually connected to several hypotexts (the d'Ablancourt version of the "True history", Rabelais' "Quart livre", Cyrano de Bergerac's "L'autre monde"), whereas other resemblances are the result of traits characteristic of the genre. Swift's text shares many codes and topoi͏̈ with Veiras' "Histoire des Sévarambes", Foigny's "Terre australe connue" and Tyssot de Patot's "Voyages et aventures de Jacques Massé", anchoring itself firmly within a textual network in order to reflect upon human society, truth and fiction, as well as literary continuity, which the work both embodies and perpetuates
4

Henvey, Thom. "The political economy of Jonathan Swift : an ideological study of discursive exchange in the literary forms and economic tracts of the eighteenth century." Thesis, University of Wales Trinity Saint David, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683290.

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Leong, Kam Ieng Kammy. "A case study of two annotated translations of Gulliver's Travels." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3954283.

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Vieira, Adriana Silene. "Viagens de Gulliver ao Brasil : estudos das adaptações de Gulliver's Travels por Carlos Jansen e por Monteiro Lobato." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269611.

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Orientador: Marisa Lajolo
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-03T22:04:15Z (GMT). No. of bitstreams: 1 Vieira_AdrianaSilene_D.pdf: 10150633 bytes, checksum: 08431af4acf9dd93fc2306e94e767cf9 (MD5) Previous issue date: 2004
Resumo: O propósito deste trabalho é fazer uma comparação entre a obra Gulliver's Travels (1726), de Jonathan Swift, e suas primeiras adaptações brasileiras. Em primeiro lugar, consideramos o texto integral e depois passamos à história de suas condensações e adaptações dentro da própria língua inglesa. A seguir fomos ao nosso tema principal, as adaptações da obra para o português feitas por Carlos Jansen (em 1888) e Monteiro Lobato (em 1937), discutindo problemas de adaptação, tradução, e recepção e as relações entre o texto, o intermediário (tradutor, adaptador) e o público a quem este se destina. Neste caso, o público seria, num primeiro momento, no final do século XIX, os estudantes do Colégio D. Pedro II, e num segundo momento, início do século xx, as crianças brasileiras em geral e em particular as leitoras da obra infantil de Lobato. A adaptação de Lobato, (assim como sua obra infantil posterior a 1926), foi publicada pela Cia Editora Nacional
Abstract: The aim of this work is a comparison between the original Gulliver's Travels, by Jonathan Swift and the two first Brazilian versions of it. Firstly we considered the integral work and then we studied the story of its condensations and abridgements within the English language. After that we went to the main theme of our work, which is the adaptations of the work made by Carlos Jansen (in 1888) and Monteiro Lobato (in 1937). When we did that we discussed the problems of adaptation, translation and reception, and the relations among the work, the intermediate (the translator, adaptator) and the public to whom the adaptation is supposed to be held in our case this public was, in the first moment, the students ftom D. Pedro II school. Then, more precisely in the beginning of the twentieth century, the Brazilian children in general, and the readers of Lobato's works in particular published-like all his works after 1926 - by the publishing house, Companhia Editora Nacional
Doutorado
Teoria e Historia Literaria
Doutor em Letras
7

Stephenson, Lois Bea. "Ethos in "Gulliver's Travels"." CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/863.

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8

Zimpfer, Nathalie. "A Quill Worn to the Pith in the Service of the Church : satire et religion dans l'oeuvre de Jonathan Swift." Lyon 2, 2003. http://theses.univ-lyon2.fr/documents/lyon2/2003/zimpfer_n.

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A priori difficilement réconciliables, voire incompatibles, les modes satirique et homilétique se mêlent pourtant dans la grande entreprise d'assainissement et de réforme des moeurs qui carctérise le dix-huitième siècle. De cet enchevêtrement, Jonathan Swift (1667-1745) est sans doute l'un des écrivains les plus représentatifs. Satirique prolixe, il est aussi pasteur de l'Eglise anglicane et auteur d'un nombre important de textes qui relèvent de l'apologétique anglicane. La question des liens entre satire et religion dans l'oeuvre de Swift semble se ramener principalement à celle du traitement réservé à la religion et aux institutions religieuses dans les satires swiftiennes. Or une analyse de la question en ces termes conduit toujours plus ou moins à un évitement du texte. L'oeuvre de Swift gagne en effet à être envisagée dans sa globalité, dans la mesure où, au-delà de considérations d'ordre générique, le positionnement rhétorique swiftien est toujours similaire : l'énonciation résulte d'une part de l'association d'une expression in propria persona et d'une persona, d'autre part de l'enchevêtrement, à des degrés divers, et selon des modalités différentes, des postures homilétique et satirique. C'est donc à un autre niveau qu'est ici envisagée la question des liens entre satire et religion dans l'oeuvre swiftienne, au double niveau de l'imbrication des postures homilétique et satirique dans certains pamphlets sur la religion, ainsi que dans cette oeuvre hors normes qu'est "A Tale of a Tub", et du recours à une persona dans les sermons.
9

Aniq-Filali, Rabéa. "Deux modes satiriques ou le choix fait par Butler dans Hudibras et Swift dans A Tale of tub (Le Conte du tonneau)." Paris 4, 1990. http://www.theses.fr/1990PA040036.

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Cette étude porte sur la satire en vers ou satire régulière et la satire en prose ou Ménippée. Notre point de départ est l'Hudibras de Samuel Butler (1612-80) et A tale of a tub (Le conte du tonneau) de Jonathan Swift (1667-1745). La comparaison entre les deux satiristes a révélé de nombreuses affinités. Un examen préalable des deux modes d'écriture, le vers et la prose a été entrepris afin d'en déterminer les caractéristiques et fonctions respectives. L'analyse thématique des deux satires a montré qu'elles ont pratiquement les mêmes cibles, notamment les abus de la religion et du savoir, mais aussi le monde politique, la science, la société dans son ensemble. Les deux satires sont en effet topiques avant d'être typiques, à savoir qu'elles prennent appui sur les évènements en cours avant d'élever le débat au niveau universel et de s'intéresser à l'homme en général. Ceci fait partie de la stratégie de la Ménippée. L'analyse de Hudibras et du conte à partir de cet angle nous aura permis d'expliquer et de comprendre un certain nombre de points obscurs; car bien que Hudibras soit écrit en vers et le conte en prose, les deux satiristes se sont servi des éléments de la Ménippée, laquelle s'attaque aux idéologies en dehors des vices spécifiques et remet tout en cause, même sa forme
This study deals with verse or formal satire and prose or Menippean satire. Our starting point is Hudibras by Samuel Butler (1612-80) and A Tale of a tub by Jonathan Swift (1667-1745). A comparison between both satirists showed that they agree on the major points. A previous study of the two modes of writing, verse and prose, determining the characteristics and functions of each one had been undertaken. The thematic analysis revealed that both satires tackled almost the same subjects, namely the abuses of religion and learning, but also politics, science and the society at large; both satires being topical before reaching a universal level through the study of man in general. This is part of the strategy adopted by Menippean satire. The analysis of Hudibras and the tale from this angle allowed us to understand and explain a number of obscure points. For although butler wrote in verse and swift in prose, both used the characteristics of Menippean satire, which is mainly concerned with ideologies besides particular vices and goes against all conventions; its sole purpose being questioning, even its own vehicle
10

CONNERY, BRIAN ARTHUR. "AN AMBITION TO BE HEARD IN A CROWD: MAD HEROES AND THE SATIRIST IN THE WORKS OF JONATHAN SWIFT (ALIENATION, DOUBLE-BIND)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/183857.

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In Swift's works, both heroes and madmen are characterized by supra-normal aspiration, imagination, individuality, and pride, and the mad hero becomes an effective emblem for the chaos arising when individual vision challenges traditional authority in religion, politics, and literature. Swift's view of madness as the willful perversion of reason tends to be traditional, though his sense of its pervasiveness creates a subversive skepticism. Consistently throughout his works, Swift posits conscience as the only safeguard against the madness of pride. Swift views the traditional hero as subversive, typically portraying him as mad while presenting the sane man as unheroic. As the Tale-teller argues, the traditonal hero is a successful madman. Swift's later works demonstrate that madness and heroism often coincide because of the mutually reinforcing relationship between power and ego, and he asserts that the will to power, manifested in the heroic imposition of one's will upon others, is a form of madness. As an alternative to the asocial and amoral traditional hero, Swift promotes a moderate hero in the figures of the Church of England Man, the Examiner, and the Drapier: the one just man, motivated by Roman and Christian virtue, in a mad society. But even the vir bonus remains susceptible to challenges of authority, for in a mad and corrupt society his singular vision cannot appeal to common sense. Moreover, if he becomes powerful, he risks madness, and if he retreats from madness, he becomes impotent. As a consequence of this double bind, the satirist himself suffers a profound alienation. Swift recognizes that by engaging in the controversies of his age, he himself becomes liable to charges of the madness of pride. Even as he harangues the world, his recognition of the heroic conceit in establishing himself as satirist is evident in the self-satire of A Modest Proposal and the verses on his death. Similarly, the self-portraits in his poetry and Gulliver's Travels demonstrate his conscience at work as he satirizes his own indignation and reforming urges, striving thereby to maintain a modicum of humility and thus sanity, and, in laughing with the reader, striving to maintain common sense as well.

Books on the topic "Swift, Jonathan, 1667-1745":

1

Higgins, Ian. Jonathan Swift. Tavistock: Northcote House, 2004.

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Erskine-Hill, Howard. Jonathan Swift: Gulliver's travels. Cambridge: Cambridge University Press, 1993.

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John, Henriksen, Swift Jonathan 1667-1745, and Cunningham William F. donor, eds. Gulliver's travels: Jonathan Swift. New York: Spark Pub., 2002.

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Harold, Bloom, ed. Jonathan Swift. New York: Bloom's Literary Criticism, 2009.

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Jonathan, Swift. Swift's Irish pamphlets: An introductory selection. Gerards Cross: Colin Smythe, 1991.

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Harold, Bloom. Jonathan Swift. New York: Chelsea House, 1986.

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1953-, Wood Nigel, ed. Jonathan Swift. New York: Longman, 1999.

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Erskine-Hill, Howard. Jonathan Swift: Gulliver's travels. Cambridge: Cambridge University Press, 1993.

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Real, Hermann Josef. Securing Swift: Selected essays. Dublin, Ireland: Maunsel & Co., 2001.

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Crook, Keith. A preface to Swift. New York: Longman, 1998.

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Book chapters on the topic "Swift, Jonathan, 1667-1745":

1

McGowan, Ian. "Jonathan Swift 1667–1745." In The Restoration and Eighteenth Century, 98–155. New York: Palgrave Macmillan US, 1989. http://dx.doi.org/10.1007/978-1-349-60485-2_10.

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Rogers, J. D., and S. C. Stimson. "Swift, Jonathan (1667–1745)." In The New Palgrave Dictionary of Economics, 1–3. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1057/978-1-349-95121-5_1691-1.

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Stimson, S. C. "Swift, Jonathan (1667–1745)." In The New Palgrave Dictionary of Economics, 1–3. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/978-1-349-95121-5_1691-2.

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Stimson, S. C. "Swift, Jonathan (1667–1745)." In The New Palgrave Dictionary of Economics, 13382–84. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95189-5_1691.

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"Jonathan Swift (1667–1745)." In London, 234–42. Harvard University Press, 2015. http://dx.doi.org/10.2307/j.ctv22jnsm7.55.

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"Jonathan Swift (1667–1745) A Description of the Morning." In London, 234. Harvard University Press, 2015. http://dx.doi.org/10.4159/9780674273702-071.

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