Relevant bibliographies by topics / Tennyson

Contents

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

Academic literature on the topic 'Tennyson'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Tennyson.'

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.

Journal articles on the topic "Tennyson"

1

Kim, Jeongsuk. "Unveiling Mariana’s Inner Mind: Alfred Lord Tennyson and Julia Margaret Cameron." British and American Language and Literature Association of Korea 146 (September 30, 2022): 271–89. http://dx.doi.org/10.21297/ballak.2022.146.271.

Full text
Abstract:
This essay examines the psychological state of Mariana that was displayed in Tennyson’s pictorial poetry ”Mariana” and Cameron’s photographic illustration Mariana in order to reconsider the Victorian women’s position in the conventions of femininity. Owing to the vivid pictorial descriptions, Tennyson’s “Mariana” has been examined in terms of its aesthetic value. However, this essay argues that Tennyson’s interested in mental science boomed in the mid-nineteenth century is reflected in “Mariana.” By analyzing “Mariana,” this essay first examines how Tennyson conveyed the abandoned Mariana’s mental breakdown through the medium of landscape. Playing a role as the true interpreter of his age, a poet laureate Tennyson reflected the Victorian women’s position in the patriarchal society. This essay subsequently explores how Cameron reproduced Tennyson’s psychological portrait of Mariana’s mental disintegration in her unfocused photographic space. Unlike Tennyson’s Mariana, Cameron rather radically visualized her version of Mariana by utilizing her unique out-of-focus technique. Although Tennyson and Cameron used their own artistic methods to unveil the Victorian Mariana’s inner mind, both provide a chance to reconsider the conventions of femininity in arts and literature.
APA, Harvard, Vancouver, ISO, and other styles
2

Lahiani, Raja. "Unlocking the Secret of ‘Locksley Hall’." Comparative Critical Studies 17, no. 1 (February 2020): 25–46. http://dx.doi.org/10.3366/ccs.2020.0342.

Full text
Abstract:
Despite its originality, Tennyson's poem ‘Locksley Hall’ (1842) shares considerable characteristics with the pre-Islamic Arabic poems the Mu‘allaqāt, namely those composed by Imru’ al-Qays and ‘Antara. The similarities include length, rhyme, metre, genre, themes and appeal, which this article compares in order to show that Tennyson adapts these source text resources to the concerns and subject matter of his own poem, and not for the purpose of translating the Mu‘allaqāt. It follows that ‘Locksley Hall’ needs to be studied in modern scholarship not only as a poem that reflects some aspects of Tennyson's biography and poetic craft, but also as an imitation of other poetry. This article analyses the details that unveil the imitative strategy Tennyson adopts in ‘Locksley Hall’. In so doing, it posits that ‘imitation’ is better suited than ‘intertextuality’ as a conceptual tool for articulating the links between ‘Locksley Hall’ and the Mu‘allaqāt. Furthermore, in contrast to previous critical studies that refer to the influence on Tennyson of the Mu‘allaqa of Imru’ al-Qays, this article argues that Tennyson combines two Mu‘allaqāt as source materials for his own poem.
APA, Harvard, Vancouver, ISO, and other styles
3

Colón, Christine A. "Defending Tennyson." Christianity & Literature 66, no. 2 (March 2017): 274–92. http://dx.doi.org/10.1177/0148333116645610.

Full text
Abstract:
Dorothy L. Sayers’s interactions with Tennyson’s poetry provide a powerful example of her theology of charitable reading. Unlike many of her contemporaries, Sayers refused to oversimplify Tennyson’s works. She defended him from his critics and used some of his ideas to inform Gaudy Night, crafting an insightful critique of The Princess that acknowledges the poem’s problems but also emphasizes its underlying truths. Sayers never completely articulated her theology of charitable reading, but with her approach to Tennyson, she enacts the theology that is implicit in her reflections on the artist in The Mind of the Maker.
APA, Harvard, Vancouver, ISO, and other styles
4

Hughes, John. "‘The Exile's Harp’: Tennyson's Lost World of Music." Nineteenth-Century Music Review 3, no. 2 (November 2006): 113–35. http://dx.doi.org/10.1017/s1479409800000628.

Full text
Abstract:
From the earliest reviews, the trope of music has shaped the image of Tennyson for critics and readers. Tennyson's talent is one that joins voice and ear:Nature […] has taught Mr. Tennyson to sing as a poet should sing, – she has taught him to throw his whole soul into his harmonies.He has a fine ear for melody and harmony too – and rare and rich glimpses of imagination. He has – genius.
APA, Harvard, Vancouver, ISO, and other styles
5

Dever, Carolyn. "Introduction: “Modern” Love and the Proto-Post-Victorian." PMLA/Publications of the Modern Language Association of America 124, no. 2 (March 2009): 370–74. http://dx.doi.org/10.1632/pmla.2009.124.2.370.

Full text
Abstract:
One early thursday evening in 1892, Katharine Bradley returned to her suburban home and recorded the following entry in the diary she shared with Edith Cooper, her niece, lover, and literary collaborator:Thursday evening Oct 6th 1892.∗Tennyson is dead. We saw it in the Underground this morning—Death of Lord Tennyson Illustrated biography a penny.The news of Tennyson's death affected Bradley profoundly, propelling her back to a pastoral, “Victorian” past that seems remote from her urban fin de siècle world of the Underground and rapid-cycle tabloid news. Bradley is returned, she writes, to “days when ‘The Miller's Daughter’ bounded my horizons.—My way of looking at the universe was unquestionably determined by Tennyson” (Field, Works 5: 5).
APA, Harvard, Vancouver, ISO, and other styles
6

Dr. Upendra Kumar. "Reinterpretation of Alfred Lord Tennyson’s Selected Poetry: A Thematic Analysis." Creative Launcher 5, no. 3 (August 30, 2020): 124–29. http://dx.doi.org/10.53032/tcl.2020.5.3.17.

Full text
Abstract:
Alfred Lord Tennyson was the most loved and acclaimed poet of the Victorian Era. He was born on 06 August 1809 in Somersby, Lincolnshire, England. He belonged to an influential family as his father was a clergyman having a large family. Alfred Lord Tennyson had 11 siblings and he showed his interest for writing in his early age. When he was merely thirteen years old, he wrote a 6000-line poem in epic style. His father was suffering from mental breakdowns and had an addiction for alcoholism. One of Tennyson’s brothers would quarrel with his father and another was sent to mental asylum. One more brother had opium addiction like T.S. Eliot. Tennyson entered Trinity College, Cambridge in 1827 and he wrote Poems by Two Brothers in collaboration with his brother there. Tennyson had close friendship with Arthur Henry Hallam and both of them went to Europe tour in 1830 and 1832. Tennyson wrote an elegy In memoriam on Hallam’s death. He dedicated some of his poem to Hallam. He published Poems Chiefly Lyrical in 1830 and then Poems in 1832. People criticized these books and consequently he did not write for nine years. He got emotionally attached with Emily Sellwood. He rose to fame in 1942 and when his elegy published in 1850, he became the most popular poet of England. He became the Poet Laureate of England after the death of William Wordsworth and when Samuel Rogers refused this offer. He got married with Emily Sellwood. He died on October 6, 1892 and was buried in Westminster Abbey. Present paper is an attempt to analyse Tennyson’s selected poems from multiple angles.
APA, Harvard, Vancouver, ISO, and other styles
7

Geric, Michelle. "READING MAUD'S REMAINS: TENNYSON, GEOLOGICAL PROCESSES, AND PALAEONTOLOGICAL RECONSTRUCTIONS." Victorian Literature and Culture 42, no. 1 (February 19, 2014): 59–79. http://dx.doi.org/10.1017/s1060150313000260.

Full text
Abstract:
As Tennyson's “little Hamlet,”Maud (1855) posits a speaker who, like Hamlet, confronts the ignominious fate of dead remains. Maud's speaker contemplates such remains as bone, hair, shell, and he experiences his world as one composed of hard inorganic matter, such things as rocks, gems, flint, stone, coal, and gold. While Maud's imagery of “stones, and hard substances” has been read as signifying the speaker's desire “unnaturally to harden himself into insensibility” (Killham 231, 235), I argue that these substances benefit from being read in the context of Tennyson's wider understanding of geological processes. Along with highlighting these materials, the text's imagery focuses on processes of fossilisation, while Maud's characters appear to be in the grip of an insidious petrification. Despite the preoccupation with geological materials and processes, the poem has received little critical attention in these terms. Dennis R. Dean, for example, whose Tennyson and Geology (1985) is still the most rigorous study of the sources of Tennyson's knowledge of geology, does not detect a geological register in the poem, arguing that by the time Tennyson began to write Maud, he was “relatively at ease with the geological world” (Dean 21). I argue, however, that Maud reveals that Tennyson was anything but “at ease” with geology. While In Memoriam (1851) wrestles with religious doubt that is both initiated, and, to some extent, alleviated by geological theories, it finally affirms the transcendence of spirit over matter. Maud, conversely, gravitates towards the ground, concerning itself with the corporal remains of life and with the agents of change that operate on all matter. Influenced by his reading of geology, and particularly Charles Lyell's provocative writings on the embedding and fossilisation of organic material in strata in his Principles of Geology (1830–33) volume 2, Tennyson's poem probes the taphonomic processes that result in the incorporation of dead remains and even living flesh into the geological system.
APA, Harvard, Vancouver, ISO, and other styles
8

Rejano, Rocío Moyano. "“Her tears fell with the dews at even”: The Ekphrastic and Intertextual Dialogue between Victorian Poetry and Pre-Raphaelite Painting." Prague Journal of English Studies 11, no. 1 (July 1, 2022): 29–50. http://dx.doi.org/10.2478/pjes-2022-0002.

Full text
Abstract:
Abstract This paper seeks to carry out an analysis of the ekphrastic and intertextual dialogue in the character of Mariana in both Alfred Lord Tennyson’s homonymous poem and its subsequent pictorial representation in a painting by John Everett Millais. The character of Mariana is taken from Shakespeare’s comedy, Measure for Measure, which was published in the First Folio in 1623. By contrast, in 1832, Lord Tennyson introduces the character in his homonymous poem, “Mariana”, as a woman who continuously laments her lack of connection to society. Through interfigurality, Tennyson opts to present her as a “tragic” heroine and she is depicted from a pessimistic perspective. The process of interfigurality entails a conversion stage of reverse ekphrasis through which Shakespeare’s source text is turned into another text, Tennyson’s poem. This interaction between both texts is later turned into two visual expressions. In doing so, both texts are later transferred into John Everett Millais’s painting. Millais’s intertextual dialogue with Tennyson’s poem and Shakespeare’s play involves a process of reverse ekphrasis. Taking this approach, this paper will analyse the ekphrastic and intertextual dialogue between the poem “Mariana” and its visual representation in Millais’s artistic manifestations.
APA, Harvard, Vancouver, ISO, and other styles
9

M. Hussein, M. A. Amani. "A Pragmatic Analysis of Oxymoron in Poetry: Tennyson’s “Lancelot and Elaine” as an Example." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 59, no. 4 (December 15, 2020): 1–16. http://dx.doi.org/10.36473/ujhss.v59i4.1202.

Full text
Abstract:
This paper purports to explore aspects of implied meaning carried out through the vehicle of oxymoron, which is a figure of speech that juxtaposes two contradictory words (or strings of words) in order to point to a curious fact or a beguiling statement. The different types of oxymoron are studied in this paper in accordance with a pragmatic approach that, though taking into consideration the theoretical implications of oxymoron, is primarily interested in practical aspects of the investigation. Grice’s maxims are taken as a point of departure to guide the discussion of both generalized implicature and particularized implicature. The paper analyzes the different instances of oxymoron present in Alfred Tennyson's “Lancelot and Elaine.” After the meaning and significance of each instance are explored, the paper studies the ways in which Tennyson used oxymoron in order to create and maintain a figurative framework for his poem. The paper shows that Tennyson’s elaborate use of oxymoron allowed him to deploy further figures of speech in order to relay the dramatic atmosphere of the poem. Finally, the paper concludes that Tennyson’s disobeying of Grice’s maxims led to the production of new implicated meaning.
APA, Harvard, Vancouver, ISO, and other styles
10

Gold, Barri J. "The Consolation of Physics: Tennyson's Thermodynamic Solution." PMLA/Publications of the Modern Language Association of America 117, no. 3 (May 2002): 449–64. http://dx.doi.org/10.1632/003081202x60404.

Full text
Abstract:
Tennyson's In Memoriam suggests that poetic knowledge may precede and shape scientific knowledge. Struggling with the implications and possibilities of Victorian energy physics even as that science came into being, Tennyson anticipates not only the laws of thermodynamics but also many of the ways these ideas suffuse Victorian thought, from widespread anxieties regarding the death of the sun through religious invocations of the conservation of energy. In Memoriam at once evokes the roots of physical theory in Romantic elegy and suggests the elegiac structure and function of Victorian physical discourse; like In Memoriam, the laws of thermodynamics effect a reconciliation between the dissipation we observe and the conservation we crave. Moreover, as Tennyson reconceives waste as transformation in the natural world, In Memoriam also reveals a surprising relation between energy physics and another emergent science, evolutionary biology.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Tennyson"

1

Morton, John Samuel. "Tennyson and after." Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/1444254/.

Full text
Abstract:
This thesis is a study of the posthumous literary reception and reputation of Alfred Tennyson, from the year of his death, 1892, to 1950. Its focus is on allusions to Tennyson's work in poetry, fiction and drama, but it also takes works of criticism and journalism into account, as well as other evidence of Tennyson's continuing readership in the period. The thesis approaches the period by decades, involving in-depth assessments of Tennyson's influence on the work of writers as diverse as Conrad, Housman, Austin, Forster, Bennett, Owen, Sassoon, Lawrence, T. S. Eliot, Joyce, Woolf, Pound, Auden, Evelyn Waugh, and Graham Greene. Their various responses - from the appreciative to the scornful, the ambivalent to the oedipal - are put into context using works of criticism which discuss Tennyson, by both canonical writers such as A. C. Bradley and F. R. Leavis as well as less famous critics. The thesis calls into question Bradley's idea of a 'reaction against Tennyson' having already reached its peak by 1917. I will show that, in reality, Tennyson's influence and popularity endured long into the twentieth century, and that the aftermath of the Great War meant that the poet's work was truly at its nadir of popularity in the late 1920s and 1930s. The thesis will also address Tennyson's ultimate resurgence in popularity in the 1940s, partly as a result of the impact of World War II but partly as the writers who had seemed radical earlier in the century (not least T. S. Eliot) felt more comfortable about accepting their influences. The thesis ends by placing this in the context of the wider revival of interest in Victorian literature and culture in the 1940s and early 1950s The appendix of the thesis is a database of Tennyson's poems which appeared in anthologies in the period.
APA, Harvard, Vancouver, ISO, and other styles
2

Baynes, Thomas Gordon. "Tennyson and Goethe's Faust." Thesis, University of Bristol, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683393.

Full text
Abstract:
The influence of Faust on Tennyson begins around 1824, reaches a remarkable level of intensity in 1833-34, and continues, intermittently, until 1855. This can be demonstrated by drawing attention to the numerous verbal echoes of Goethe's drama - and the close thematic links to it - that are discernible in at least two dozen of Tennyson's poems, including several of the greatest. The 'Introduction' argues that in nineteenth-century Britain, Faust was a central text, which influenced dozens of authors from Shelley to Wilde. However, the widespread perception of Goethe's drama as immoral and irreligious fostered a deep-seated desire to modify or re-interpret it. This twofold response is also broadly characteristic of Tennyson's engagement with Faust, so my six chapters fall into two contrasting groups of three. Chapters One to Three are concerned with the ways in which his deep admiration for Goethe's drama shaped many of his poetic responses to the death of Hallam. Chapter One examines the link in Tennyson's mind between the loss of his friend and the Gretchen tragedy in Faust: Part One. Chapter Two deals with 'Ulysses', which expresses a Faustian need for forward movement. Chapter Three considers the influence on Tennyson of Part Two (most notably, in The Princess). The remaining chapters are concerned with the more negative side of Tennyson's response to Faust. An increasing ambivalence towards Goethe's drama can be detected in his three major poems on religious doubt (which provide the subject of Chapter Four), as well as in some of his Nature poetry (Chapter Five). And in a small group of works about saints and sinners, his attitude towards Faust is overtly antagonistic (Chapter Six). The 'Conclusion' notes that Goethe's drama was a source for at least three of Tennyson's long poems, and that it also left its mark on all four of his earliest dramatic monologues. Faust can be said, therefore, to have exercised a far-reaching influence on Tennyson's achievement.
APA, Harvard, Vancouver, ISO, and other styles
3

Turcotte, Gerry D. "The Merlin tradition in Tennyson a study of the mantic infrastructure of Tennyson's poetry." Thesis, University of Ottawa (Canada), 1986. http://hdl.handle.net/10393/5256.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Picy, Jean-Baptiste. "L'imaginaire de Tennyson, 1820-1892." Paris 4, 1997. http://www.theses.fr/1997PA040087.

Full text
Abstract:
Ces travaux de recherche concernent le domaine des études victoriennes, au travers d'un éminent victorien s'il en fut, le poète lauréat Alfred, Lord Tennyson (1809-1892). Ainsi que l'indique son titre, "l'imaginaire de Tennyson, 1820-1892" a pour objet précis un domaine de la poétique: l'imaginaire. Par une étude de l'œuvre en six parties chronologiques, la thèse analyse les images poétiques sous tous leurs aspects: la symbolique, la métaphore, la psychologie, la portée idéologique, la dimension picturale, l'insertion dans l'histoire littéraire. La thèse tend à démontrer: 1) que Tennyson révèle par le corps de son œuvre l'histoire des valeurs de la culture victorienne; 2) que Tennyson n'a cessé d'alimenter la culture de l’Angleterre victorienne minoritaire et constitue le chainon manquant reliant l'esthétisme de Keats à celui de Pater; 3) que Tennyson est le premier détenteur d'importance d'une poétique des compromis et des cohabitations paradoxales qu'imposent à la fois l'histoire britannique et l'ère marchande
This research production is directly relevant to victorian studies, as it deals with quite an 'eminent victorian': the poet laureate, Alfred, Lord Tennyson (1809-1892). As is suggested by its title, Tennyson's imagery, 1820-1892 is in fact concerned with a specific field of poetics: imagery. Through an exhaustive study of tennyson's works along six chronological parts, this thesis proceeds with the analysis of poetical imagery in every important respect: symbols, metaphors, psychology, ideology, pictorial meaning, contextual literary relevance. The demonstrative aim consists in bearing sufficient proof that: a) Tennyson revealed, through the imagery in his works, part of the history of values current in succession within mainstream victorian culture; b) Tennyson meanwhile kept on feeding the cultural material used by victorian dissidents and stood as the missing-link between keat's aestheticism and pater's; c) Tennyson was the first major upholder of contradictory poetics of compromise, on account of the general paradoxes imposed on the poet through both britain's historical position and its triumphant industrial era
APA, Harvard, Vancouver, ISO, and other styles
5

Sherwood, Marion Frances. "Tennyson and the fabrication of Englishness." Thesis, Open University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533117.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Weaver, Sarah Anne. "Fossil poetry : Tennyson and Victorian philology." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708871.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Sullivan, Michael Joseph Plygawko. "Tennyson and the revision of song." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/271748.

Full text
Abstract:
Writing in the 1890s, in an early account of Tennyson’s poetry, the Victorian anthologist F. T. Palgrave was keen to maintain the myth of the spontaneous singer. ‘More than once’, he recorded, Tennyson’s ‘poems sprang’ from a ‘nucleus’, ‘a brief melodious phrase’ or ‘song’, which, if not transcribed immediately, ‘fled from him irrecoverably’. It has long been the case with poets of ‘lyrics’ and ‘songs’ that their skills have been depicted as improvisatory, fleeting, or inspired. Their skills have been understood, variously, as indicative either of the most dexterous of intellects, or of brilliant but uncontrolled visions, a ‘flash’ of prophetic insight or revelation – a feel of what Shelley likens to ‘the interpenetration of a diviner nature through our own’. For many poets, however, the reality is one of inspiration that gives birth to intense manuscript activity and revision. It is now well known that Tennyson revised and re-revised, even after publication, until only weeks before his death; and yet no book-length study has pursued the significance of his manuscript revisions for the development of his style. This thesis traces the poet’s stylistic evolution through his notebooks, drafts, and printed volumes. Uncovering new literary manuscripts from Harvard, Lincoln, Cambridge, and New York, the study offers a more comprehensive picture of the poet’s craft: one alert to his evolving ambitions, and to the immense shifts that he effected in the landscape of English verse. The thesis begins by excavating how the notion of poetic ‘song’ fuelled a creative process at the heart of Tennyson’s revisions. In tracing the diverging fates of ‘lyric’ and ‘song’ across his notebooks, the opening chapter restores an important discourse for Tennysonian sonority that has comparatively declined in recent years. Chapter II examines Tennyson’s aesthetic control over the Victorian lyrical canon, drawing on a new manuscript of ‘The Golden Treasury’, the most significant anthology of the nineteenth century. Chapter III studies the notebook containing Tennyson’s first collection of verse, ‘Poems, by Two Brothers’. It reveals how much of the poor punctuation that sparked vehement attacks – and which is reproduced in modern editions – was not, in fact, inserted by the poet. Chapter IV explores how Tennyson’s most famous early songs and lyrics, published in ‘Poems, Chiefly Lyrical’, developed in tandem with his blank verse style. Chapters V and VI illuminate Tennyson’s ‘ten year silence’, which witnessed profound innovations in form, the revision of his 1832 Poems into his celebrated collection of 1842, and the creation of ‘In Memoriam’. Chapters VII and VIII piece together the notebooks, proofs, drafts, and revision copies of ‘The Princess’, Tennyson’s medley of songs and voices, lyrics and blank verse. By its end, the study reveals how the ringing qualities of his works emerged through manuscript revision: in the interplay between sonorous forms and narratives that came, over decades of change, to shape the distinctive drama of Tennyson’s style.
APA, Harvard, Vancouver, ISO, and other styles
8

Kang, Sang Deok. "Tennyson's Lyricism: The Aesthetic of Sorrow." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278413/.

Full text
Abstract:
The primary purpose of this study is to show that anticipations of the "art for art's sake" theory can be found in Tennyson's poetry which is in line with the tenets of aestheticism and symbolism, and to show that Tennyson's lyricism is a "Palace of Art" in which his tragic emotions-- sadness, sorrow, despair, and melancholic sensibility--were built into beauty.
APA, Harvard, Vancouver, ISO, and other styles
9

Blair, Christopher. "Tennyson and his friends : lives and letters." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260500.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Bevis, Matthew. "Dickens, Tennyson, and the art of eloquence." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.621959.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Tennyson"

1

Ricks, Christopher. Tennyson. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20233-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Collins, Philip, ed. Tennyson. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22371-8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Tennyson, Tennyson Alfred. Tennyson. Topsfield, Mass: Salem House, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Levi, Peter. Tennyson. London: Macmillan, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Ricks, Christopher B. Tennyson. 2nd ed. Berkeley: University of California Press, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Thorn, Michael. Tennyson. London: Abacus, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Thorn, Michael. Tennyson. London: Little, Brown and Company, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Blume, Lesley M. M. Tennyson. New York: Random House Children's Books, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Rebecca, Stott, ed. Tennyson. London: Longman, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Ormond, Leonée. Alfred Tennyson. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22998-7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Tennyson"

1

Cottle, Basil. "Tennyson." In The Language of Literature, 94–99. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-17989-3_13.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Shattock, Joanne, Elisabeth Jay, Valerie Sanders, Joanne Shattock, and Joanne Wilkes. "‘Tennyson’." In The Selected Works of Margaret Oliphant, Part II Volume 5, 337–38. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003513186-53.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Shattock, Joanne, Elisabeth Jay, Valerie Sanders, Joanne Shattock, and Joanne Wilkes. "Tennyson." In The Selected Works of Margaret Oliphant, Part II Volume 5, 339–59. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003513186-54.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Beer, John. "Tennyson, Coleridge and the Cambridge Apostles." In Tennyson, 1–35. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22371-8_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Griffiths, Eric. "Tennyson’s Idle Tears." In Tennyson, 36–60. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22371-8_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Buckley, Jerome H. "Tennyson: The Lyric in the Distance." In Tennyson, 61–75. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22371-8_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Day, Aidan. "The Archetype that Waits: The Lover’s Tale, In Memoriam and Maud." In Tennyson, 76–101. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22371-8_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Armstrong, Isobel. "Tennyson in the 1850s: From Geology to Pathology — In Memoriam (1850) to Maud (1855)." In Tennyson, 102–40. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22371-8_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Page, Norman. "Larger Hopes and the New Hedonism: Tennyson and FitzGerald." In Tennyson, 141–59. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22371-8_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Robson, W. W. "Tennyson and Victorian Balladry." In Tennyson, 160–82. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22371-8_7.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Tennyson"

1

Conway, Neil. "Lyricism and Voiced Spaces in Tennyson’s ‘Maud’." In The Kyoto Conference on Arts, Media & Culture 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2436-0503.2023.5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Nikiforova, Anna. "Mirror as a Pre-screen Image in Tennyson’s Poem “The Lady of Shalott” and Pre-Raphaelite Illustrations." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.126.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Tennyson' for particular source types:
Journal articles Dissertations / Theses Books
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!

To the bibliography