Journal articles: 'Tennyson, Alfred Tennyson, Tennyson, Alfred Tennyson'

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Carlyle, T. "TC TO ALFRED TENNYSON." Carlyle Letters Online 15, no. 1 (January 1, 1987): 216–17. http://dx.doi.org/10.1215/lt-18421207-tc-at-01.

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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.

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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.

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Young-Zook, Monica M. "SONS AND LOVERS: TENNYSON'S FRATERNAL PATERNITY." Victorian Literature and Culture 33, no. 2 (August 9, 2005): 451–66. http://dx.doi.org/10.1017/s106015030505093x.

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TERRY EAGLETONhas suggested that “the mid-nineteenth century bourgeois state had problems in resolving its Oedipus complex” (76). Eagleton's semi-serious remark certainly holds true for nineteenth-century British culture, which, while supposedly patriarchal in its political structures, features a great number of significant literary narratives in which the paternal parent is either missing, dead, or never mentioned. The poems of Alfred, Lord Tennyson, are no exception. Gerhard Joseph, Christopher Ricks, and Linda Shires, among others, turn to Freudian psychoanalysis, the Oedipal complex, and Freud's seminal essay “Mourning and Melancholia” for insight into why so many father figures are absent from Tennyson's work. Yet neither the Oedipus complex nor “melancholia” accounts for how these father figures, while literally absent, are nevertheless present and influential. Another model is needed to describe the relationship between Tennyson, the missing paternal figures of his narratives, and the age that he has come to represent.

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Whissell, Cynthia. "Emotion Conveyed by Sound in the Poetry of Alfred, Lord Tennyson." Empirical Studies of the Arts 20, no. 2 (July 2002): 137–55. http://dx.doi.org/10.2190/6k4g-lwpq-ray8-67qg.

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The use of sound was studied in several of Tennyson's shorter and better-known poems (e.g., Break, Break, Break and Ulysses) and in In Memoriam A. H. H. Poems were broken down into their component phonemes which were then classified in terms of their emotional character. The emotional character of sounds preferentially employed in each of the shorter poems matched the emotional theme of the poem (e.g., sounds employed in Airy Fairy Lilian and Lady of Shallot were most pleasant, those in Crossing the Bar were least pleasant). The emotional character of sounds preferentially employed in the final segments of In Memoriam revealed an underlying sadness to the poem's close belied by Tennyson's own interpretation of it. Analyses of In Memoriam also highlighted the elegy's frequent transitions from grief to hope and back again. It is concluded that Tennyson used sound (both consciously and unconsciously) to amplify the effects of his poetry.

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Siegel, Jonah. "Beauty." Victorian Literature and Culture 48, no. 4 (2020): 745–71. http://dx.doi.org/10.1017/s1060150320000315.

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Alfred Tennyson's poem “The Palace of Art” (1832/1842) is liable to strike the modern reader as all too clear in its meanings. Yet the author evidently feels the need to gloss the theme of the work and to elaborately preview its narrative in a brief poem that he includes with the piece when he sends it to his friend Richard Trench. “I send you here a sort of allegory (For you will understand it),” Tennyson writes in a peculiar formulation that muddies several issues about the aspirations of the work even while expressing certainty about the poem's clarity. The suggestion is that Trench will have access to a particular insight (“you will understand” being something we say when others may not). Or does Tennyson mean that the allegory is so clear that its tendency is unmissable? That would certainly be a reasonable construal of the claim about a poem with few apparent mysteries.

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Batchelor, John. "Alfred Tennyson: Problems of Biography." Yearbook of English Studies 36, no. 2 (January 1, 2006): 78. http://dx.doi.org/10.2307/20479244.

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English, Mary P. "Alfred lord Tennyson as mycophagist." Mycologist 7, no. 2 (May 1993): 84. http://dx.doi.org/10.1016/s0269-915x(09)80652-6.

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Wandana Y, Mhd Ridho. "INTERPRETATION OF POETRY THE CHARGE OF THE LIGHT BRIGADE BY ALFRED, LORD TENNYSON." LINGUISTICA 9, no. 3 (October 5, 2020): 354. http://dx.doi.org/10.24114/jalu.v9i3.20138.

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This study discusses indirect descriptive expressions in the poem The Charge of the Light Brigade by Alfred, Lord Tennyson use semiotics theory of Riffaterre. This study aims to, (a) to describe the kinds of indirect descriptive expressions used in the poetry The Charge of the Light Brigade by Alfred, Lord Tennyson, (b) to explain the realization of indirect descriptive expressions realized in the poetry The Charge of the Light Brigade by Alfred, Lord Tennyson, (c) to explain the reasons of indirect descriptive expressions realized in the ways they are. This research is a qualitative descriptive study. The data source used in this study is in the form of words, phrases, clauses and sentences from the poem. The results of this study, namely there are 8 Metaphors and 7 Metonymy in displacing of meaning; 6 Ambiguous, 2 Contradictions, and 4 Nonsense in distorting of meaning; 16 rhymes, 12 enjambments, and 6 typography in creating of meaning. Keywords: Indirect descriptive expressions; Semiotic; Poetry

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Manor, Gal. "Victorian Mages: Robert Browning’s “Pietro of Abano” as a Critical Corollary to Alfred Tennyson’s Merlin." Anglia 137, no. 3 (September 13, 2019): 395–410. http://dx.doi.org/10.1515/ang-2019-0036.

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Abstract Against the backdrop of Victorian celebrity culture, Robert Browning and Alfred Tennyson conjure the literary trope of the magician in order to convey their poetic choices and to examine the relationship between the poet and his audience. Whereas Browning’s magician, “Pietro of Abano” of Dramatic Idyls (1880), is subversive, odd and persecuted, the Poet Laureate’s Merlin of the Idylls of the King (1859–1875) is acknowledged and well admired. This essay will explore Browning’s Pietro as a critical response to Tennyson’s Merlin, reflecting the complex personal relationship between the two poets, their stylistic differences and their dissimilar reception by their contemporaries.

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Wright, Jane. "Tennyson's Name: Identity and Responsibility in the Poetry of Alfred Lord Tennyson." English Studies 92, no. 1 (February 2011): 111–12. http://dx.doi.org/10.1080/0013838x.2010.518391.

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Flatten, Stephen. "Alfred Lord Tennyson: One Century On." Theology 97, no. 779 (September 1994): 332–44. http://dx.doi.org/10.1177/0040571x9409700503.

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Ledbetter, Kathryn. "Alfred Tennyson: The Critical Legacy (review)." Victorian Studies 48, no. 1 (2005): 192–93. http://dx.doi.org/10.1353/vic.2006.0039.

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TUCKER, HERBERT. "Review of Seamus Perry, Alfred Tennyson." Nineteenth-Century Literature 61, no. 1 (June 1, 2006): 110–13. http://dx.doi.org/10.1525/ncl.2006.61.1.110.

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Tawfiq, Hatim Hassan. "A Study of the Phonological Poetic Devices of Selected Poems of Robert Browning and Alfred Tennyson." English Language and Literature Studies 10, no. 4 (November 13, 2020): 16. http://dx.doi.org/10.5539/ells.v10n4p16.

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This paper focuses on the phonological poetic devices found in the poetry of Robert Browning and Alfred Tennyson. It investigates five patterns of phonological poetic devices. The study is based on randomly selected poems from each poet to obtain a representative sample of the particular poetic devices and tabulates the frequency their usage. The poetic devices under investigation are onomatopoeia, assonance, consonance, alliteration, and rhyme. The paper quantitatively analyzes the occurrence of these phonological poetic devices in randomly selected poems from the works of the two poets to a clear picture of the sound patterns found in the poetry of Robert Browning and Alfred Tennyson.

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Naous, Mazen. "The Anglo-Arabic Poetics of “Locksley Hall”: Importation, Oscillation, and Disorientation." Hawliyat 15 (June 26, 2018): 9–40. http://dx.doi.org/10.31377/haw.v15i0.49.

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Considerable scholarly attention has been given to Alfred Lord Tennyson's poem, "Locksley Hall," in relation to one of its main sources, the "Mu'allaqa" of Imru' al-Qais, but scarcely any has been paid to the comparative aspects of the two poems. This essay engages Tennyson 's debt to the "Mu 'allaqa"—its meter, imagery, and themes— in writing "Locksley Hall, " and traces the modifications of al-Qais's poetics as they travel from one culture to another. The essay argues that Tennyson's borrowing—importing—of the "Mu'allaqa's" more salient poetics reveals much about "Locksley Hall's " speaker and his representations of his cousin Amy. Ironically, these representations include the orientalization, exoticization, and commodification of Amy in order to render her inferior to the speaker even while the poem relies on the pre-lslamic poetics of the "Mu 'allaqa. "

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Frankel. "Tennyson Transformed: Alfred Lord Tennyson and Visual Culture, edited by Jim Cheshire." Victorian Studies 52, no. 4 (2010): 623. http://dx.doi.org/10.2979/vic.2010.52.4.623.

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SOUTHAM, BRIAN. "ALFRED LORD TENNYSON AND MRS JULIA MARGARET CAMERON." Notes and Queries 32, no. 4 (December 1, 1985): 506—b—506. http://dx.doi.org/10.1093/nq/32-4-506b.

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Purton, Valerie. "Alfred Tennyson: Beyond the Academy or within It?" Journal of Victorian Culture 16, no. 3 (December 2011): 404–16. http://dx.doi.org/10.1080/13555502.2011.611698.

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Bickers, Robert. "Paul Cohen, the Boxers, and Alfred, Lord Tennyson." Chinese Historical Review 14, no. 2 (January 2007): 192–95. http://dx.doi.org/10.1179/tcr.2007.14.2.192.

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M. Fahmi Saeed , Ismael, and Lanja A. Dabbagh. "History and Language in Tennyson’s Tragedy Harold (1876)." Al-Adab Journal, no. 128 (March 15, 2019): 67–76. http://dx.doi.org/10.31973/aj.v0i128.416.

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Alfred Tennyson (1809- 1892) wrote a compact, action- packed, historical, patriotic, and a pioneering tragedy inspired by the Norman Conquest of England entitled Harold in 1876. It is based on the facts regarding the events leading to the Battle of Hastings in 1066. Tennyson has been, so far, the only man- of- letters to have dramatized this chapter of British history in a tragedy, even though he has never been the only writer to have paid attention to this turning- point in the destiny of his homeland. This tragedy focuses on the personal conflict between Harold Godwinson (1022- 1066) and William Duke of Normandy (1028- 1087), also known as William the Conqueror, or King William I. This drama, thus, is a journey to the past to explore the forces at work, and the men who made history, the struggle to achieve an improvement after the long- lasting social and cultural stagnation of England in Anglo- Saxon days which had lasted from 449- 1066. Tennyson chose the historical moment which all the earlier playwrights had avoided. Alongside this, he chose the accurate kind of discourse that would be more suitable for both the historical theme and the historical period. The paper considers and clarifies the notable presence of language and its use as an indication of the historical course of the work. This is carried out through the analysis of a number of selections from the text. The focus will be on the historical style of the dramatic discourse. Tennyson is faithful as much as possible not only to the events but to the historical kind of speech used by characters to make a convincing and trustworthy play linguistically and historically. The paper considers and clarifies the notable presence of language in its use in historical context of this tragedy.

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Gray. "Tennyson's Name: Identity and Responsibility in the Poetry of Alfred Lord Tennyson, by Anna Barton." Victorian Studies 51, no. 4 (2009): 761. http://dx.doi.org/10.2979/vic.2009.51.4.761.

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de L. Ryals, Clyde, Alfred Lord Tennyson, Cecil Y. Lang, and Edgar F. Shannon. "The Letters of Alfred Lord Tennyson. Volume II: 1851-1870." Modern Language Review 84, no. 2 (April 1989): 445. http://dx.doi.org/10.2307/3731592.

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Morton, John. "LEONEE ORMOND (ed.). The Reception of Alfred Tennyson in Europe." Review of English Studies 68, no. 287 (June 3, 2017): 1020–22. http://dx.doi.org/10.1093/res/hgx056.

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Ahn, Joong-Eun. "Greek and Roman Myths in the Poetry of Alfred Lord Tennyson." British and American Language and Literature Association of Korea 103 (December 16, 2017): 169–92. http://dx.doi.org/10.21297/ballak.2017.127.169.

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Clayton, Owen. "We’re All Anglo-Saxons Now: Alfred Tennyson and the United States." Victorian Review 43, no. 1 (2017): 87–110. http://dx.doi.org/10.1353/vcr.2017.0012.

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Barbara D. Miller. "La Recepción de Alfred Lord Tennyson en España: Traductores y Traducciones Artúricas. ('The Reception of Alfred Lord Tennyson in Spain: Arthurian Translators and Translations.') (review)." Arthuriana 20, no. 3 (2010): 132–33. http://dx.doi.org/10.1353/art.2010.0003.

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Zhatkin, Dmitriy N. ""In Memoriam" by Alfred Tennyson in Russia: issues of reception and study." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 4(36) (August 1, 2015): 101–15. http://dx.doi.org/10.17223/19986645/36/8.

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Phelan, Joseph. "“Bloomluxuriance”." Nineteenth-Century Literature 75, no. 1 (June 2020): 1–23. http://dx.doi.org/10.1525/ncl.2020.75.1.1.

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Joseph Phelan, “‘Bloomluxuriance’: Compound Words in the Poetry of the 1830s and 1840s” (pp. 1–23) The brief interregnum between Romanticism and Victorianism saw the emergence of and retreat from a number of formal and linguistic experiments in poetry. One of the most striking of these is the ostentatious employment of compound words; the early verse of Alfred Tennyson and some of his less-illustrious contemporaries is littered with coinages such as “tendriltwine,” “mellowmature,” and “bloomluxuriance.” The impetus behind this phenomenon came from developments in philology that emphasized the affinities between English and German and from the attempt to broaden the range of English verse by naturalizing metrical forms such as the hexameter, and was often associated with an impassioned if politically unfocused radicalism. In revising “Œnone” for republication in his 1842 Poems, Tennyson excised almost all of these compound words, a gesture of linguistic conformity that is the stylistic counterpart to what Isobel Armstrong calls the “loss of nerve” apparent in his work during this decade, and one that is paralleled in the work of some of his contemporaries. This experimental impulse did not disappear from Victorian poetry completely, however, and its survival helps to explain some of the quainter and more ungainly phenomena of later nineteenth-century verse.

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Miller, Elizabeth Carolyn. "TWILIGHT OF THE IDYLLS: WILDE, TENNYSON, ANDFIN-DE-SIÈCLEANTI-IDEALISM." Victorian Literature and Culture 43, no. 1 (February 6, 2015): 113–30. http://dx.doi.org/10.1017/s1060150314000370.

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In the climactic finaleto the first act of Oscar Wilde's 1895 playAn Ideal Husband, Gertrude Chiltern convinces her husband, a Member of Parliament, not to support the construction of a boondoggle Argentinean canal. Gertrude, not her husband, is the ostensibly moral character here, since the canal's only purpose is to create wealth for its stockholders, but the language she uses in this impassioned speech quotes Guinevere, the contrite fallen wife in Alfred Tennyson'sIdylls of the King. Near the end of theIdylls, recognizing that her infidelity has occasioned war, turmoil, and the end of Arthur's reign, Guinevere laments:Ah my God,What might I not have made of thy fair world,Had I but loved thy highest creature here?It was my duty to have loved the highest:It surely was my profit had I known:It would have been my pleasure had I seen.We needs must love the highest when we see it (G 649–56)Repeating these words and ideas under drastically different circumstances, Lady Chiltern tells her husband in the finale to Wilde's first act: “I don't think you realise sufficiently, Robert, that you have brought into the political life of our time a nobler atmosphere, a finer attitude towards life, a freer air of purer aims and higher ideals – I know it, and for that I love you, Robert. . . . I will love you always, because you will always be worthy of love. We needs must love the highest when we see it!” (Ideal69).

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Quackenbush, Karen Celebrado, and Don Alan Quackenbush. "Stylistics analysis of "The charge of the light brigade" by Alfred lord Tennyson." International Journal of Applied Research 7, no. 2 (February 1, 2021): 218–23. http://dx.doi.org/10.22271/allresearch.2021.v7.i2d.8275.

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Soto Delgado, Rocío. "“Harta de sombras estoy”. La Dama de Shalott de Alfred Tennyson como metáfora del ideal de feminidad victoriano y su reflejo en el imaginario pictórico decimonónico." Revista Eviterna, no. 8 (September 22, 2020): 250–67. http://dx.doi.org/10.24310/eviternare.vi8.9838.

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En un clima de revivalismo medieval y recuperación de la tradición artúrica, Alfred Tennyson (1809-1892) escribe en 1833 el que se convertiría en uno de sus poemas más célebres, La Dama de Shalott. En él, recuperaría la figura de la Doncella de Astolat creada por Sir Thomas Malory en La muerte de Arturo (1485). Pronto se convertiría en una de las heroínas paradigmáticas del poeta y uno de los motivos iconográficos preferidos de artistas prerrafaelitas y victorianos del siglo XIX y principios del XX. Tanto el poema como las imágenes, se tomaron como ilustraciones de actitudes victorianas hacia la reclusión de las mujeres en el área doméstica y la privación de su sexualidad.

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Krasner, James. "Doubtful Arms and Phantom Limbs: Literary Portrayals of Embodied Grief." Publications of the Modern Language Association of America 119, no. 2 (March 2004): 218–32. http://dx.doi.org/10.1632/003081204x21270.

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Theories of grief based on Freud's “Mourning and Melancholia” typically portray mourning as a disembodied process. This essay investigates the literary portrayal of grief in the context of phantom limb pain, a literally embodied, neurological response to loss. By comparing Derrida's image-based discussion of mourning with theories of embodied habit by Merleau-Ponty and of disability by Lennard Davis, this essay investigates the physical apprehension of loss caused by our habitual engagements with the bodies of our loved ones. Virginia Woolf, Mark Doty, Alfred Tennyson, and Donald Hall portray the physical confusions and discomforts of grief that occur when the griever takes up a habitual position in relation to a lost body. Embodied grief emerges in tangible illusions that, like the phantom limb, memorialize the lost beloved through misperceptions of material presence.

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Pereira, Maria Cristina. "O revivalismo medieval pelas lentes do gênero: as fotografias De Julia Margaret Cameron para a obra the Idylls of the King e outros poemas de Alfred Tennyson." Domínios da Imagem 11, no. 20 (November 20, 2017): 119. http://dx.doi.org/10.5433/2237-9126.2017v11n20p119.

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Pioneira na arte da fotografia, Julia Margaret Cameron (1815-1879) produziu centenas de retratos e tableaux vivants. Estes últimos, embora inseridos no movimento Pré-Rafaelita então em voga na Inglaterra, davam mostra de uma visão da Idade Média um pouco distinta da que seus contemporâneos ajudaram a construir: menos heroica e mais íntima, com grande quantidade e protagonismo de mulheres. A fim de estudar suas ideias a esse respeito, analisaremos neste artigo um conjunto de imagens feitas por ela em 1874 para a obra The Idylls of the King, de Alfred Tennyson, com histórias da corte do rei Artur (além de cinco outros poemas também marcados pelo medievalismo), e faremos comparações com outro conjunto de imagens feitas para aquela mesma obra: as 36 gravuras que o ilustrador francês Gustave Doré publicou entre 1867 e 1868

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Buda, Agata. "In the postmodern mirror: intertextuality in Angels and Insects by Antonia Susan Byatt." Journal of Language and Cultural Education 3, no. 2 (May 1, 2015): 66–70. http://dx.doi.org/10.1515/jolace-2015-0015.

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Abstract The aim of the paper is to analyse the novel Angels and Insects by Antonia Susan Byatt in terms of intertextual references. The author’s assumptions are based on the categorisation by Ryszard Nycz, who distinguishes three major types of intertexts: text versus text, text versus literary genre and text versus mimesis. Byatt uses intertextuality mainly to comment on the role of nature in the world, as well as to enhance the importance of human relationship with nature. Moreover, the writer moves towards literary criticism, discussing poems by famous artists, such as Alfred Tennyson or John Milton. In this way, the novel by Byatt is also an example of metafiction. All the narration techniques used by the English writer make the novel a typically postmodern work of art.

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Anna Jane Barton. "Letters, Scraps of Manuscript, and Printed Poems: The Correspondence of Edward FitzGerald and Alfred Tennyson." Victorian Poetry 46, no. 1 (2008): 19–35. http://dx.doi.org/10.1353/vp.0.0006.

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ASIATIDOU, Anna. "THE METAPHYSICS OF THE FORM BEAUTY AND REALITY IN THE ART OF ALFRED LORD TENNYSON." Gaziantep University Journal of Social Sciences 20, no. 1 (January 31, 2021): 110–24. http://dx.doi.org/10.21547/jss.773969.

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Adams, Ann Marie. "Reader, I Memorialized Him: A. S. Byatt's Representation of Alfred Lord Tennyson in “The Conjugial Angel”." Lit: Literature Interpretation Theory 19, no. 1 (March 4, 2008): 26–46. http://dx.doi.org/10.1080/10436920701884696.

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Dobosiewicz, Ilona. "“The wrathful sunset glared…”: The Krakatoa Sunsets in Victorian Science and Art." Anglica Wratislaviensia 58 (November 13, 2020): 11–20. http://dx.doi.org/10.19195/0301-7966.58.1.

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The eruption of Krakatoa on August 27, 1883 was an event both tragic and spectacular. Thousands of lives were lost; sea waves and atmospheric disturbances were detected around the globe. Billions of tons of volcanic ash were thrown into the atmosphere producing multi-coloured sunsets caused by the scattering of light by aerosol particles. The paper discusses the ways in which these so-called Krakatoa sunsets, which were experienced by most of the world, were reflected in Victorian scientific and artistic discourse. The accounts included in the section “Descriptions of the Unusual Twilight Glows in Various Parts of the World, in 1883–84” of the Royal Society report The Eruption of Krakatoa and Subsequent Phenomena (1888), and selected poems by Alfred Tennyson, Charles Algernon Swinburne, Robert Bridges, and Mathilde Blind are analyzed to trace Victorian responses to the remarkable optical effects of the Krakatoa eruption.

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Sultan, Dr Muthanna Mohammed. "Colonialism Revisited: Reading in Selected Poems of the Nineteenth Century." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 224, no. 1 (March 11, 2018): 165–78. http://dx.doi.org/10.36473/ujhss.v224i1.253.

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This paper will try to discover and discuss the colonial contentsof some of the nineteenth-century British poets. At that time, the colonial ideology and impetus were increasingly elevated and demanded as the British Empire notably expanded and significantly flourished. Colonialism was among the main aspects in the British political and social life. Literary figures and scholars dealt with thisnewly-born phenomenon differently; some welcomed and adhered it, while others showed some doubts and suspicion. There was no unified thread about the colonial project the Europeans held. Did exist there a kind of consensus? Or was there a sense of ambivalence about it? This paper is going to address these issues and attempt to reach at some plausible answers and results. To do this, the paper will analyze a group of poems by William Blake, Samuel Taylor Coleridge, Alfred, Lord Tennyson, and Rudyard Kipling.

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Woodworth, Elizabeth. "Elizabeth Barrett Browning, Coventry Patmore, and Alfred Tennyson on Napoleon III: The Hero-Poet and Carlylean Heroics." Victorian Poetry 44, no. 4 (2006): 543–60. http://dx.doi.org/10.1353/vp.2007.0012.

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Ford, Sean. "Authors, Speakers, Readers in a Trio of Sea-Pieces in Herman Melville's John Marr and Other Sailors." Nineteenth-Century Literature 67, no. 2 (September 1, 2012): 234–58. http://dx.doi.org/10.1525/ncl.2012.67.2.234.

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Much recent interest in Herman Melville's poetry involves reassessing its position both within the Melville canon and within or against various literary traditions. This essay considers the range of stances, speakers, and personae in John Marr and Other Sailors With Some Sea-Pieces (1888) and its resonances of past works as evidence that Melville is more committed to a public audience and less oppositional or adversarial to established traditions than a number of scholars have proposed. A study of topical and rhetorical interdependencies in a sequence of poems in the volume uncovers dynamic affinities, whether by direct influence or otherwise, with William Shakespeare, Samuel Taylor Coleridge, Alfred Tennyson, and Walt Whitman, participants in Melville's own recurring urge to tell of things that cannot be told. Through a communion of voices, “The Æolian Harp,” “To the Master of the ‘Meteor,’” and “Far Off-Shore” display varying and alternating expressions of this urge as part of a rhetorical project that invites readers to interact and ultimately acquiesce in essential limits of accessing and telling the truth.

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Ekdawi, Sarah. "Leonee Ormond (ed.), The Reception of Alfred Tennyson in Europe. London and New York: Bloomsbury, 2017. Pp. 424." Σύγκριση 26 (February 25, 2018): 102. http://dx.doi.org/10.12681/comparison.16008.

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Spivey, Nigel. "Art and Archaeology." Greece and Rome 62, no. 1 (March 25, 2015): 119–23. http://dx.doi.org/10.1017/s001738351400031x.

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The archaeologist Heinrich Schliemann once met, in London, the poet Alfred Tennyson – who, though he saluted Mount Ida tenderly, never travelled much south of the Dolomites. In the course of conversation, Schliemann remarked: ‘Hissarlik, the ancient Troy, is no bigger than the courtyard of Burlington House’. ‘I can never believe that’, Tennyson replied. Most of us, I dare say, would understand Tennyson's disbelief – and agree, accordingly, with the sentiment that Troy the site is not a marvellous ‘visitor experience’. The location may be broadly evocative – for those imaginatively predisposed to survey a landscape of epic combat. Yet the excavated remains are rather underwhelming, and difficult to comprehend. The huge trench cut through the Bronze Age settlement by Schliemann, and the resultant spoil heap left on the northern edge of the citadel, certainly contribute to a sense of confusion. But that aside, the multiple layers of habitation, from c.3000 bc until Byzantine times, customarily represented like a pile of pancakes in archaeological diagrams, will test even those pilgrims arriving with some expertise in ancient construction methods. Choice finds from the city are lodged in remote museums; and the substantial extent of Troy in Hellenistic, Roman, and possibly earlier times, indicated mainly by geophysical prospection, is hardly discernible. So archaeologists, post-Schliemann, have to work hard to make the ‘Trojan stones speak’ – at least if they also wish to avoid the charge of being obsessed (as Schliemann notoriously was) with establishing some kind of historical reality for Homer's epic. The late Manfred Korfmann, director of the international excavations at Troy since 1988, produced an enthusiastic guidebook. Now his colleague C. B. Rose has made a one-volume synthesis of the results so far, The Archaeology of Greek and Roman Troy. This will be particularly welcome for students unable or unwilling to access the annual excavation journal, Studia Troica. But novices, I fear, may soon despair of grasping the phases of stratification and ceramic assemblage more often cited by the author than explained (e.g. ‘LH III2a/VIh’). And any reader seeking new answers for old questions about the site's relationship to ‘the Trojan War’ should prepare for disappointment. Much of the evidence for Troy in the late Bronze Age – the period of c.1250 bc, generally reckoned to correlate with events transformed into epic – remains elusive: where, for example, are graves comparable to those of Mycenae? On the other hand, the lesson of the multi-period approach is that Troy the historical city largely constructs its identity upon Troy the mythical citadel – as does the Troad region. So Rose does well to devote an entire chapter to the remarkable archaic sarcophagus recovered in 1994 from a tumulus in the Granicus valley, with scenes of the sacrifice of Polyxena, Hecuba's attendant distress, and some kind of celebration. The iconography here may not be easy to relate to the gender of the deceased (a middle-aged man, according to osteological analysis). Yet it makes a visual statement about the sort of mythical bloodline to be claimed in the region: and, in due time (for Rose's survey is chronological), we will see the epigraphic and monumental evidence for similar ancestral claims by members of the Julio-Claudian clan.

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Babamiri, Navid Salehi. "The Struggle for Confiscation: An Imperialistic Look at Alfred Lord Tennyson’s Poem “Ulysses”." English Language and Literature Studies 7, no. 1 (January 20, 2017): 9. http://dx.doi.org/10.5539/ells.v7n1p9.

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The power of imperialism ascended during the Victorian age, when both the sense of nationalism and industrial revolution concurrently took place. Imperialism in its kind is the sense of domination of one group of people over another, or to a great point, it’s the domination of one country to other countries to confiscate its properties and belongings. Here in the poem written by Alfred Lord Tennyson, the poet tries to ironize the situation by showing and focusing on such an old king (may be the king of England), who has recently come back home from his travels and has complained about his “idleness.” This “idleness” for the king is equal to ceasing the kind of power, namely, if he does not move and battle, he has nothing for his country, and even he does not record a name for himself in the history of England. Thus the aim of the present paper is not only limitedto the relation between power and the sense of imperialism, a relation that leads to malicious and destructive behavior but it also condemns that kind of relation. However, it is done implicitly, as once the poet did in his poem, by showing the negative use of power in hands of some, like the king of England, who has done his best even at his death’s door to continue again and conquer wherever he sees that brings benefits to him. Not surprisingly; the poem also implies to the battle of Troy in the sense of imperial actions.

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Khan, Jalal Uddin. "Literature of the New Year: Literary Variations on the Celebration of the New Year." IJOHMN (International Journal online of Humanities) 5, no. 4 (August 5, 2019): 1–29. http://dx.doi.org/10.24113/ijohmn.v5i4.105.

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Is the New Year really new or old? Happy or sad? Is it only part of the process and the cycle of seasons making one look back and think of death? Is it a time to wish to stay where one is or hope for opportunities and possibilities? Like a point in a circle, is every day a New Year’s day? Is it a time for nostalgia and reminiscence or promises and resolutions for the future? With the (Gregorian and the British Government) changes in the Western calendar at different times in history and with different countries/cultures celebrating the New Year at different times of the year and with the fiscal year, political (election) year, and academic year being different from the traditional New Year of January 1st, does the New Year mark the beginning and the ending in just an arbitrary way? Centuries ago Britain’s earliest Poets Laureate introduced the tradition of writing a New Year poem. Since then there have been many authors writing New Year essays and poems. They include Robert Herrick, Charles Cotton, Johann Von Goethe, S. T. Coleridge, Charles Lamb, Lord Alfred Tennyson, William Cullen Bryant, Helen Hunt Jackson, Emily Dickinson, George Curtis, Thomas Hardy, Fiona Macleod (William Sharp), D. H. Lawrence, Rabindranath Tagore, and Sylvia Plath, among others.

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Warner, J. O. "âThe old order changeth, yielding place to the newâ¦â (From: The Passing of Arthur, Alfred Lord Tennyson, 1809â1892)." Pediatric Allergy and Immunology 20, no. 8 (December 2009): 709. http://dx.doi.org/10.1111/j.1399-3038.2009.00977.x.

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Davis, Aimee. "Adapting Elaine: Tennyson’s “The Lady of Shalott” and Feminist Young Adult Novels." ALAN Review 44, no. 3 (June 21, 2017): 36–46. http://dx.doi.org/10.21061/alan.v44i3.a.4.

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One of the hallmarks of young adult literature is its focus on adolescent protagonists who struggle to reconcile what they want with what they are supposed to want. Indeed, some of the most enduring works of young adult literature, from L. M. Montgomery’s Anne of Green Gables (2006) to Judy Blume’s Forever (1975), place their young characters at a crossroads between cultural convention and individual desire. Foundational scholarship in the field of young adult fiction has suggested a recurring conflict in novels for young readers in which a protagonist finds himself or herself directly at odds with social expectations (McCallum, 1999; Trites, 2004). Furthermore, critics such as Trites (1997), Wilkie-Stibbs (2003), and Mallan (2009) have noted that many of these works concern an adolescent search for identity that is complicated by issues of gender politics, in which a protagonist’s grappling with conventional notions of masculinity and/or femininity is fundamental to a completed coming of age. In Waking Sleeping Beauty: Feminist Voices in Children’s Literature, Roberta Seelinger Trites (1997) argues that this kind of novel “demonstrate[s] characters ‘turning inward’ in ‘a search for identity’ because some form of environmental pressure has made them aware that they are not upholding socially sanctioned gender roles” (p. 2). In turn, these novels can become cathartic for adolescent readers, who may be facing similar struggles in the throes of real-life adolescence. Relying on the definition of a feminist novel established by Elaine Showalter (1977), Trites (1997) defines a “feminist children’s novel” as one “in which the main character is empowered regardless of gender,” or a novel in which “the child’s sex does not provide a permanent obstacle to her/his development. Although s/he will likely experience some gender-related conflicts, s/he ultimately triumphs over them” (p. 4). Though many novels fit this description, two bestselling young adult novels distinguish their adolescent female protagonists’ search for identity as inspired by the legends of Arthurian literature. Meg Cabot’s Avalon High (2006) and Libba Bray’s A Great and Terrible Beauty (2003) each reference the Arthurian legend of the Lady of Shalott—specifically the version that was retold and adapted by Alfred, Lord Tennyson in his 1842 poem “The Lady of Shalott.” Both novels use the characters, language, and symbolism from Tennyson’s poem to provide their heroines—and by extension, their adolescent readers—with a template through which they can understand, examine, and potentially reject the social codes that attempt to determine their behavior. In capitalizing on the ways in which Tennyson’s “The Lady of Shalott” enhanced and adapted the traditional Arthurian legend for a Victorian audience, Cabot and Bray access what Ann Howey (2007) calls the “constellation of association and meanings” (pp. 89–92) connected to the Lady of Shalott in the medieval and Victorian texts, many of which are distinctly feminist by Trites’s definition. In this article, I will argue that in drawing inspiration specifically from Tennyson’s “The Lady of Shalott,” Cabot’s and Bray’s novels develop their feminism through the framework of a Victorian narrative that is more thematically complex and more politically charged than any earlier, medieval version of the Lady of Shalott legend. Specifically, Cabot’s and Bray’s novels reflect the impact of feminist criticism of Tennyson’s poem found in the works of Victorian scholars Nina Auerbach (e.g., The Woman and the Demon: The Life of a Victorian Myth, 1982) and the team of Sandra Gilbert and Susan Gubar (e.g., Madwoman in the Attic, 1984). This foundational work identifies in Tennyson’s adaptation of the Lady of Shalott a dualistic and subversive set of alternatives that is not present in the medieval sources: her status as both a docile, passive figure who is “powerless in the face of the male” (Gilbert & Gubar, 1984, p. 618) and, simultaneously, as an icon of deviant and potentially powerful feminine desire. To identify the ways in which Cabot’s and Bray’s novels revise the Lady of Shalott narrative and embrace this subversion of traditional gender roles, I will first examine the Lady of Shalott narrative in medieval Arthurian literature and in Tennyson’s poem, focusing on how Tennyson’s enhancements to the tale transformed the Lady of Shalott into an iconic image of Victorian femininity. I will then demonstrate how Cabot and Bray employ revisionist strategies to adapt the gender politics of Tennyson’s poem for a 21st-century young adult readership, creating heroines who reject the passive qualities of the Lady of Shalott in favor of a more autonomous alternative and who, in doing so, model for adolescent readers a search for identity that results in self-identification and empowerment.

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Конышева, М. В., and Г. Г. Слышкин. "Художественно-образное воплощение литературного конфликта в романе Д. Лоджа «Прекрасная работа» (David Lodge “Nice Work”)." Current Issues in Philology and Pedagogical Linguistics, no. 1 (2020) (March 25, 2020): 186–95. http://dx.doi.org/10.29025/2079-6021-2020-1-186-195.

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В статье представлены результаты комплексного лингво-литературоведческого исследования, имевшего целью выявить особенности художественно-образного воплощения литературного конфликта в романе Дэвида Лоджа «Прекрасная работа». В ходе исследования авторами был решен ряд задач, включавший: выявление индивидуальных авторских приемов построения сюжета; установление структурных особенностей сюжетной линии; раскрытие лингвокультурной специфики романа, проявляющейся в художественно-образных средствах. Была продемонстрирована концептуальная связь романа со значимым для британской культуры текстом лирической баллады «Леди из Шалот» (The Lady of Shalott) Альфреда Теннисона (Alfred Tennyson) и полотнами английского художника Джона Уильяма Уотерхаус (John William Waterhouse). Были обнаружены и описаны примеры литературного проявления постмодернизма в романе, благодаря которым становится возможной множественная трактовка его жанровой отнесенности: интертекстуальность, введение в текст элементов пародии, словесной игры, культурных кодов и знаков, понятных читателю, включенному в британскую культурно языковую традицию. Было установлено, что литературный конфликт, на котором строится сюжет романа, представляет собой многогранную, многоярусную перевернутую пирамиду, на широком основании которой лежит основная сюжетная линия. На нижних уровнях условной пирамиды обнаруживаются скрытые смыслы и художественно историческая перспектива, богато насыщенная стилистическими приемами. Переплетение метафоры, антитезы, гиперболы, языковой и смысловой символики лежит в основе литературного конфликта и обнаруживается как на уровне композиции всего романа, так и на уровне семантики отдельных слов. Основу текстовой целостности романа Д. Лоджа «Прекрасная работа» составляет сквозная метафора тени, как нечеткое контурное отражение реальности, воплощенное в антитезе. Аналогичную роль в романе играет и многоступенчатая антитеза, проявляющаяся на всех уровнях текста, от структурно-композиционного до семантического. По сути, и сам роман «Прекрасная работа» представлен автором как тень и одновременно литературное отражение баллады Альфреда Теннисона «Леди из Шалот».

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White, Michael V. "Frightening the ‘Landed Fogies’: Parliamentary Politics and The Coal Question." Utilitas 3, no. 2 (November 1991): 289–302. http://dx.doi.org/10.1017/s0953820800001163.

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In early 1864, disappointed by the response to his previous work, the young Manchester academic W. Stanley Jevons announced that he was undertaking a study of the so-called coal question: ‘A good publication on the subject would draw a good deal of attention … it is necessary for the present at any rate to write on popular subjects’. When Jevons's The Coal Question (henceforth CQ) was published in April 1865, however, it received comparatively little attention and sales were slow. Jevons and his publisher, Alexander Macmillan, then began sending complimentary copies to luminaries such as Sir John Herschel and Alfred Tennyson. In February 1866 the marketing campaign produced its first substantial return. Macmillan had sent CQ to William Gladstone who responded with letters to both Macmillan and Jevons, noting that the book had strengthened his ‘conviction’ on the necessity for reducing the National Debt. In April, John Stuart Mill praised CQ in the House of Commons, calling for action on the Debt and, three weeks later, as Chancellor of the Exchequer, Gladstone introduced the budget using half his speech to examine the Debt situation and referring to CQ in support for a proposed measure of Debt reduction. With the extensive publicity given to CQ following Mill's speech and the budget, Jevons had achieved his objective in writing the text which went into a second edition in 1866. On the face of it, CQ's success was due to its effect of introducing a change in budget policy and this is the impression given by some accounts of the episode.

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Kanaan, Marlene. "Editorial." Hawliyat 15 (July 6, 2018): 7–8. http://dx.doi.org/10.31377/haw.v15i0.51.

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To all readers who followed Hawiiyat, the University of Balamand Journal of the Faculty of Arts and Social Sciences from its first issue, I have the pleasure to offer them this Florilege issue after an interruption of four years. It contains mainly philosophical, literary and political studies, as well as research in other domains written by colleagues from the University of Balamand, the Lebanese University, the University of AI-Yarrnouk, the University of Jordan, and the University of Mascara in Algeria. These articles, unveil, in some way, the basic interests of our Balamand Faculty as well as the interests of all those who have participated in this volume. It truly merits our attention. The study by Ghomari Taibi focuses on the current political situation in the Arab world and defends, in its interpretation of the events that are shaking Arab societies, the thesis of "social disintegration". This social disintegration has made those societies open to the ideas and actions of all sorts of adventurers and manipulators. The researches done by Mazen Naous, Peter Williams, Nada Sayed-Ziade and Frank Darwiche analyze various academic questions posed by the literary works that they examine in order to understand and rediscover the authors. Dealing with the poetry of Alfred Lord Tennyson and of Imru' a1-Qais; dealing with the City in French contemporary poetry; dealing with a novel of Vladimir Nabokov or with the problem of "god" in Heidegger's philosophy and the Sufism of Ibn' Arabi , these studies, written with ardour and passion, deserve our admiration. They make us love the works and understand the said authors by giving us profound insight into the human soul. The article by Charbel Dagher, which focuses on the relationship between aesthetics and citizenship, is astonishing and enticing when it relates the aesthetic expressions to political citizenship. Finally, the article of Rajai Khanji and Muhammad Saraireh on the strategies of translation gives new insight into the difficulties of the work of the translators, the go-betweens or passeurs of cultures. The melange of trilingual studies of this ISlh issue of Hawliyat is innovative. I am sure it will elicit reflection and debate. Returning to its annual rendez-vous, Hawliyat is committed, beyond unforeseeable events of the time and the world, to remaining, in the forthcoming issues, a major centre of scientific university research and intellectual life in the pure humanist tradition: the one of freedom of the spirit and intellectual independence.

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Journal articles on the topic 'Tennyson, Alfred Tennyson, Tennyson, Alfred Tennyson'

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