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Journal articles on the topic 'Tintern Abbey'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

Thyberg, Stephen M. "Tintern Abbey." Christianity & Literature 36, no. 4 (September 1987): 9. http://dx.doi.org/10.1177/014833318703600402.

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2

Thyberg, Stephen M. "Tintern Abbey." Christianity & Literature 50, no. 3 (June 2001): 560. http://dx.doi.org/10.1177/0148333101050003115.

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3

Peters, John G. "Wordsworth's Tintern Abbey." Explicator 61, no. 2 (January 2003): 77–78. http://dx.doi.org/10.1080/00144940309597762.

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4

Brennan, Thomas J. "Wordsworth's TINTERN ABBEY." Explicator 63, no. 1 (January 2004): 13–15. http://dx.doi.org/10.1080/00144940409597244.

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5

Rand, Thomas. "Wordsworth's Tintern Abbey." Explicator 52, no. 3 (April 1994): 151–53. http://dx.doi.org/10.1080/00144940.1994.9938753.

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6

Hall, Peggy C. "Tintern Abbey, Once Again." English Journal 93, no. 2 (November 2003): 95. http://dx.doi.org/10.2307/3650508.

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7

于, 歌. "Dorothy and Tintern Abbey." World Literature Studies 03, no. 03 (2015): 114–19. http://dx.doi.org/10.12677/wls.2015.33018.

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8

Randel, Fred V. "The Betrayals of "Tintern Abbey"." Studies in Romanticism 32, no. 3 (1993): 379. http://dx.doi.org/10.2307/25601020.

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9

Canuel, Mark. "Historicism, Formalism, and “Tintern Abbey”." European Romantic Review 23, no. 3 (June 2012): 363–71. http://dx.doi.org/10.1080/10509585.2012.674270.

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10

Smith, Lyle H. "Reading “Something” in “Tintern Abbey”." Christianity & Literature 45, no. 3-4 (June 1996): 303–17. http://dx.doi.org/10.1177/014833319604500303.

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11

Soderholm, James. "Dorothy Wordsworth's Return to Tintern Abbey." New Literary History 26, no. 2 (1995): 309–22. http://dx.doi.org/10.1353/nlh.1995.0031.

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12

Bazregarzadeh, Elmira. "Ecocritical Echoes in William Wordsworth’s Tintern Abbey." Brock Review 13, no. 1 (December 21, 2017): 71–90. http://dx.doi.org/10.26522/br.v13i1.1092.

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As one of the great Nature poems of Wordsworth, Tintern Abbey (1798) sheds light on the way Nature affects Wordsworth’s memory and enables him to reach mental growth through his philosophical interconnection with it. Through an ecocritical study of Tintern Abbey, the present paper aims to take the clash between the Yale School critics, the New Historicists, and the ecocritics into consideration to show how the contradictory views of the afore-mentioned critics led to a Green reading of the poem in the light of Ecocriticism. Key Words: Biospheric Egalitarianism, Wordsworthian Displacement, Regional Specificity, Metamorphosis, and Ecocriticism.
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13

Weele, Michael Vander. "The Contest of Memory in "Tintern Abbey"." Nineteenth-Century Literature 50, no. 1 (June 1, 1995): 6–26. http://dx.doi.org/10.2307/2933871.

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Modern critics have been suspicious of the "abundant recompense" that "Tintern Abbey" claims for the replacement of youthful joys by mature thought. Many have contrasted unconscious motivation and surface articulation within the poem. But what if Wordsworth was more self-conscious about the efficacy of memory than we give him credit for? I argue that both the language and the structure of the poem show Wordsworth questioning the claims he was making for memory. But were there resources available for him to understand memory differently than we do-as well as to call that understanding into question? I argue that there were, and that they can be found both in texts echoed in the poem and in a long tradition of reflection on memory recently described by Mary Carruthers in The Book of Memory (1990). Where critics such as Harold Bloom have seen a blind spot in Wordswoth's self-consciousness and have brought psychoanalytic theory to bear upon their analysis of memory, I argue that Wordsworth's categories for understanding and questioning memory were at least as historical and ethical as they were psychological and aesthetic. Seeing the author work out of and question a tradition of memory as ethical construction helps us understand what is at stake in the poem. Less productive is the assumption that only the poem's readers can figures the riven text below its smooth surfaces.
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14

황병훈. "Rhetorical Conviction of Wordsworth in “Tintern Abbey”." English & American Cultural Studies 8, no. 3 (December 2008): 299–318. http://dx.doi.org/10.15839/eacs.8.3.200812.299.

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15

Datta, Vijay Kumar. "Trauma of Modernity in Wordsworth’s Tintern Abbey." International Journal of English Literature and Social Sciences 3, no. 5 (2018): 796–801. http://dx.doi.org/10.22161/ijels.3.5.16.

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16

Foster, Mark. ""Tintern Abbey" and Wordsworth's Scene of Writing." Studies in Romanticism 25, no. 1 (1986): 75. http://dx.doi.org/10.2307/25600577.

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17

Haas, Ryan. "Wordsworth and the Monks of Tintern Abbey." Modern Philology 114, no. 1 (August 2016): 82–105. http://dx.doi.org/10.1086/686616.

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18

Lake, C. B. "The Life of Things at Tintern Abbey." Review of English Studies 63, no. 260 (August 22, 2011): 444–65. http://dx.doi.org/10.1093/res/hgr067.

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19

O'Rourke, James. "Major and Minor Narratives in “Tintern Abbey”." European Romantic Review 25, no. 6 (October 29, 2014): 649–64. http://dx.doi.org/10.1080/10509585.2014.963849.

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20

GRAVIL, RICHARD. "Tintern Abbey and The System of Nature." Romanticism 6, no. 1 (April 2000): 35–54. http://dx.doi.org/10.3366/rom.2000.6.1.35.

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21

Weele, Michael Vander. "The Contest of Memory in "Tintern Abbey"." Nineteenth-Century Literature 50, no. 1 (June 1995): 6–26. http://dx.doi.org/10.1525/ncl.1995.50.1.99p0131v.

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22

Powell, Raymond. "Wordsworth, Dorothy Wordsworth,Tintern Abbey andSamson Agonistes." Neophilologus 79, no. 4 (October 1995): 689–93. http://dx.doi.org/10.1007/bf01126899.

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23

Morris, †Richard K., Nicola Coldstream, and Rick Turner. "THE WEST FRONT OF TINTERN ABBEY CHURCH, MONMOUTHSHIRE." Antiquaries Journal 95 (July 23, 2015): 119–50. http://dx.doi.org/10.1017/s0003581515000153.

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The conservation and repair of the west front of Tintern Abbey church, undertaken by Cadw between 2005 and 2010, provided an unrivalled opportunity to survey, record and analyse the design, construction and alteration of a much-celebrated example of medieval architecture. This paper considers in detail the moulding profiles and ornament of the west front and offers a developmental history for this part of the abbey church. Comparisons are made with ecclesiastical architecture elsewhere in England and Wales, and with the contemporary programme of work being undertaken at nearby Chepstow Castle. Two appendices outline the history of its conservation since 1900 and assess some Victorian drawn records of the west front.
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24

McGhee, Michael. "Birds, Frogs and Tintern Abbey: Humanism and Hubris." European Journal for Philosophy of Religion 4, no. 3 (September 23, 2012): 33–50. http://dx.doi.org/10.24204/ejpr.v4i3.275.

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David E. Cooper proposes that the ‘mystery’ of ‘reality as it “anyway” is, independently of human perspective’ provides measure for the leading of our lives and thus avoids, on the one hand, the hubris of a humanism for which moral life is the product of the human will and has no warrant beyond it, and, on the other, a theism which appears to be at once too remote from and too close to the human world to provide any such warrant. The paper rejects the role this gives to ‘mystery’ and locates ‘warrant’ in a moral perspective that is not the product of will.
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25

Matlak, Richard E. "Classical Argument and Romantic Persuasion in "Tintern Abbey"." Studies in Romanticism 25, no. 1 (1986): 97. http://dx.doi.org/10.2307/25600578.

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26

Kennedy, Deborah. "Wordsworth, Turner, and the Power of Tintern Abbey." Wordsworth Circle 33, no. 2 (March 2002): 79–84. http://dx.doi.org/10.1086/twc24044961.

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27

Fairer, David. "Revisiting ‘Tintern Abbey’: The Challenge of the Familiar." Romanticism 19, no. 2 (July 2013): 179–87. http://dx.doi.org/10.3366/rom.2013.0130.

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28

Courtney, Paul, G. Heron, G. McDonnell, and G. G. Jones. "Excavations in the Outer Precinct of Tintern Abbey." Medieval Archaeology 33, no. 1 (January 1989): 99–143. http://dx.doi.org/10.1080/00766097.1989.11735522.

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29

DAVIES, DAMIAN WALFORD. "‘SOME UNCERTAIN NOTICE’: THE HERMIT OF ‘TINTERN ABBEY’." Notes and Queries 43, no. 4 (December 1, 1996): 422–24. http://dx.doi.org/10.1093/nq/43-4-422.

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30

DAVIES, DAMIAN WALFORD. "‘SOME UNCERTAIN NOTICE’: THE HERMIT OF ‘TINTERN ABBEY’." Notes and Queries 43, no. 4 (1996): 422–24. http://dx.doi.org/10.1093/nq/43.4.422.

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31

DAVIES, DAMIAN WALFORD. "WILLIAM GILPIN AND SAMUEL ROGERS AT TINTERN ABBEY." Notes and Queries 44, no. 3 (September 1, 1997): 320–21. http://dx.doi.org/10.1093/nq/44-3-320.

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32

DAVIES, DAMIAN WALFORD. "WILLIAM GILPIN AND SAMUEL ROGERS AT TINTERN ABBEY." Notes and Queries 44, no. 3 (1997): 320–21. http://dx.doi.org/10.1093/nq/44.3.320.

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33

Rexroth, Grace. "Wordsworth’s Poetic Memoria Technica: What “Tintern Abbey” Remembers." Studies in Romanticism 60, no. 2 (2021): 153–74. http://dx.doi.org/10.1353/srm.2021.0016.

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34

Harrison, Stuart A., Richard K. Morris, and David M. Robinson. "A Fourteenth-Century Pulpitum Screen at Tintern Abbey, Monmouthshire." Antiquaries Journal 78 (March 1998): 177–268. http://dx.doi.org/10.1017/s0003581500500067.

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Tintern is one of the best-known monastic sites in the British Isles, even if its architectural history is less well understood than assertions in the general literature might suggest. This study focusses upon a distinct group of ex situ masonry fragments until recently dispersed across the site. As reconstructed on paper, the material represents the remarkable ‘rediscovery’ of a hitherto unattributed fourteenth-century pulpitum screen. The stylistic context for the feature lies largely within the great architectural lodges of south-west England. There are strong grounds for suggesting that its designer was the innovative master, William Joy. If this attribution is correct, the commission is probably to be dated to the later 1320s, and no later than c 1330. The fact that the patrons for this prestigious work were the White Monks of Tintern serves only to underline its importance. From the surviving evidence, the construction of such an elaborate pulpitum within a British Cistercian context appears to have been an especially rare occurrence.
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35

Harrison, Stuart A., Richard K. Morris, and David M. Robinson. "A Fourteenth-Century Pulpitum Screen at Tintern Abbey, Monmouthshire." Antiquaries Journal 78 (September 1998): 177–268. http://dx.doi.org/10.1017/s0003581500044978.

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Tintern is one of the best-known monastic sites in the British Isles, even if its architectural history is less well understood than assertions in the general literature might suggest. This study focusses upon a distinct group of ex situ masonry fragments until recently dispersed across the site. As reconstructed on paper, the material represents the remarkable ‘rediscovery’ of a hitherto unattributed fourteenth-century pulpitum screen. The stylistic context for the feature lies largely within the great architectural lodges of south-west England. There are strong grounds for suggesting that its designer was the innovative master, William Joy. If this attribution is correct, the commission is probably to be dated to the later 1320s, and no later than c 1330. The fact that the patrons for this prestigious work were the White Monks of Tintern serves only to underline its importance. From the surviving evidence, the construction of such an elaborate pulpitum within a British Cistercian context appears to have been an especially rare occurrence.
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36

Andrade de Paula, Thiago. "Uma presença que me perturba com alegria – memória suplementar e desestabilização em William Wordsworth." Cadernos CESPUC de Pesquisa Série Ensaios, no. 30 (July 13, 2017): 150–64. http://dx.doi.org/10.5752/p.2358-3231.2017n30p150-164.

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A poesia de Wordsworth proporciona a sensação de que é possível curar sentimentos ruins por meio do processo de recordação, como acontece nos poemas “I wandered lonely as a cloud” e “Tintern Abbey”. Longe de negar tal função, este trabalho tem por objetivo apresentar, em contrapartida, a existência de uma tendência desestabilizadora, a qual poderá ser percebida a partir dos estudos de Aleida Assmann e Jacques Derrida sobre a recordação romântica, que leva em conta o papel das afecções, do esquecimento e da cronologia em sua constituição. Nesse contexto, ao tentar colocar-se no lugar de algo que não pode ser completamente recuperado, a recordação assume, segundo Assmann, uma função suplementar que, por definição, substitui apenas provisória e precariamente. A partir dessa discussão, será apresentada a evocação, por meio da memória, e reiteração sucessiva de uma mesma imagem no poema “Tintern Abbey”, que corroborará a hipótese que ora se apresenta.Palavras-chave: Memória Suplementar. Recordação Romântica. Desestabilização.
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37

Andrade de Paula, Thiago. "Uma presença que me perturba com alegria – memória suplementar e desestabilização em William Wordsworth." Cadernos CESPUC de Pesquisa Série Ensaios, no. 30 (July 13, 2017): 150–64. http://dx.doi.org/10.5752/p.2358-3231.n30p150-164.

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A poesia de Wordsworth proporciona a sensação de que é possível curar sentimentos ruins por meio do processo de recordação, como acontece nos poemas “I wandered lonely as a cloud” e “Tintern Abbey”. Longe de negar tal função, este trabalho tem por objetivo apresentar, em contrapartida, a existência de uma tendência desestabilizadora, a qual poderá ser percebida a partir dos estudos de Aleida Assmann e Jacques Derrida sobre a recordação romântica, que leva em conta o papel das afecções, do esquecimento e da cronologia em sua constituição. Nesse contexto, ao tentar colocar-se no lugar de algo que não pode ser completamente recuperado, a recordação assume, segundo Assmann, uma função suplementar que, por definição, substitui apenas provisória e precariamente. A partir dessa discussão, será apresentada a evocação, por meio da memória, e reiteração sucessiva de uma mesma imagem no poema “Tintern Abbey”, que corroborará a hipótese que ora se apresenta.Palavras-chave: Memória Suplementar. Recordação Romântica. Desestabilização.
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38

Miall, David S. "Locating Wordsworth: "Tintern Abbey" and the Community with Nature." Romanticism on the Net, no. 20 (2000): 0. http://dx.doi.org/10.7202/005949ar.

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39

Lau, Beth. ""Sense and Sensibility" and "Tintern Abbey": Growth and Maturation." Wordsworth Circle 35, no. 2 (March 2004): 65–68. http://dx.doi.org/10.1086/twc24044967.

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40

Vestri, Talia M. "Wordsworth’s Sibling Logic: “We Are Seven” and “Tintern Abbey”." European Romantic Review 29, no. 5 (September 3, 2018): 619–37. http://dx.doi.org/10.1080/10509585.2018.1512244.

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41

Michael, John. "Emerson's Chagrin: Benediction and Exhortation in "Nature" and "Tintern Abbey"." MLN 101, no. 5 (December 1986): 1067. http://dx.doi.org/10.2307/2905711.

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42

Jung, Sandro. "Wordsworth's "Tintern abbey" and the tradition of the "hymnal" ode." Acta Neophilologica 40, no. 1-2 (December 15, 2007): 51–60. http://dx.doi.org/10.4312/an.40.1-2.51-60.

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Despite the claims for simplicity of language that Wordsworth articulated in the early years of his literary career, especially in the "Preface" to Lyrical Ballads-his pronounced difference from earlier (Neoclassical) poets, poetic practice, and the forms of poetry of the Augustans-he could not escape what Waiter Jackson Bate long ago termed the "burden of the past". Wordsworth's indebtedness to his literary forbears is not only ideational but formal as well. The present article aims to examine Wordsworth's "Tintern Abbey" and relate it to the tradition of the hymnal ode used so masterfully by William Collins in the mid-century, at the same time reconsidering the generic conceptualisation of the poem as an ode in all but name which in its structure and essence re-evokes mid-century hymnal odes but which is contextualised within Wordsworth's notion of emotional immediacy and simplicity.
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43

Das, Biplab. "An Ecofeminist Interpretation of Wordsworth’s ‘Tintern Abbey’ and ‘Lucy poems’." Researchers World : Journal of Arts & Science and Commerce(RWJASC) IX, no. 2 (April 30, 2018): 61. http://dx.doi.org/10.18843/rwjasc/v9i2/07.

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44

Thomson, Heidi. ""We Are Two": The Address to Dorothy in "Tintern Abbey"." Studies in Romanticism 40, no. 4 (2001): 531. http://dx.doi.org/10.2307/25601530.

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45

Brinkley, Robert A. "Vagrant and Hermit: Milton and the Politics of "Tintern Abbey"." Wordsworth Circle 16, no. 3 (June 1985): 126–33. http://dx.doi.org/10.1086/twc24040505.

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46

Quinney, Laura. ""Tintern Abbey," Sensibility, and the Self-Disenchanted Self." ELH 64, no. 1 (1997): 131–56. http://dx.doi.org/10.1353/elh.1997.0008.

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47

Hadley, Karen. "The Commodification of Time in Wordsworth's "Tintern Abbey"." SEL Studies in English Literature 1500-1900 42, no. 4 (2002): 693–706. http://dx.doi.org/10.1353/sel.2002.0037.

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48

Pearson, Sara L. "Allusive Pursuits: The Song of Songs in Wordsworth’s “Tintern Abbey”." Studies in Romanticism 53, no. 2 (2014): 195–216. http://dx.doi.org/10.1353/srm.2014.0026.

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49

ENGLISH, MARK. "‘RECOGNITIONS DIM AND FAINT’: THE HERMIT OF ‘TINTERN ABBEY’ AGAIN." Notes and Queries 44, no. 3 (September 1, 1997): 324–25. http://dx.doi.org/10.1093/nq/44-3-324.

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50

ENGLISH, MARK. "‘RECOGNITIONS DIM AND FAINT’: THE HERMIT OF ‘TINTERN ABBEY’ AGAIN." Notes and Queries 44, no. 3 (1997): 324–25. http://dx.doi.org/10.1093/nq/44.3.324.

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