Relevant bibliographies by topics / Triumph of life (Shelley, Percy Bysshe)

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Academic literature on the topic 'Triumph of life (Shelley, Percy Bysshe)'

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Published: 28 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Triumph of life (Shelley, Percy Bysshe)"

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Wang, Orrin N. C. "Disfiguring Monuments: History in Paul De Man's "Shelley Disfigured" and Percy Bysshe Shelley's "The Triumph of Life"." ELH 58, no. 3 (1991): 633. http://dx.doi.org/10.2307/2873459.

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Lindstrom, Eric. "Mourning Life: William Wordsworth and Percy Bysshe Shelley." Romanticism 23, no. 1 (April 2017): 38–52. http://dx.doi.org/10.3366/rom.2017.0305.

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What does it mean that Shelley publicly mourns the death a living Wordsworth in his poetry? This essay argues that Percy Bysshe Shelley's renunciation of a narrow concept of selfhood not only informs, but germinates, his psychological and political principles, and in the process shapes his response to William Wordsworth—not as an “egotistical” poet, but as one who paradoxically and enviably escapes mutability by being ontologically identified with forms of non-life. I argue that Shelley brilliantly (and correctly) attributes this position to Wordsworth's poetic thought through his own poetic thinking in works such as Peter Bell the Third, and that Shelley also finds such an alignment incomprehensible. His construction of Wordsworth is a skeptical dialectician's disavowal of mute or dull inclusion. The essay attends to Shelley's treatment of Wordsworth in connection to Shelley's performative speech acts of inversion: life-death; heaven-hell; blessing-curse. Shelley abjures Wordsworth for excessive love for otherwise inanimate things; for ‘ma[king] alive | The things it wrought on’ and awakening slumberous ‘thought in sense’.
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Tedeschi, Stephen. "The Life of Percy Bysshe Shelley and Shelley’s Poetics of Reticence: Shelley’s Shame." European Romantic Review 32, no. 4 (July 4, 2021): 486–92. http://dx.doi.org/10.1080/10509585.2021.1944471.

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SCHROEDER, DORIS, and PETER SINGER. "Access to Life-Saving Medicines and Intellectual Property Rights: An Ethical Assessment." Cambridge Quarterly of Healthcare Ethics 20, no. 2 (March 25, 2011): 279–89. http://dx.doi.org/10.1017/s0963180110000939.

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Dying before one’s time has been a prominent theme in classic literature and poetry. Catherine Linton’s youthful death in Wuthering Heights leaves behind a bereft Heathcliff and generations of mourning readers. The author herself, Emily Brontë, died young from tuberculosis. John Keats’ Ode on Melancholy captures the transitory beauty of 19th century human lives too often ravished by early death. Keats also died of tuberculosis, aged 25. “The bloom, whose petals nipped before they blew, died on the promise of the fruit” is how Percy Bysshe Shelley expressed his grief over Keats’ death. Emily Dickinson wrote So Has a Daisy Vanished, being driven into depression by the early loss of loved ones from typhoid and tuberculosis.
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Coffey, Bysshe Inigo. "The Draper’s Assistant and Mary Shelley’s Lost Journal." Romanticism 30, no. 1 (April 2024): 19–29. http://dx.doi.org/10.3366/rom.2024.0625.

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Among the Abinger Papers in the Bodleian Library is a document, MS. Abinger c. 73, fols. 99–104, the testimony of one William Tyler, a draper’s assistant from Marlow, Buckinghamshire who wrote poems and saw the Shelleys plain. Jane, Lady Shelley (the wife of the Shelleys’ only surviving son, Sir Percy Florence) gathered as many reminiscences of her father-in-law as she could. Tyler’s is by far the longest. (Appended to this essay is a transcription of his testimony reproduced in full for the first time). Tyler has been virtually erased from the literary and biographical records of the Shelleys, save for one footnote. Edward Dowden made use of his testimony for The Life of Percy Bysshe Shelley (1886), but whilst some of Tyler’s words are artfully deployed to bolster the memories of another, others are cut from the record altogether. This essay tells the remarkable story of Tyler, a man unknown to fame, who deserves to be remembered. For one, he provides the only surviving verbatim record of the contents of a journal kept by Mary Shelley which covered the events of May 1815 to June 1816. Who was William Tyler and how did he come to turn those lost pages?
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Onega, Susana. "Of Sexbots, Cyborgs and Artificial Intelligence: Articulations of the Posthuman Subject in Jeanette Winterson’s Frankissstein: A Love Story." Pólemos 17, no. 1 (April 1, 2023): 89–109. http://dx.doi.org/10.1515/pol-2023-2006.

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Abstract Jeanette Winterson’s latest novel, Frankissstein: A Love Story (2019), was written as a contribution to the world-wide celebrations of the second centenary of the publication of Mary Shelley’s Frankenstein. Evincing the characteristic excessiveness and parodic stance of the postmodern romance, it alternates two interlocked story lines. The first, narrated by Mary Shelley, is situated during her own life span and populated by Mary herself, Percy Bysshe Shelley, Lord Byron, John William Polidori and Claire Clairmont. The second, situated in 2018, is narrated by Dr Ry Shelley, a transgender medical doctor who sells body parts to Prof. Victor Stein, a cutting-edge researcher in Artificial Intelligence. The essay argues that for all its parodic doubleness, temporal circularity, thematic enmeshment and palimpsestic structure, the novel draws a clear-cut distinction between the Idealist conception of subjectivity endorsed by the male Romantic poets that leads to Prof. Stein’s transmodern conception of a future universe colonised by bodiless enhanced humans, and Mary Shelley’s affectively charged conception of embodied subjectivity that foreruns Ry Shelley’s posthuman conception of fluid subjectivity.
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Shears, Jonathon. "'Thou Breath of Autumn's Being': Voicing Masculinity in the Poetry of Late Life." Journal of the British Academy 11s2 (2023): 95–116. http://dx.doi.org/10.5871/jba/011s2.095.

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This article argues that lyric poetry is a form suited to contesting dominant ideas about masculinity because of its thematic and formal preoccupations with voice. It argues that voice offers a different way of viewing the social constrictions that accompany male experiences of ageing to the well-known theory of the mask of ageing. Through a study of a long history of Western lyric verse, which includes writers such as William Shakespeare, Percy Bysshe Shelley, Alfred, Lord Tennyson, W. B. Yeats, Robert Frost and Philip Larkin, the article explores the significance of restricted breathing in relation to dominant norms of masculine reticence and the physiological deterioration of the vocal profile in age. It then explores the possibility of counter-voicings of masculinity in poems with intergenerational themes from a group of post-war British poets.
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Eliopoulos, Panos. "The Critique of Philip Sidney and Percy Bysshe Shelley on Plato’s Views about Poetry." Logos Universality Mentality Education Novelty: Philosophy & Humanistic Sciences 9, no. 1 (December 12, 2021): 01–08. http://dx.doi.org/10.18662/lumenphs/9.1/53.

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In the platonic dialogue Ion, Socrates clarifies that poetic creation is a result of inspiration but not of knowledge. As a gift from the Muses, poetry cannot even have a didactic role; since it is not rational and does not constitute a product of right reason, it cannot satisfy the needs of the person who aspires to the acquisition of wisdom. This insistence of Plato on the potential moral deficiency of poetry proves that only epistemological criteria can assist the political balances that are required in his ideal Polis. Since poetry is mimesis and a subcategory of rhetoric, it is deduced that it stands far from the truth. For Philip Sidney, however, in his critique of Plato’s views, the poet is directly connected with “poiein”, the act of creating. As a creator, he is close to the truth, and he is an owner of the Idea, to which he urges other human beings. As such, the poet is a stronger intellectual figure than the philosopher, due to the fact that he does not abstractly think of moral values but helps to proliferate them. The poet never lies, despite what Plato claims, because the poet never confirms the knowledge of anything, quite unlike the philosopher. Shelley, on the other hand, places great emphasis on the role of imagination within the context of poetic work. He declares that poetic imagination exceeds the borders of reason, thus being rendered the only human faculty that can not only see the ideal forms that Plato is enthusiastic about but also is capable of competently expressing the “eternal truth of life”. The two English poets are in accord about poetry signifying unity and harmony, not only with the abstract truth of the world but with virtue and law as well, providing the human being with the right ontological orientation.
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Goldstein, Amanda Jo. "Growing Old Together." Representations 128, no. 1 (2014): 60–92. http://dx.doi.org/10.1525/rep.2014.128.1.60.

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This essay explores Percy Shelley’s The Triumph of Life as a strategic revival of Lucretian poetic science: a materialism fit to connect the epochal, romantic interest in biological life to the period’s pressing new sense of its own historicity. Shelley mobilizes Lucretian natural simulacra to show how personal bodies produce and integrate passages of historical time, exercising a poetics of transience that resists the triumphalism characteristic of both historiography and vitalist biology in the post-Waterloo period. Representing aging faces as mutable registers of the “living storm” of a post-Napoleonic interval, The Triumph depicts the face-giving trope of prosopopoeia as the unintended work of multitudes—demonstrating a nineteenth-century possibility of thinking biological, historical, and rhetorical materialisms together.
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Khadka, Kul Bahadur. "The Un-bodied Voices in Shelley’s “To a Skylark” and Keats’s “Ode to a Nightingale”." Journal of Development Review 8, no. 1 (August 1, 2023): 16–21. http://dx.doi.org/10.3126/jdr.v8i1.57130.

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B. Shelley and John Keats are noted Romantic poets and their works are celebrated. In this article, Percy Bysshe Shelly’s “To a Skylark” and John Keats’s “Ode to a Nightingale” have been appreciated. The skylark and the nightingale seem to be similar birds while reading the poems simultaneously. Shelley glorifies the skylark’s song and Keats immortalizes the nightingale due to its melodious song. The article, structured in four headings- Introduction, Appreciating, The Un-bodied Voices and Conclusion, introduces the poets and their aforesaid poems. It appreciates both the poems in matter of the contrasts and commonalties between the birds, the major themes in the poems, the poets’ power of imagination and the un-bodied voices in the poems. It makes a quest for how the un-bodied voices in the poems represent idealism in contrast to the harsh reality of life. To appreciate the poems and further strengthen the ideas, the poets’ respective poems and books by various writers have been consulted. The article concludes that the songs of the skylark and the nightingale are the un-bodied voices which symbolize beauty, purity, perfection and freedom. These un-bodied voices are in contrast to the harsh reality of human life on the earth.
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Dissertations / Theses on the topic "Triumph of life (Shelley, Percy Bysshe)"

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Nabugodi, M. A. "Life after Life : a reading of Percy Bysshe Shelley and Walter Benjamin." Thesis, University College London (University of London), 2016. http://discovery.ucl.ac.uk/1528798/.

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The title of this thesis, Life after Life, cites an essay by Jacques Derrida where he translates the title of Percy Bysshe Shelley’s last poem ‘The Triumph of Life’ into life’s triumph, a life after life, or else a living on, sur-vivre, Über-leben. The latter term, Überleben, is in its turn a citation from Walter Benjamin’s essay ‘The Task of the Translator’ where Benjamin conceptualises the life of literary works as their afterlife in future readings. This comparative reading of Percy Bysshe Shelley and Walter Benjamin begins with this intersection in the afterlives of their works. I explore their reception in contemporary literary theory with the dual aim of reading Shelley and Benjamin and reading how they have been read by other critics. The thesis is written under the ‘Creative Critical Writing’ strand of the Comparative Literature PhD, which has allowed me to develop my methodology in response to the material that I study. Central themes include translation, autobiography, disfiguration, poetic histories of language, the problems of historical representation, ekphrasis, tragedy, violence, and, finally, forgiveness as a force stronger than violence. I focus on Shelley’s translation of the Homeric ‘Hymn to Mercury,’ ‘The Triumph of Life,’ ‘The Defence of Poetry,’ ‘The Cloud,’ ‘On the Medusa of Leonardo da Vinci in the Florentine Gallery,’ and The Cenci. Of Benjamin’s works I read ‘On Language as Such and on the Language of Man,’ ‘The Task of the Translator,’ ‘Doctrine of the Similar’ and ‘On the Mimetic Faculty.’ Furthermore, I look at his ‘Critique of Violence,’ ‘Goethe’s Elective Affinities,’ Berlin Childhood around 1900, some of the methodological notes in ‘Convolute N’ of The Arcades Project, and ‘On the Concept of History.’
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Ruston, Sharon. "P.B. Shelley and the science of life." Thesis, University of Liverpool, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366974.

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

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Books on the topic "Triumph of life (Shelley, Percy Bysshe)"

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Worthen, John. The Life of Percy Bysshe Shelley. Chichester, UK: John Wiley & Sons, Ltd, 2019. http://dx.doi.org/10.1002/9781118534014.

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Michael, O'Neill. Percy Bysshe Shelley: A literary life. New York: St. Martin's Press, 1990.

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Michael, O'Neill. Percy Bysshe Shelley: A literary life. London: Macmillan, 1989.

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Bieri, James. Percy Bysshe Shelley: A biography : youth's unextinguished fire, 1792-1816. Newark, DE: University of Delaware Press, 2005.

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Trory, Ernie. Cradled into poetry: The life and times of Percy Bysshe Shelley. Hove: Crabtree Press, 1991.

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Trory, Ernie. Cradled into poetry: The life and times of Percy Bysshe Shelley. Hove: Crabtree Press, 1991.

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Bieri, James. Percy Bysshe Shelley: A biography : exile of unfulfilled reknown, 1816-1822. Newark, DE: University of Delaware Press, 2004.

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Shelley, Percy Bysshe. The Faust draft notebook: A facsimile of Bodleian MS. Shelley adds. e. 18 : including drafts of Scenes from the Faust of Goethe, Ginevra, Scenes from the Magico prodigioso of Calderon, Fragments of an unfinished drama, Lines--When the lamp is shattered, From the Arabic, A lament (O world! O life! O time), With a guitar, to Jane, and miscellaneous fragments of verse and prose. New York: Garland Pub., 1997.

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Weinberg, Alan M. Shelley's Italian experience. New York: St. Martin's Press, 1991.

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Ackroyd, Peter. The casebook of Victor Frankenstein. Waterville, Me: Thorndike Press, 2010.

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Book chapters on the topic "Triumph of life (Shelley, Percy Bysshe)"

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"‘The Triumph of Life’." In The Life of Percy Bysshe Shelley, 342–48. Chichester, UK: John Wiley & Sons, Ltd, 2019. http://dx.doi.org/10.1002/9781118534014.ch33.

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Lowell, James Russell. "James Russell Lowell, extract from review of The Life and Letters of James Gates Percival, North American Review." In Percy Bysshe Shelley, 269. Routledge, 2003. http://dx.doi.org/10.4324/9780203206898-58.

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Collyer, William Bengo. "William Bengo Collyer, from a review of Queen Mab in ‘Licentious Productions in High Life,’ The Investigator, or Quarterly Magazine." In Percy Bysshe Shelley, 87–94. Routledge, 2003. http://dx.doi.org/10.4324/9780203206898-19.

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Medwin, Thomas. "The Life of Percy Bysshe Shelley." In Mary Shelley, 50–51. Routledge, 2020. http://dx.doi.org/10.4324/9780429348273-20.

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"A Shelley Business!" In The Life of Percy Bysshe Shelley, 55–66. Chichester, UK: John Wiley & Sons, Ltd, 2019. http://dx.doi.org/10.1002/9781118534014.ch6.

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"Beyond this Life." In The Life of Percy Bysshe Shelley, 379–92. Chichester, UK: John Wiley & Sons, Ltd, 2019. http://dx.doi.org/10.1002/9781118534014.ch37.

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Medwin, Thomas. "The Life of Percy Bysshe Shelley, A New Edition." In Mary Shelley, 52. Routledge, 2020. http://dx.doi.org/10.4324/9780429348273-21.

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"Percy Bysshe Shelley (1792-1822)." In A Century of Sonnets, edited by Paula R. Feldman and Daniel Robinson, 163–67. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195115611.003.0048.

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Abstract The modest number of sonnets Percy Bysshe Shelley composed during his brief literary career reflect remarkable stylistic diversity, justifying Words­ worth’s assessment of him as “one of the best artists of us all” in terms of “workmanship of style.” Shelley’s sonnets reflect, too, many of his strongest political and philosophical views, from the pained dismay he expresses at Wordsworth’s increased conservativism in “To Wordsworth,” to the apocalyptic litany he chants in condemnation of George Ill’s debilitated government in “England in 1819.” His passionate and unconventional views led to controversy during his lifetime. Shelley spent the final years of his life in Europe, where he produced such important works as Prometheus Unbound (1820), “Ode to the West Wind” (1820), and Epipsychidion (1821).
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Bauer, Mark S. "Percy Bysshe Shelley (1792–1822)." In A Mind Apart, 138–39. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195336405.003.0045.

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Abstract Stanzas Written in Dejection Near Naples The sun is warm, the sky is clear, The waves are dancing fast and bright, Blue isles and snowy mountains wear The purple noon’s transparent might, The breath of the moist earth is light, Around its unexpanded buds; Like many a voice of one delight The winds, the birds, the ocean floods, The city’s voice itself, is soft like Solitude’s. I see the deep’s untrampled floor With green and purple seaweeds strown; I see the waves upon the shore, Like light dissolved in star-showers, thrown: I sit upon the sands alone,— The lightning of the noontide ocean Is flashing round me, and a tone Arises from its measured motion, How sweet! did any heart now share in my emotion. Alas! I have nor hope nor health, Nor peace within nor calm around, Nor that content surpassing wealth The sage in meditation found, And walked with inward glory crowned— Nor fame, nor power, nor love, nor leisure, Others I see whom these surround— Smiling they live, and call life pleasure;— To me that cup has been dealt in another measure. Yet now despair itself is mild, Even as the winds and waters are;
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Hogg, Thomas Jefferson. "Hogg: The Life of Percy Bysshe Shelley." In Godwin, 177–88. Routledge, 2020. http://dx.doi.org/10.4324/9780429348259-47.

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