scholarly journals Access to Life-Saving Medicines and Intellectual Property Rights: An Ethical Assessment

2011 ◽  
Vol 20 (2) ◽  
pp. 279-289 ◽  
Author(s):  
DORIS SCHROEDER ◽  
PETER SINGER
Keyword(s):  
19Th Century ◽  
Intellectual Property Rights ◽  
Percy Bysshe Shelley ◽  
John Keats ◽  
Early Death ◽  
Emily Dickinson ◽  
Emily Bronte ◽  
Ethical Assessment ◽  
Wuthering Heights ◽  
Life Saving

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.

scholarly journals Virginia Woolf and some aspects of the Russian novel of the 19th century

2018 ◽  
Vol 19 (11) ◽  
Author(s):  
Sonja Valčić
Keyword(s):  
19Th Century ◽  
Virginia Woolf ◽  
Emily Bronte ◽  
Point Of View ◽  
Wuthering Heights ◽  
Russian Novel ◽  
The 19Th Century

Tema ovog eseja je bazirana na citatu V. Woolf »The Russian Point of View«, tj. na citatu iz njena eseja, koji otvara jedan interesantan uvid u neke tendencije ruskih i engleskih romanopisaca 19. stoljeća. Engleski novelisti, po V. Woolf, čini se, teže objektivnijem prikazivanju društva, dok su ruski veći individualisti. Da se svi engleski pisci ne mogu klasificirati kao objektivni promatrači društva u kojem žive, potvrđuje Emily Bronte sa svojim romanom Wuthering Heights. Isto tako ruski novelisti 19. stoljeća otvaraju »mogućnosti« modernih interpretacija s tematikama moralnih sukoba koje onda pisci 20. stoljeća (engleski) proširuju na određen način, ili, bolje rečeno, sagledavaju s drugih točaka gledišta i stavljaju u određene okvire. Obrađeni su naročito V. Woolf i D. H. Lawrence, te su povučene neke paralele s Tolstojem i Turgenjevim.

scholarly journals Em Torno da Não-Recepção de John Keats no Portugal de Oitocentos

2017 ◽  
pp. 61-75
Author(s):  
Miguel Dias
Keyword(s):  
19Th Century ◽  
Percy Bysshe Shelley ◽  
John Keats ◽  
Lord Byron ◽  
Anglo Saxon ◽  
Romantic Literature ◽  
Early 19Th Century ◽  
The 19Th Century

John Keats (1795-1821) is widely regarded as a main figure in the scope of English Romantic Literature. Although the poet lived a short life, the quality of his work has earned him a place in the literary cannon, alongside Lord Byron (1788-1824) and Percy Bysshe Shelley (1792-1822), within the second generation of English romantic poets. The reception of Keats in Portugal, however, took place long after the poet achieved literary recognition in England. There were virtually no references to the poet, either in published volumes or in the Portuguese press of the 19th century, and the first translation of one of his poems was only published in 1915. The poet’s famous odes, generally considered his most influential works, were only translated in 1960. This was followed by an increase in the number of published translations, as well as essays on Keats and his work. The reception of John Keats in Portugal was evidently dissimilar to the ones of Lord Byron and Walter Scott (1771-1832), two Anglo-Saxon romantics tremendously appreciated in the country since the early 19th century. The aim of this case study is, to the extent that is possible, to point out and to clarify the reasons that led to the late reception of this English romantic in Portugal. It is therefore important to draw a comparison between the receptions of Keats, Byron and Scott in the country, as well as to discuss the importance of the French cultural system in the mediation of English authors and works to Portugal during that period.

Madness Writing Poetry/ Poetry Writing Madness

2017 ◽  
Author(s):  
James Whitehead
Keyword(s):  
William Wordsworth ◽  
Samuel Taylor Coleridge ◽  
English Literature ◽  
Percy Bysshe Shelley ◽  
John Keats ◽  
William Blake ◽  
Lord Byron ◽  
The Public ◽  
John Clare ◽  
Romantic Poetry

The final chapter returns to the scene of Romantic poetry, looking at poetry by William Blake, William Wordsworth, Samuel Taylor Coleridge, John Keats, Lord Byron, Percy Bysshe Shelley, and John Clare. It reads these Romantic texts as poised articulations of the idea of poetic madness, and discusses generally how these writers contributed to, or interwove with their own lives and works, new and rediscovered mythologies of madness, sometimes anticipating or resisting the public images created by journalism, criticism, or biography, previously described. Finally, the Romantic mad poet is considered in relation to criticism and the canonical role of Romanticism in English literature.

scholarly journals Cathy’s mourning in Emily Brontë’s Wuthering Heights

Literator ◽  
2017 ◽  
Vol 38 (1) ◽  
Author(s):  
J. Albert Myburgh
Keyword(s):  
19Th Century ◽  
Character Development ◽  
Wuthering Heights ◽  
Anticipatory Mourning

In Emily Brontë’s Wuthering Heights, illness and death cause characters to foresee, fear and react to other characters’ deaths. In this article, I explore the significance of Cathy’s anticipatory mourning of, and response to, the eventual actual deaths of her ailing father, Edgar, and her sickly cousin, Linton. Core 19th-century perspectives and fears relating to illness and death are both evident and contested in the representation of Cathy’s anxiety and suffering. I also investigate how Cathy’s grief is exacerbated by and affects the behaviour of other characters, notably Nelly, Linton, Heathcliff, Zillah and Hareton. The depiction of these characters’ responses to Cathy’s misery enriches their portrayal, implying that Cathy’s fear and grief are integral to both the novel’s plot and its character development.

Nature and the Sublime

2021 ◽  
Author(s):  
Mark Sandy
Keyword(s):  
William Wordsworth ◽  
Percy Bysshe Shelley ◽  
John Keats ◽  
Natural World ◽  
Gothic Fiction ◽  
John Clare ◽  
Nature And Culture ◽  
The Sublime ◽  
The Many ◽  
The Mind

An account of Edmund Burke’s central ideas about the Sublime and the Beautiful shows how the emphasis Burke gave to terror helped to shape the Gothic fiction of Ann Radcliffe and Mary Shelley. Focusing on examples from the poetry of William Wordsworth, Lord Byron, Charlotte Smith, Percy Bysshe Shelley, John Keats, and John Clare, the remainder of this essay explores the ways in which Romantic poets both thought about and attempted to represent those elements of the sublime that were instigated by their encounters with the natural world. What emerges as defining about these interactions between the mind and world is how imaginative impulses towards a sense of the sublime often led to a renewed sense of the material world and the very contingencies of existence they sought to transcend. Even Wordsworth’s more reverential response to the natural world as sacrosanct recognises the ‘awe’ of the sublime can be as much consoling as it is disturbing. These disturbing aspects of natural process and the sublime are self-consciously explored in the poetry of Shelley, who subjects notions of transcendence and idealism to sceptical scrutiny. With varying degrees of emphases, the poetry of Byron, Smith, and Clare elide distinctions between nature and culture to acknowledge a sublime more explicitly shaped by temporal and material processes. Finally, a key episode in Keats’s Ode to a Nightingale is read as exemplifying the many difficulties and complexities of the Romantic imagination’s encounter with, and its attempts, to represent transcendence and the sublime.

scholarly journals WUTHERING HEIGHTS IN THE FRANCO DICTATORSHIP: ANALYSIS AND EVALUATION OF THE TRANSLATION BY EL BACHILLER CANSECO (1947)

2018 ◽  
Vol 24 ◽  
Author(s):  
Ana Pérez Porras
Keyword(s):  
Social Context ◽  
Emily Bronte ◽  
Original Text ◽  
Specific Training ◽  
Wuthering Heights ◽  
Analysis And Evaluation ◽  
Cultural Legacy ◽  
Franco Dictatorship

Wuthering Heights (1847), by Emily Brontë, has been translated into Spanish on more than one hundred occasions. The translation by El Bachiller Canseco (1947) was first published during the Franco dictatorship in an era of censorship in which the translator did not have specific training or any access to specialised monographs. This lack of training has an impact on the resulting target text; the translation did not succeed at transferring Brontë’s cultural legacy. To transfer it correctly, the historical-social context of the work would need to be studied in great detail. In the text, we are witness to the translator’s intervention, something that we can observe in the omissions, errors and examples of interpretative translation, which are non-existent in the original text. El Bachiller Canseco did not appear to know the sources of the original text, nor was he able to establish the line between his facet as a writer and translator. 

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