scholarly journals THE REPRESENTATION OF BEAUTY DISCOURSE IN LORD BYRON’S SELECTED POEMS REPRESENTASI WACANA KECANTIKAN DALAM PUISI LORD BYRON

2019 ◽  
Vol 19 (2) ◽  
Author(s):  
Anisa Hikmah Suryandari
Keyword(s):  
Representation Theory ◽  
Michel Foucault ◽  
Industrial Revolution ◽  
Lord Byron ◽  
Natural Beauty ◽  
Romantic Movement ◽  
Romantic Era ◽  
Concept Of Beauty ◽  
Divine Beauty ◽  
Physical Beauty

This study discusses beauty discourse in the era of Romanticism. Beauty discourse was produced through Byron poems from 1813-1815. Byron was one of the leading figures in the Romantic movement who was influential at the time. We use three Byron poems as the main data for this study. These poems are She Walks in Beauty (1814), Sonnet to Genevra (1813), and Stanzas for Music (1815). The concept of beauty produced by the three poems above connects physical beauty and intellectual beauty with natural elements as one of the great themes of the Romanticism era. The concept of beauty at that time was closely related to the romantic society of England. Referring to this reason, Stuart Hall's representation theory and discursive approach by Michel Foucault are used as a tool to analyze the above problems. The results of this study indicate that the concept of beauty in the romantic era (1) emphasizes intellectual beauty or beyond the physical itself as a concept of beauty in that era. In addition, three concepts of beauty, physical beauty, intellectual beauty, and natural beauty will always lead to divine beauty, where all life comes from Him, and (2) The three poems make beauty an instrument to criticize the presence of the industrial revolution at that time which is considered to cause chaos in romantic life.

scholarly journals BEAUTY AND UGLINESS IN THE POETRY COLLECTION MAULĪDAL-DIBA' I BY ABDURRAHMAN AL-DIBA'I: A SIEGELIAN AESTHETICS PERSPECTIVE

2020 ◽  
Vol 8 (3) ◽  
pp. 890-899
Author(s):  
Fadlil Munawwar Manshur
Keyword(s):  
Arabian Peninsula ◽  
Arabic Language ◽  
Mental Experience ◽  
Key Concepts ◽  
Aesthetic Realism ◽  
The Mind ◽  
Language Text ◽  
Divine Beauty ◽  
Physical Beauty ◽  
Poetry Collection

Purpose: The formal objective of this study is to explore the beauty and ugliness contained within the poetry collection Maulīd Al-Diba'i, an Arabic-language text that conveys messages of beauty and ugliness in its verses. The material of this study is the poetry collection Maulīd Al-Diba'i, which was written by Imam Wajihuddin 'Abdur Rahman bin Muhammad bin 'Umar bin 'Ali bin Yusuf bin Ahmad bin 'Umar ad-Diba'ieasy-Syaibani al-Yamani az-Zabidiasy-Syafi'i (henceforth Abdur Rahman Al-Diba'i). Methodology: The current research is descriptive that explains the crux of poetry. For this purpose the poetry collection Maulīd Al-Diba' I was used and analysed. To achieve the objective analytical method was used. .Main Findings: Based on the analysis, it may be concluded that the poetry collection Maulīd Al-Diba'i is a work of Arabic-language Islamic literature that was influenced by the verses of the Qur'an and their beauty. The verses of Maulīd Al-Diba'i are conveyed through the language of prayers, hopes, and blessings. These prayers, hopes, and blessings contain within them their beauty, both at the surface and below it. The poet, Abdurrahman Al-Diba'i, readily conveys his prayers, hopes, and blessings by briefly retelling the story of the Prophet Muhammad's travels to spread Islam throughout the Arabian Peninsula. Implications/Applications: This article applies the theory of aesthetic realism, which contains within it two key concepts: physical beauty and divine beauty. Physical beauty is related to the perceptions of the senses, and is cognitive, cultural, and natural, whereas divine beauty is perceived through the mind and promotes awareness and mental experience. Novelty/Originality of this study: This research will uncover the facts that on what basis, in the poetry collection Maulīd Al-Diba'i, is there a dominant message of beauty that is expressed explicitly and opposed with a message of ugliness that is expressed implicitly. It will also add to literature explaining that the text Maulīd Al-Diba'i may be understood as a tool for satisfying the spiritual demands of readers and enabling them to contemplate their religion.

scholarly journals Representament and Object (RO) Marking Iconicity Relationship in Wardah Cosmetics Commercial TV Advertising

2022 ◽  
Vol 12 (1) ◽  
pp. 193-202
Author(s):  
Somadi ◽  
Tadjuddin Maknun ◽  
Ikhwan M. Said ◽  
Munira Hasjim
Keyword(s):  
The Body ◽  
Social Activities ◽  
Television Commercials ◽  
Commercial Television ◽  
Qualitative Descriptive ◽  
Concept Of Beauty ◽  
The Relationship ◽  
Descriptive Method ◽  
Analyze Data ◽  
Physical Beauty

This study aims to examine the relationship between representament and object iconicity in Wardah's cosmetic commercial television commercials, which include shampoo, BB cream, mascara, lipstick, and social activities. Wardah cosmetic commercial television commercials attempt to construct consumers using the concept of “Beauty from the heart”. Meanwhile, the beauty of cosmetic users is always visible physically. Thus, it cannot be proven to be real beauty from the heart when someone uses cosmetics. This study uses a qualitative descriptive method to analyze data in the form of verbal and nonverbal text. The researcher uses Charles Sander Peirce's semiotic theory which divides the signs according to the relationship between the representament (sign) and its object (marker) into icons, indexes, and symbols. The results of this study indicate that beauty can be classified into two categories, namely physical beauty and psychological beauty. Physical beauty relates to the body and the head. There are four parts of the head which are icons of beauty for a young woman: 1) the hair, 2) the facial skin, 3) the eyes, and 4) the lips. Meanwhile, psychological beauty is a beauty from the heart that is manifested in the form of attitudes during social activities. In addition, young women as users of Wardah cosmetics are represented by the use of youthful vocabulary and language typical of the millennial generation.

Romanticism: Characteristics, Themes and Poets

2021 ◽  
Vol 9 (5) ◽  
pp. 66-74
Author(s):  
Mr Amit
Keyword(s):  
William Wordsworth ◽  
English Literature ◽  
Lord Byron ◽  
The United States ◽  
Second Phase ◽  
Ludwig Tieck ◽  
Creative Mind ◽  
Jean Paul ◽  
Romantic Era ◽  
Lyrical Ballads

This paper examines about Romanticism or Romantic era, themes and some famous writers, poets and poems of romantic era. Romanticism is one of the repetitive topics that are connected to either creative mind, vision, motivation, instinct, or independence. The subject frequently condemns the past, worries upon reasonableness, disconnection of the essayist and pays tribute to nature. Gone before by Enlightenment, Romanticism brought crisp verse as well as extraordinary books in English Literature. Begun from England and spread all through Europe including the United States, the Romantic development incorporates well known journalists, for example, William Wordsworth, Coleridge, Keats, Lord Byron, Shelley, Chatterton, and Hawthorne. ‘Romantic’ has been adjusted from the French word romaunt that implies a story of Chivalry. After two German scholars Schlegel siblings utilized this word for verse, it changed into a development like an epidemic and spread all through Europe. Romanticism in English writing started during the 1790s with the distribution of the Lyrical Ballads of William Wordsworth and Samuel Taylor Coleridge. Wordsworth's "Preface" to the subsequent version (1800) of Lyrical Ballads, in which he portrayed verse as the spontaneous overflow of powerful feelings", turned into the statement of the English Romantic development in verse. The first phase of the Romantic movement in Germany was set apart by advancements in both substance and artistic style and by a distraction with the mysterious, the intuitive and the heavenly. An abundance of abilities, including Friedrich Hölderlin, the early Johann Wolfgang von Goethe, Jean Paul, Novalis, Ludwig Tieck, A.W. what's more, Friedrich Schlegel, Wilhelm Heinrich Wackenroder, and Friedrich Schelling, have a place with this first phase. The second phase of Romanticism, involving the period from around 1805 to the 1830s, was set apart by a reviving of social patriotism and another regard for national roots, as bore witness to by the accumulation and impersonation of local old stories, people songs and verse, society move and music, and even recently disregarded medieval and Renaissance works. The resuscitated recorded  appreciation was converted into creative composition by Sir Walter Scott, who is frequently considered to have imagined the verifiable novel. At about this equivalent time English Romantic verse had arrived at its peak in progress of John Keats, Lord Byron, and Percy Bysshe Shelley.

scholarly journals A Revival of the Romantic Era as seen through a Comparative Study of Auld Lang Syne and Sumer Is Icumen In

2020 ◽  
Vol 8 (9) ◽  
pp. 145-150
Author(s):  
Nadia De Souza
Keyword(s):  
Comparative Study ◽  
19Th Century ◽  
William Wordsworth ◽  
Romantic Movement ◽  
Romantic Era ◽  
The 19Th Century ◽  
Looking Back

The Romantic Movement of 19th century Britain is often credited to William Wordsworth, while his predecessor, Robert Burns is regarded as the pioneer of the movement with his poetic themes of simplicity, friendship, and reverence for nature and rustic life, to name a few. Yet, on looking back at the medieval ages, one comes across the anonymous poem Sumer Is Icumen In that is centred around similar themes and ideas. This, thus, calls for a more nuanced analysis and understanding of the romantic ideologies that then do not appear to be new to the 19th century, but simply recurrent of what already existed. Therefore, through a comparative study of Robert Burns’ Auld Lang Syne and the medieval poem Sumer Is Icumen In, this paper will seek to place Burns either as the pioneer of the romantic movement or as a reviver of a medieval tradition. I will explore the themes, features, and form that persist in these poems.  

scholarly journals Ἀμήχανόν τι κάλλος. Re-evaluating the Concept of Beauty in Heliodorus’ Aithiopika

Nova Tellus ◽  
2021 ◽  
Vol 39 (1) ◽  
pp. 107-129
Author(s):  
Markus Hafner ◽  
Keyword(s):  
Ancient Greek ◽  
Concept Of Beauty ◽  
Persuasive Effect ◽  
Divine Beauty

Of the extant ancient Greek novels, Heliodorus’ Aithiopika is by far the most ‘sophisticated’. One of its topics is the virtually irresistible, and almost ‘divine’, beauty of both protagonists, Theagenes and Charicleia. Whereas earlier scholarship brought Heliodorean beauty into line with Platonic concepts and highlighted its ethical value or even metaphysical character, this article tries to throw into relief another aspect of Heliodorean κάλλος, emphasising a link between the Aithiopika and rhetorical exercises based on beauty. Thus, κάλλος makes explicit the persuasive effect of the text itself. By means of Heliodorus’ art of description, the quality of beauty also bears meta-literary implications. The Aithiopika, consequently, advertise in a self-referential way their own rhetorical attraction and persuasiveness.

Romantic Prayer

2021 ◽  
Author(s):  
Christopher Stokes
Keyword(s):  
Lived Experience ◽  
William Wordsworth ◽  
Percy Bysshe Shelley ◽  
John Keats ◽  
Lord Byron ◽  
Religious Traditions ◽  
William Cowper ◽  
Anna Letitia Barbauld ◽  
Romantic Era ◽  
Aesthetic Distance

Whilst religion and the secular have been continually debated contexts for literature of the Romantic era, the dominant scholarly focus has always been on doctrines and denominations. In analysing the motif of devotion, this book shifts attention to the quintessential articulation of religion as lived experience, as practice, and as a performative rather than descriptive phenomenon. In an era when the tenability and rationality of prayer were much contested, poetry—a form with its own interlinked history with prayer, especially via lyric—was a unique place to register what prayer meant in modernity. This study illustrates how the discourse of prayer continually intervened in the way that poetic practices evolved and responded to the religious and secular questions of the eighteenth- and nineteenth-century moment. After laying out the details of prayer’s historical position in the Romantic era across a spread of religious traditions, it turns to a range of writers, from the identifiably religious to the staunchly sceptical. William Cowper and Anna Letitia Barbauld are shown to use poetry to reflect and reinvent the ideals of prayer inherited from their own Dissenting denominational histories. Samuel Taylor Coleridge’s work is analysed as part of a long engagement with the rationality of prayer in modernity, culminating in an explicit ‘philosophy’ of prayer; William Wordsworth—by contrast—keeps prayer at an aesthetic distance, continually alluding to prayerful language but rarely committing to a devotional voice itself. John Keats, Percy Bysshe Shelley, and Lord Byron are treated in the context of departing from Christianity, under the influence of Enlightenment, materialist and atheist critique—what happens to prayer in poetry when prayer as a language is becoming impossible to maintain?

Romantic Italy and Restoration Politics: Romantic Poetry, Lady Morgan’s Italy and Mary Shelley’s Valperga

2019 ◽  
pp. 29-61
Author(s):  
Patricia Cove
Keyword(s):  
William Wordsworth ◽  
Historical Novel ◽  
Lord Byron ◽  
Status Quo ◽  
Cultural Appropriation ◽  
Felicia Hemans ◽  
Territorial Expansion ◽  
Romantic Poetry ◽  
Romantic Era

Chapter 1 analyses Romantic-era responses to the Congress of Vienna and 1820-1 Italian uprisings, with attention to Lady Morgan’s travelogue Italy (1821) and Mary Shelley’s historical novel Valperga (1823). Although the tropes of decay and rebirth that pervade British Romantic poetry about Italy by William Wordsworth, Felicia Hemans, Lord Byron and P. B. Shelley tend to elide contemporary Italy in favour of a distant, idealised past and imminent but imagined future, Morgan and Shelley historicise Italy to demonstrate that outside influence and occupation shaped the peninsula, while Italy mediated the major European powers’ views of themselves and each other. Morgan and Shelley place Italy, a cluster of minor states, within a broad, European context of cultural appropriation, imperialist territorial expansion and failed diplomacy, to interrogate the discourse of Italian decay and offer, instead, Italy as a potential site of concrete resistance to the post-Napoleonic status quo.

scholarly journals The Napoleon mystique and British poets

2019 ◽  
Vol 17 (26) ◽  
pp. 359-377
Author(s):  
Mary Anne Mc Danel de García
Keyword(s):  
William Wordsworth ◽  
British Literature ◽  
Samuel Taylor Coleridge ◽  
Lord Byron ◽  
Precise Definition ◽  
Romantic Era ◽  
At Home

This reflection on the influence of Napoleon and the consequences of the wars on the major British poets of the Romantic era is meant to illustrate how the reactions of both nobility and commoners are recorded in literature and media. The dual perception of Napoleon as both hero and tyrant and the atrocious suffering of those at home and bloody battles are manifest in the works of the major poets, William Wordsworth, Samuel Taylor Coleridge, Percy Bysshe Shelly, and especially George Gordon, Lord Byron. Even today, Napoleon transcends precise definition and he has inspired some of the greatest poets in British literature

Introduction

2020 ◽  
pp. 1-15
Author(s):  
Simon Bainbridge
Keyword(s):  
Samuel Taylor Coleridge ◽  
John Keats ◽  
Lord Byron ◽  
Ann Radcliffe ◽  
Literary Authority ◽  
Romantic Period ◽  
Romantic Era ◽  
The Creation ◽  
Walter Scott ◽  
Dorothy Wordsworth

This ‘Introduction’ establishes the importance of the activity Samuel Taylor Coleridge christened ‘mountaineering’ for the literature of the Romantic period. It discusses the etymologies of the words ‘mountaineering’ and ‘mountaineer’, showing how they indicated the creation of a new activity and identity. The chapter outlines the mountaineering pursuits and writings of a number of the period’s authors, including William and Dorothy Wordsworth, Ann Radcliffe, Coleridge, Percy Shelley, Lord Byron, Walter Scott, John Keats, and Ellen Weeton, exploring the emerging link between ascent and literary authority. The introduction situates the overall study in terms of current research in the fields of mountaineering and Romantic-era literature.

Creative Translation

2018 ◽  
Author(s):  
Michael Rossington
Keyword(s):  
Native Language ◽  
Percy Bysshe Shelley ◽  
John Keats ◽  
Lord Byron ◽  
Theory And Practice ◽  
The Other ◽  
Felicia Hemans ◽  
Other Hand ◽  
Romantic Era ◽  
Sir William Jones

This chapter addresses the theory and practice of translation in works by Lord Byron, Claire Clairmont, Felicia Hemans, Sir William Jones, John Keats, and Percy Bysshe Shelley. Despite Shelley’s view of its impossibility, translation is shown in the work of Jones, Byron, and Shelley to be one of the most vital and sophisticated literary activities of the Romantic era, at once a means to enlightenment about poetic traditions outside Britain and an arena for bold technical experimentation. For Shelley, translation constitutes a creative habitus through which he escapes his native language and then translates back into English from an assumed ‘foreign’ persona. Keats’s poetry, on the other hand, demonstrates how originality is prompted through engagement with the translations of others. The chapter also situates theories about translation in Britain within the context of wider debates on the Continent.

Sign in / Sign up

Export Citation Format

Share Document