scholarly journals The Byronic Hero Myth Reloaded in E. L. James’s Fifty Shades of Grey Series

2021 ◽  
Author(s):  
Tatiana GOLBAN ◽  
Mahri BABAGULYYEVA
Keyword(s):  
Byronic Hero ◽  
Fifty Shades Of Grey

“Christ’s mighty shrine above His martyr’s tomb”: Byron and Liszt’s Journey to Rome

2014 ◽  
Vol 55 (1-2) ◽  
pp. 17-26
Author(s):  
Paul W. Merrick
Keyword(s):  
Literary Works ◽  
The Real ◽  
English Poet ◽  
Byronic Hero ◽  
Public Enemy ◽  
The Face ◽  
Narrative Poem ◽  
Positive Force

The influence of Byron on Liszt was enormous, as is generally acknowledged. In particular the First Book of the Années de pèlerinage shows the poet’s influence in its choice of Byron epigraphs in English for four of the set of nine pieces. In his years of travel as a virtuoso pianist Liszt often referred to “mon byronisme.” The work by Byron that most affected Liszt is the long narrative poem Childe Harold’s Pilgrimage which was translated into many languages, including French. The word “pèlerinage” that replaced “voyageur” is a Byronic identity in Liszt’s thinking. The Byronic hero as Liszt saw him and imitated him in for example Mazeppa and Tasso is a figure who represented a positive force, suffering and perhaps a revolutionary, but definitely not a public enemy. Liszt’s life, viewed as a musical pilgrimage, led of course to Rome. Is it possible that Byron even influenced him in this direction? In this paper I try to give a portrait of the real Byron that hides behind the poseur of his literary works, and suggest that what drew Liszt to the English poet was precisely the man whom he sensed behind the artistic mask. Byron was not musical, but he was religious — as emerges from his life and his letters, a life which caused scandal to his English contemporaries. But today we can see that part of the youthful genius of the rebel Byron was his boldness in the face of hypocrisy and compromise — his heroism was simply to be true. In this we can see a parallel with the Liszt who left the piano and composed Christus. What look like incompatibilities are simply the connection between action and contemplation — between the journey and the goal. Byron, in fact, can help us follow the ligne intérieure which Liszt talked about in the 1830s.

Once and Future Kingdoms

2018 ◽  
Author(s):  
Donald Mackenzie
Keyword(s):  
English History ◽  
Magna Carta ◽  
Byronic Hero ◽  
Point Of Reference

The first half of this chapter considers responses to kingdoms lost (whether to union or partition) in texts from Scott and Mickiewicz. Redgauntlet as Byronic Hero leads into Konrad Wallenrod, and the latter on to Mickiewicz’s responses (mythmaking, satiric, elegiac, and idyllic) to the failure of the Polish Insurrection of 1830–1. The second half considers, in texts from Ivanhoe to Kipling and Buchan, a myth of English history as organic assimilation into union. It sketches a historiographical context for that myth, and analyses challenges to it: the narrative within Puck of Pook’s Hill that climaxes in Magna Carta, or Buchan’s myth of Old England. Concepts of the elegiac, the duplex homo, historical mythmaking and the counter-kingdom organize both halves. Conrad is a point of reference; and the close brings the discussion under an Arthurian rubric of once and future kingdoms.

scholarly journals Fifty shades of grey: concussion complexities and constructive conclusions

2015 ◽  
Vol 49 (8) ◽  
pp. 492-493 ◽  
Author(s):  
Jonathan Patricios ◽  
Michael Makdissi
Keyword(s):  
Fifty Shades Of Grey

Fifty Shades of Grey

2016 ◽  
Vol 28 (2-3) ◽  
pp. 111-114
Author(s):  
Altamit Lewis ◽  
Nichole E. Jones
Keyword(s):  
Fifty Shades Of Grey

scholarly journals Fifty Shades of Bluebeard? Dukas'sAriane et Barbe-Bleuein the Twenty-First Century

2018 ◽  
Vol 15 (3) ◽  
pp. 399-438
Author(s):  
LAURA WATSON
Keyword(s):  
Popular Culture ◽  
Mass Media ◽  
Sexual Violence ◽  
First Century ◽  
Twenty First Century ◽  
Fifty Shades Of Grey

AbstractWith the appearance of opera videos in 2013 (DVD) and 2015 (YouTube), Paul Dukas'sAriane et Barbe-Bleue(1907) has been revived for twenty-first-century audiences. Not only has this formerly obscure work migrated to a mass-media landscape of personalized digital consumption, but its cultural recontextualization has also been extended to the interpretations staged in those opera videos. Both challenge historical, feminist readings ofAriane. Updating the action to modern scenes of abduction and captivity, these productions recast Ariane as victim and reframe the opera as part of the present discourse on sexual violence. As these recent productions ofArianeresonate with broader aesthetic tendencies in current popular culture, I trace parallels between the opera and three such examples from 2015. Selecting works that exemplify the trend of repackaging the Bluebeard tale as contemporary drama, I cite the filmsFifty Shades of GreyandRoom, and the Netflix seriesThe Unbreakable Kimmy Schmidt.

scholarly journals A Study of Genderlect features in "Fifty Shades of Grey" by E L James

2021 ◽  
Vol VI (I) ◽  
pp. 1-7
Author(s):  
Fasiha Ali Akbar ◽  
Mamona Yasmin Khan ◽  
Fariha Chaudhary
Keyword(s):  
Language Teachers ◽  
Communication Pattern ◽  
The Novel ◽  
Gendered Language ◽  
Men And Women ◽  
What Is Said ◽  
Fifty Shades Of Grey

Gendered language not only focuses on what is said but also includes how to express that thought. This paper attempts to investigate the differences between the speech style of men and women. Data of ten passages have been collected from the novel "Fifty Shades of Grey" by E L James and analyzed qualitatively by using Deborah Tannen's Difference approach. The results of this study show that there are notable differences that distinguish men's communication pattern from women because of different established norms and culture of that society. Moreover, this study can be helpful to bridge the communication gulf between the two genders. Furthermore, this study can reveal to maintain a healthy atmosphere and raises awareness in society by understanding their different style of utterances. In addition, it also proves very helpful for the language teachers teaching to teach the learners according to their culture.

scholarly journals The Changing Faces of the Byronic Hero in Middlemarch and North and South

Romanticism ◽  
2008 ◽  
Vol 14 (1) ◽  
pp. 25-35 ◽  
Author(s):  
SARAH WOOTTON
Keyword(s):  
Nineteenth Century ◽  
Women Writers ◽  
Cultural Phenomenon ◽  
Victorian Period ◽  
Byronic Hero ◽  
Nineteenth Century Novels ◽  
North And South

Almost two hundred years after the publication of the first two cantos of Childe Harold's Pilgrimage, the Byronic hero remains, as Andrew Elfenbein argues, an ‘unprecedented cultural phenomenon’.1 This essay is not concerned with the more direct descendants of the Byronic hero (Rochester and Heathcliff, for example); rather, I shall be focusing on the less immediately obvious, and in some respects more complex, reincarnations of the Byronic hero in two nineteenth-century novels, George Eliot's Middlemarch and Elizabeth Gaskell's North and South. Establishing previously neglected connections between these authors and the figure of the Byronic hero not only opens new avenues of debate in relation to these novels, but also permits a reassessment of the extent and significance of Byron's influence in the Victorian period. The following questions will be addressed: first, why does a Byronic presence feature so prominently in the work of nineteenth-century women writers; second, what is distinctive about Eliot and Gaskell's respective treatments of this figure; and, third, how is the Byronic hero subsequently reinvented, and to what effect, in modern screen adaptations of their work?

Antithetical Minds: Eliot’s Byron and Byron’s Burns

2021 ◽  
Vol 49 (1) ◽  
pp. 15-28
Author(s):  
Jake Phipps
Keyword(s):  
Don Juan ◽  
Byronic Hero

This article examines the influence which Robert Burns had on Lord Byron’s poetry and his creation of the Byronic Hero, while also viewing T.S. Eliot’s 1937 essay on Byron as a significant piece of Byron criticism - useful not just for its insights on Byron, but for the affinities it reveals between Byron and Burns, and in turn, what it reveals about some of Eliot’s own critical and poetic practices. Eliot ranked Byron as second only to Chaucer in terms of ‘readability’, and praised him for his gifts as a tale-teller and his art of digression. I argue that Burns’s poem ‘Tam O’Shanter’ was an important source for the techniques of digression and self-conscious performance found in Don Juan, as well as for Byron’s conception of the Byronic Hero, where, again, ‘Tam O’Shanter’, and The Jolly Beggars, are particularly illuminating.

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