John Keats and John Clare: The Ivory Tower Poets of British Romanticism

The focus of this research is in the area of the British Romantic literature. Such a study is important in order to demonstrate how the great poets of the British Romantic literature possess the potential to be regrouped under new labels based on the existence of similar attitudes in their literary works. The findings from this research provide evidence that the labels by means of which the scholars group different poets of an age are not fixed and they are susceptible to change. The main conclusion drawn from this study is that new literary labels can be an excellent methodology for determining the real attitudes which influence different poets’ literary works. This paper recommends that new literary labels can be an excellent way for a better understanding of literary works.

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Making Ivory-Tower Job Analysis Useful in the Real World

PsycEXTRA Dataset ◽

10.1037/e518572013-312 ◽

2006 ◽

Author(s):

Mark A. Wilson ◽

Milton Hakel ◽

Robert J. Harvey

Keyword(s):

Real World ◽

Job Analysis ◽

Ivory Tower ◽

The Real

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

Studia Musicologica ◽

10.1556/6.2014.55.1-2.2 ◽

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.

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Quintessence of Truth and Beauty in the Writings of Rabindranath Tagore and Keats A Comparative Analysis

IJOHMN ◽

10.24113/ijohmn.v1i3.13 ◽

2015 ◽

Vol 1 (3) ◽

pp. 52-68

Author(s):

Swati Rani Debnath

Keyword(s):

Comparative Analysis ◽

John Keats ◽

Spiritual Discipline ◽

Literary Works ◽

Rabindranath Tagore ◽

Human Thought ◽

Spiritual Perspective ◽

Eye Opening ◽

Sensual Pleasure ◽

The Universe

In literary works, truth and beauty have been expressed in a varied number of ways by authors of all genres. Rabindranath Tagore and John Keats, two prominent writers from two languages have linked beauty and truth in philosophical manners in many of their writings. Beauty and truth are not separate entities; they flow from the same spring. Tagore views beauty as linked to eternal characteristics of nature and truth is associated with it. Keats sees beauty from spiritual perspective and according to him, realization of truth leads to the fulfillment of beauty. Readers of Tagore and Keats get eye-opening insights from the viewpoints that are followed by their expressions in regarding the tenets of truth and beauty. Truth and beauty fulfill each other in their harmonious existence in the universe. The authors make us realize that beauty does not emanate merely from sensual pleasure; it is an abstract idea, a spiritual understanding that originates from rhythmic attachment with truth. This article compares and contrasts philosophies of truth and beauty from the writings of Tagore and Keats. In doing so, the paper investigates the literary works of the two writers and explores how they have philosophized truth and beauty in the domain of human thought as well as in the realm of spiritual discipline.

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Madness Writing Poetry/ Poetry Writing Madness

10.1093/oso/9780198733706.003.0007 ◽

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.

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Nature and the Sublime

10.4324/9780815394266-rom4-1 ◽

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.

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TYPOLOGY AND STRATEGIES OF CREATIVE RECEPTION: A CASE STUDY OF ENGLISH POSTMODERNIST POETRY AND PROSE

Вестник Пермского университета Российская и зарубежная филология ◽

10.17072/2073-6681-2020-2-110-119 ◽

2020 ◽

Vol 12 (2) ◽

pp. 110-119

Author(s):

Maria S. Sloistova ◽

Keyword(s):

Short Stories ◽

Short Story ◽

Reception Theory ◽

Ivory Tower ◽

The Novel ◽

Literary Works

The paper focuses on complex research and description of creative reception theory and typology. There are provided definitions of such terms as reception, creative reception, creative reception strategies, and others. The author builds the typology of creative reception on the basis of works by E. V. Abramovskikh, S. Ye. Trunin, M. V. Zagidullina, V. I. Tyupa, and M. Naumann. This typology includes two types (or levels) of creative reception, defined as classic and postmodernist. Each of the types is characterized by a number of strategies, i. e. ways of representing an artistically received text in one’s own work. The classic type strategies (formal, authentic, neutral and antithetical) focus primarily on plot transformation. As for the postmodernist level, the author singles out two strategies: congenial and play. The theory and typology of creative reception is substantiated with some examples of reminiscences and allusions to English and world poetry. The examples under analysis are taken from the following prose works by the outstanding English postmodernist writer John Robert Fowles (1926–2005): the novel The French Lieutenant’s Woman (1969), the collection of long short stories The Ebony Tower (1974), the philosophic book The Aristos (1964), and also the lyric collection Selected Poems, published posthumously in 2012. The collection has not been translated into Russian yet. Therefore, the poem under analysis (Islanders) has been translated into Russian by the author of the present paper. The paper also deals with indirect Biblical reception which is found in the allusion to the ivory tower. The allusion gave the title The Ebony Tower both to Fowles’ long short story and collection as a whole. The author of the paper draws a conclusion about the dominant creative reception strategies in the literary works under analysis and also about the possible use of the presented creative reception typology in analyzing works by other writers.

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Imagology of Iranians in One Thousand Nights and One Night

European Journal of Language and Literature ◽

10.26417/ejls.v4i1.p74-80 ◽

2016 ◽

Vol 4 (1) ◽

pp. 74

Author(s):

Ehsan Ghabool ◽

Mina Ravansalar

Keyword(s):

Comparative Literature ◽

Literary Work ◽

Real Image ◽

Economic Prosperity ◽

Literary Works ◽

Arabic Translation ◽

The Real ◽

Similarities And Differences ◽

Definition Of

Imagology is a branch of comparative literature which explores the image of one nation in the literature of another nation. One Thousand Nights and One Night is among the important books which can show the image of different nations and people such as Indians, Iranians and Arabs. Since the oldest version of the book is in Arabic, it is considered an Arabic literary work though it was translated from a Persian tale in the first place. On this basis the study of the image of Iranians in One Thousand Nights and One Night can be included under the definition of imagology. In this article, first we explain, analyze and study the image of Iranians in the book One Thousand Nights and One Night with respect to 1. anthropology (including entertainments, personification of animals, disapprobation of lies and betrayal of spouses), 2. religious and mythical beliefs (including the belief in daevas and jinnis, magic, fire-worshipping and similar plots), 3. politics (emphasizing the position of vizier and his family in government), 4. economics (emphasizing economic prosperity), then we will compare the collected information with the image of Iranians in credited works and in this way we will identify the similarities and differences of Iranians’ image in One Thousand Nights and One Night and the above-said literary works. Finally we come to this conclusion that the similarities belong to the real image of Iranians in the pre-Islamic days and that differences show the image of post-Islamic Iran which is added through Arabic translation.

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Misrepresentation of Orientals in Dave Eggers’s A Hologram for The King

Journal of Raparin University ◽

10.26750/vol(8).no(3).paper13 ◽

2021 ◽

Vol 8 (3) ◽

pp. 250-258

Author(s):

Samal Marf Mohammed

Keyword(s):

Twentieth Century ◽

Saudi Arabia ◽

Postcolonial Theory ◽

Real Image ◽

Literary Works ◽

The Real ◽

Postcolonial Discourse ◽

Economic Motives ◽

At Home

This study deals with the colonial perspectives in Dave Eggers’s A Hologram for The King (2012), according to the postcolonial approach. Although colonialism era is over by now, colonial perspectives remain strong in some literary works. Since its advent in the second half of the twentieth century, postcolonial theory confronts colonial attitudes and experiences as colonialism has been justified in many works of Western writers and scholars who have distorted the real image of non-Europeans and non-Westerners via different means and techniques in masquerade of orientalism. Postcolonial discourse opposes the misrepresentation of non-Europeans and argues that such falsification is driven by political, social, religious and economic motives. In the current study, the researcher aims at explaining the notions of colonialism, otherization and other falsified images of non-Westerners in A Hologram for the King. This paper mainly questions Eggers’s portrayal of the protagonist, Alan Clay, who after bankruptcy and failure at home, flies to Saudi Arabia and capitalizes on the physical and moral assets of the Orientals in this country to convert his story of failure to a success. The characterization of the oriental world and its setting show Eggers’s being biased against the Eastern world and ironically mirror clear hints of colonialism and eurocentrism.

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