Academic literature on the topic '1809-1849 Criticism and interpretation'
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Journal articles on the topic "1809-1849 Criticism and interpretation"
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Higginson, Ian N. "The first Antarctic voyage of Edgar Allan Poe." Polar Record 30, no. 175 (October 1994): 287–98. http://dx.doi.org/10.1017/s0032247400024554.
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AbstractThe Palmer-Pendleton sealing and exploring expedition (1829–1831) was the first American voyage of discovery to the Antarctic that had official government sanction. For the writer Edgar Allan Poe (1809–1849), this expedition was an important landmark in an age when science was beginning to change the American continent socially, politically, and geographically. The shift away from Jefferson's agrarian Utopia was marked tangibly by increased industrialisation, the advent of the railroad, the growth of scientific societies, the beginning of elite professionalisation in the sciences, and this major American Antarctic voyage. In the same year as the expedition left the US, Thomas Carlyle (1795–1881), philosopher and author, recorded the effect that such scientific and technological changes had wrought upon the literary artist when he characterised the era metaphorically as: ‘the Age of Machinery in every outward and inward sense of that word.’ The belief that a repetitive, blunt mechanism that stifled artistic imagination had entered society led Poe to offer a stark criticism of science and scientific method in his tale ‘MS found in a bottle’ (1832). This tale, written shortly after the return of the Palmer-Pendleton expedition, centres upon a voyage to the Antarctic and embodies some of Poe's finest early writing. Interleaved with the critique of science are contemporary themes of discovery, and the Romantic preoccupation with man's relationship to nature.
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Hashim, Mahyuddin, Abd Rahman Hussien Obeid, and Adnan Mohamed Yusoff. "التفسير الصوفي الإشاري في أعمال القلوب: دراسة نقدية في البحر المديد لابن عجيبة." Maʿālim al-Qurʾān wa al-Sunnah 8, no. 9 (December 1, 2013). http://dx.doi.org/10.33102/jmqs.v8i9.64.
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The research aims to define Tafsir Sufi Ishaari and Tafsir Al Bahr Al-Madid by Ibn Ajibah (1809). The research as well will extrapolate Tafsir Sufi Ishaari for Quranic verses in the book which related to the issue of the heart purification. The methodology for this research in analyzing information depends on the descriptive approach, and on collecting all facts and information. It also uses the analytical and criticism approach by matching the scholarly conditions of acceptance regarding Tafsir Sufi Ishari with what was interpreted by Ibn Al Ajibah. Then compare, evaluate and criticize it. Therefore, the findings indicate that the Tafsir Sufi Ishari-which is one of the types of the Quranic exegesis based on interpretations of verses contrasts the classical commentaries- by Ibn Ajibah in the issue of the heart purification that matching the conditions were based on two foundations. Firstly: The Tafsir Sufi Ishari was interpreted accordingly to general verses meaning and exegesis. Secondly: The relationship between Tafsir Sufi Ishari to al-Ma'thur is like the relationship causes and effect. The study also revealed that the contradictions with conditions ion Tafsir Sufi Ishari in this issue are based on three foundations. Firstly : interpretations of Ibn Ajibah were so far from the common use of Arabic understanding. Secondly: The interpretations made were analogous compared to other normal exegesis. Thirdly: to generalize some issues which are strictly individuals. In facts, if Ibn Ajibah limited his interpretation to his Ishari views there is no differences between him and the doctrine of Shiites Batiniyyah!, But our trust in his scholary Tafsir, his confirmation of classical interpretation and his condemnation of Batiniyyah understanding make his Tafsir Ishari valid and well concerned.
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Bach-Nielsen, Carsten. "Abildgaard, Bibelen og blasfemi." Religionsvidenskabeligt Tidsskrift, no. 19 (July 18, 1991). http://dx.doi.org/10.7146/rt.v0i19.5343.
Full textAbstract:
The Danish neoclassical painter Nicolai Abraham Abildgaard (1743-1809) received his artistic education in rome where he was influenced by the Swedish artist Sergei and the Swiss Fuseli. In 1777, he returned to Copenhagen where he became a professor at the Royal Academy of Fine Arts. In Rome, he encountered the thoughts of the European Enlightenment, revolutionary thoughts and opinions he was to hold for the rest of his life. In Copenhagen, he turned out to be a most satirical critic of the institutions of the absolute monarchy and the state church. Since the Reformation, the Danish clergy has guarded the Lutheran principle of interpretation of the Bible as a field of their own in order to protect the lay reader from misreadings of the text. The enlightened theologians, artists and philosophers show a great effort to let anyone read the Bible just they was he desires. In a number of satirical, blasphemical and erotic drawings with biblical themes in The Royal Collection of Prints and Drawings in Copenhagen, Abildgaard shows how he chose to interpret some passages of the Bible that until then had been explained through reference to other parts of the Bible by the clergy. Abildgaard provokes by reading and showing the Biblical texts without the guidance of the church's authorized interpretation - as documents of an ancient natural, raw, primitive but absolutely free society. the enlighted freedom of reading the Bible in one's own manner finds it counterpart in the popular magazines of theological criticism and satire of the 1790s.
Dissertations / Theses on the topic "1809-1849 Criticism and interpretation"
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Brackeen, Stephanie E. (Stephanie Ellen). "Edgar Allan Poe's Use of Archetypal Images in Selected Prose Works." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501065/.
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This study traces archetypal images in selected prose fiction by Edgar Allan Poe and shows his consistent use of such imagery throughout his career, and outlines the archetypal images that Poe uses repeatedly throughout his works: the death of the beautiful woman, death and resurrection, the hero's journey to the underworld, and the quest for forbidden knowledge. The study examines Poe's use of myth to establish and uphold archetypal patterns. Poe's goal when crafting his works was the creation of a single specified effect, and to create his effects, he used the materials at hand. Some of these materials came from his own subconscious; however, a greater portion came from a lifetime of study and his own understanding of the connections between myth and archetypal images.
2
Kessenich, Veronica L. "Odilon Redon, the visual poet of Edgar Allan Poe : a study of the lithographic album 'A Edgar Poë'." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/14486.
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Odilon Redon, The Visual Poet of Edgar Allan Poe: A Study of the Lithographic Album A Edgar Poe argues that the album A Edgar Poe, published in 1882, fundamentally alters Redon's artistic career. The thesis advocates the importance of Poe's writing to Redon's development, contending that the lithographic album confirms nineteenth-century literary and artistic interest in Poe. The thesis maintains that, while Redon subsequently attempted to disassociate himself from the American writer, his art was recognized and admired for its Poe-esque visions. Chapter One examines Edgar Allan Poe's influence on the nineteenth-century French artistic and literary avant-garde. The chapter argues that the artistic and spiritual resemblance between Poe and Redon facilitates the design the lithographic album A Edgar Poe, a work Redon uses to promote his own standing as an artist. Through examination of the original plates of the lithographic album A Edgar Poe at The Art Institute of Chicago, Chapter Two illustrates Poe's centrality to the evolution of Redon's art. Chapter Three argues for the importance of A Edgar Poe in Redon's oeuvre, contending that subsequent albums and commissions show the important role of literary art in Redon's artistic growth. The chapter demonstrates the significance of Redon's work to the Symbolist avant-garde of Brussels. Utilizing Andre Mellerio's notes, essays, collected letters and writings in the Ryerson & Burnham Library at the Art Institute of Chicago, the thesis argues that the album A Edgar Poe represents a pivotal stage in Redon's career through its dedication to a literary artist and the unification of art and poetry. Contending that the album develops themes prevalent in the noirs, the thesis illustrates the artistic resemblance and relationship between Poe and Redon and emphasizes the crucial role of Poe's work in Redon's progression and acceptance as an artist.
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Torrence, Avril Diane. "The people's voice : the role of audience in the popular poems of Longfellow and Tennyson." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/32172.
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At the height of their popularity in the mid-nineteenth century, a vast transatlantic readership conferred on Longfellow and Tennyson the title "The People's Poet." This examination of Anglo-American Victorian poetry attempts to account for that phenomenon.
A poetic work is first defined as an aesthetic experience that occurs within a triangular matrix of text, author, and reader. As reception theorist Hans Robert Jauss contends, both the creator's and the receptor's aesthetic experiences are filtered through a historically determined "horizon of expectations" that governs popular appeal.
A historical account of the publication and promotion of Longfellow's and Tennyson's poetry provides empirical evidence for how and why their poetic texts appealed to a widespread readership. This account is followed by an analysis of the class and gender of Victorian readers of poetry that considers the role of "consumers" in the production of both poetry and poetic personae as commodities for public consumption.
The development of each poet's voice is then examined in a context of a gendered "separate-sphere" ideology to explain how both Longfellow's and Tennyson's adoption of "feminine" cadences in their respective voices influenced the nineteenth-century reception of their work.
The final two chapters analyze select texts—lyric and narrative—to determine reasons for their popular appeal in relation to the level of active reader engagement in the poetic experience. Through affective lyricism, as in Longfellow's "Psalm of Life" and Tennyson's "Break, break, break," these poets demanded that their readers listen; through sentiment transformed into domestic allegory, as in Miles Standish and Enoch Arden, these poets demanded further that they feel.
While both Victorian poets were later decanonized by their modern successors, contemporary critics, mainly academic, have restored Tennyson to the literary canon while relegating Longfellow to a second-rate schoolroom status. The conclusion speculates on the possible reasons underlying the disparate reputations assigned to the two poets, both of whom, during their lifetimes, shared equally the fame and fortune that attended their role as "The People's Voice."Arts, Faculty of
English, Department of
Graduate
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Sowdon, Nancy, and Nancy Sowdon. "Mendelssohn's works for cello: a musical and technical analysis." Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/624869.
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Felix Mendelssohn was a many-faceted individual. While known now primarily as a composer, in his time he was also important as a virtuoso pianist and conductor. His contribution to the musical life of his time and to posterity is significant.
As well as composing for nearly every genre (see Table 1) Mendelssohn was a popular soloist and dominated German conducting from 1830 until his death in 1847. Over the years his popularity has waxed and waned. The works of Mendelssohn were highly regarded during his lifetime and remained popular until about 1900.
Around 1900, however, there was a major shift in opinion. At this time, his music was considered to be mediocre. The rise of anti-Semitism in Germany during the twentieth century caused a further underrating of Mendelssohn's music in his
homeland. It is hoped that this, and other present-day studies, will offer a more objective view of his music.
As is true with most composers, in the body of Mendelssohn's compositions, one can find individual pieces to support either greatness or mediocrity. The music which is most familiar to the public: Italian and Scottish symphonies, the Hebrides and Overture and Incidental Music to A Midsummer Night's Dream orchestral overtures, and the String Octet in E-flat Major are undoubtedly some of Mendelssohn's best. On the other hand, his operas never have been effective. Even at the end of his life, he was still searching for the perfect libretto. But it is inconsistent writing within individual pieces which is the most frustrating aspect of Mendelssohn's music. The first cello sonata is one such example. Here a solid first movement is followed by two weak ones.
Included in the total number of pieces of chamber music on Table 1, are the four pieces that Mendelssohn composed for cello and piano. They consist of two short pieces and two sonatas, and were written over a sixteen year span (see Table 3, page 8). This paper aims to familiarize the reader with these cello works, investigate them in terms of the criticisms leveled at Mendelssohn's music, and examine their contribution and place in today's literature for the violoncello.
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Louw, Denise Elizabeth Laurence. "A study of the numinous presence in Tennyson's poetry." Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1005891.
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From Preface: A reader looking to this study for a charting of the diverse religious views held by Tennyson at different periods in his life may be disappointed. My primary concern has been not with religious forms, but with the numinous impulse. However, though I approached the topic with a completely open mind, I find my own Christian convictions have been strengthened through the study of Tennyson's poetry. As the title indicates, I have not attempted to deal with the plays. To explore both the poetry and the plays in a study of this length would have been impossible. I have perhaps been somewhat unorthodox in attempting to combine several disciplines, especially since I cannot claim to be a specialist in the areas concerned. However, I felt it necessary to approach the subject from a number of points of view, and to see to what extent the results could be said to converge on some sort of central "truth". When I have despaired of being able to do justice to a particular aspect within the imposed limits, I have sometimes found comfort in the words of Alan Sinfield (The Language of Tennyson's "In Memoriam", p.211): "We can only endeavour continually to approach a little closer to the central mystery; the ma j or advances will be infrequent, but most attempts should furnish one or two hints which others will develop. "
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Borda, Ann Elizabeth. "Nikolai Gogol's commedia del demonio." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26784.
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Though it is not certain to what extent Gogol was familiar with Dante, it appears he may have regarded Dead Souls I (1842) as the first part of a tripartite scheme in light of La Divina Commedia. Interestingly, the foundations for such a scheme can be found in Gogol's first major publication, Evenings on a Farm near Dikanka (1831-1832) and, in the prose fiction and plays of 1835-1836, a definite pattern is revealed. The pattern that evolved in the works of this period involves the emergence of a demonic element which shatters any illusion of a Paradise which may have been established previously. Consequently, one is then drawn down through the awakenings of conscience - Purgatory and, finally, to realization in the Inferno.
The inversion of the Dante scheme which takes place, results in a "commedia del demonio". This "commedia" is particularly significant for both interpreting Gogol's works and for understanding the author himself. It forms a bridge between Gogol's early comic-gothic tales in Evenings and the mature style and humour of Dead Souls. Equally important is the fact that correlations with the literary devices and the religious thought of Dante's time can also be seen.
Such works as "Old World Landowners" (Mirgorod, 1835), "Viy" (Mireorod, 1835), "Nevsky Prospekt" (Arabesques, 1835) and the play The Government Inspector (performed in 1836) are especially representative of Nikolai Gogol's "commedia del demonio", and therefore form an integral part to this study. In connection with these and other works, certain links concerning the literary and historical heritage, and personal spirituality which exist between Gogol and Dante as reflected in both their own life and works will be examined as well. Thus the "commedia" scheme, and ultimately, Gogol as a writer of the human "soul" may be better understood.Arts, Faculty of
Asian Studies, Department of
Graduate
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Kalkwarf, Tracy Lin. "Questioning Voices: Dissention and Dialogue in the Poetry of Emily and Anne Brontë." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2571/.
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My dissertation examines the roles of Emily and Anne Brontë as nineteenth-century women poets, composing in a literary form dominated by androcentric language and metaphor. The work of Mikhail Bakhtin, particularly concerning spoken and implied dialogue, and feminists who have pioneered an exploration of feminist dialogics provide crucial tools for examining the importance and uses of the dialogic form in the development of a powerful and creative feminine voice. As such, I propose to view Emily's Gondal poetry not as a series of loosely connected monologues, but as utterances in an inner dialogue between the dissenting and insistent female voice and the authoritative voice of the non-Gondal world. Emily's identification with her primary heroine, Augusta, enables her to challenge the controlling voice of the of the patriarchy that attempts to dictate and limit her creative and personal expression. The voice of Augusta in particular expresses the guilt, shame, and remorse that the woman-as-author must also experience when attempting to do battle with the patriarchy that attempts to restrict and reshape her utterances. While Anne was a part of the creation of Gondal, using it to mask her emotions through sustained dialogue with those who enabled and inspired such feelings, her interest in the mythical kingdom soon waned. However, it is in the dungeons and prisons of Gondal and within these early poems that Anne's distinct voice emerges and enters into a dialogue with her readers, her sister, and herself. The interior dialogues that her heroines engage in become explorations of the choices that Anne feels she must make as a woman within both society and the boundaries of her religious convictions. Through dialogue with the church, congregation, and religious doctrine, she attempts to relieve herself of the guilt of female creativity and justify herself and her creations through religious orthodoxy. Yet her seeming obedience belies the power of her voice that insists on being heard, even within the confines of androcentric social and religious power structures.
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Soucy, Jean-Philippe. "Six French composers’ homage to Haydn : an analytical comparison enlightening their conception of tombeau." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104366.
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In 1909, the Revue musicale mensuelle de la Societe lnternationale de Musique (RSIM) asked six French composers (Debussy, Dukas, Hahn, d’Indy, Ravel and Wid or) to commemorate Haydn’s centennial anniversary of death by each creating a piano piece that incorporated a theme built with a letter-note correspondence on the word “Haydn”. In the context of the French fin-de-siecle search for musical identity, this collective tombeau represents a unique opportunity to discover what characteristics were important to them. My analysis of the pieces reveals five common elements: enharmonic reinterpretation as a means of exploration of foreign keys, large scale registral connections, dissonant chords for colour, ingenious means of creating unity, and use of past genres and form. The influence of Italian and German culture, as well as French music history and politics are also evaluated. The tom beaux reveal how central the concept of the music of the past was to French composers at the tum of the century and how it pointed the way to post-war neoclassicism.En 1909, la Revue musicale mensuelle de la Société Internationale de Musique (RSIM) demanda à six compositeurs français (Debussy, Dukas, Hahn, d’Indy, Ravel et Widor) d’écrire chacun une pièce pour piano dans le but de commémorer le centième anniversaire de la mort d’Haydn. Leurs pièces devaient incorporer un thème imposé bâti via une correspondance entre des notes et les lettres du mot “Haydn”. Dans le contexte de la quête d’identité des Français de la fin du 1ge siècle, ce tombeau collectif représente une occasion unique de découvrir quelles caractéristiques musicales leur étaient importantes. L’analyse de ces pièces a permis d’isoler cinq éléments communs: réinterprétation enharmonique comme moyen d’exploration de tons éloignés, liaison de registres à grande échelle, utilisation d’accords dissonants dans le but d’obtenir une certaine couleur, moyens ingénieux de créer l’unité et usage de formes et de genres issus du passé. L’influence des cultures allemande et italienne ainsi que celle de l’histoire musicale de la France et de sa politique sont également évaluées. Les tombeaux révèlent l’importance qu’occupe la musique du passé pour les compositeurs français au tournant du 20e siècle et comment cette musique prépare l’avènement du néoclassicisme d’après-guerre.
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Healey, Nicola. "Dorothy Wordsworth and Hartley Coleridge : the poetics of relationship." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/787.
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Louw, Denise Elizabeth Laurence. "A literary study of paranormal experience in Tennyson's poetry." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002292.
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My thesis is that many of Tennyson's apparently paranormal experiences are explicable in terms of temporal lobe epilepsy; and that a study of the occurrence, in the work of art, of phenomena associated with these experiences, may be useful in elucidating the workings of the aesthetic imagination. A body of knowledge relevant to paranormal experience in Tennyson's life and work, assembled from both literary and biographical sources, is applied to a Subjective Paranormal Experience Questionnaire, compiled by Professor V.M. Neppe, in order to establish the range of the poet's apparently "psychic" experiences. The information is then analysed in terms of the symptomatology of temporal lobe epilepsy (TLE), and the problems of differential diagnosis are considered. It is shown, by means of close and comparative analyses of a number of poems, that recurring clusters of images in Tennyson's poetry may have their genesis in TLE. These images are investigated in terms of modern research into altered states of consciousness. They are found to be consistent with a "model" of the three stages of trance experience constructed by Professor A.D. Lewis-Williams to account for shamanistic rock art in the San, Coso and Upper Paleolithic contexts. My study of the relevant phenomena in the work of a nineteenth century English poet would seem to offer cross-cultural verification of the applicability of the model to a range of altered-state contexts. This study goes on to investigate some of the psychological processes which may influence the way in which pathology is manifested in the poetry of Alfred Tennyson. But, throughout the investigation, the possible effects of literary precursors and of other art forms are acknowledged. The subjective paranormal phenomena in Tennyson's poems are compared not only with some modern neuropsychiatric cases, but also with those of several nineteenth-century writers who seem to have had similar experiences . These include Dostoevsky and Edward Lear, who are known to have been epileptics, and Edgar Allan Poe. Similarity between some aspects of Tennyson's work and that of various Romantic poets, notably Shelley, is stressed; and it is tentatively suggested that it might be possible to extrapolate from my findings in this study to a more general theory of the "Romantic" imagination.
Books on the topic "1809-1849 Criticism and interpretation"
1
Fisher, Benjamin Franklin. The Cambridge introduction to Edgar Allan Poe. Cambridge, UK: Cambridge University Press, 2008.
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M, Walker I., ed. Edgar Allan Poe: The critical heritage. London: Routledge & K. Paul, 1986.
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The Cambridge introduction to Edgar Allan Poe. Cambridge, UK: Cambridge University Press, 2008.
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J, Hayes Kevin, ed. The Cambridge companion to Edgar Allan Poe. Cambridge: Cambridge University Press, 2002.
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1948-, Clarke Graham, ed. Edgar Allan Poe: Critical assessments. Mountfield, East Sussex: Helm Information, 1991.
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Edgar Allan Poe: Beyond gothicism. Newark: University of Delaware Press, 2011.
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J, Budd Louis, and Cady Edwin Harrison, eds. On Poe. Durham: Duke University Press, 1993.
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Harold, Bloom, ed. Edgar Allan Poe. New York: Chelsea House, 1985.
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Joseph Haydn (1732-1809). Berlin: Weidler, 2009.
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A 21st-century retrospective view about Edgar Allan Poe: Una mirada retrospectiva sobre Edgar Allan Poe desde el siglo XXI. Bern: Peter Lang, 2011.
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