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Journal articles on the topic "Coleridge, Samuel Taylor, 1772-1834 Christabel"
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Davison, Andrew. "‘Not to escape the world but to join it’: responding to climate change with imagination not fantasy." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 375, no. 2095 (May 2017): 20160365. http://dx.doi.org/10.1098/rsta.2016.0365.
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The work of climate scientists, demonstrating human-driven climate change, has not provoked the widespread and far-reaching changes to human behaviour necessary to avert potentially catastrophic environmental trajectories. This work has not yet sufficiently been able to engage the individual and collective imagination. Drawing on Samuel Taylor Coleridge (1772–1834) and Iris Murdoch (1919–1999), we can distinguish two modes under which the human imagination can operate: in Murdoch's terms, these are ‘imagination’ and ‘fantasy’. To relate imaginatively is to be willing to allow one's internal image of the world to be changed by what one encounters, while an outlook characterized by fantasy relates to the world as one would wish it were, rather than how it actually is. Fantasy, therefore, operates not only among those who deny climate change, but also among those who entertain the promise of a technological solution too optimistically. An imaginative outlook, by contrast, evaluates actions and patterns of behaviour in terms of their relation to a wider whole. This is necessary for providing the degree of agency required to step out of a cycle of ever accelerating production, which is explored in terms of an analogy to a discussion of revenge and forgiveness from Hannah Arendt (1906–1975). Ultimately, the need to engage the imagination is an opportunity as well as a challenge. To live imaginatively is fulfilling, and that is precisely what the challenges of climate change require. This article is part of the themed issue ‘Material demand reduction’.
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Preyer, Robert O. "The Language of Discovery: William Whewell and George Eliot." Browning Institute Studies 16 (1988): 123–52. http://dx.doi.org/10.1017/s0092472500002133.
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In 1861 Friedrich Max Müller (1823–1900) delivered his famous Lectures On the Science Of Language at the Royal Institution in London. Published the following year, this popular and influential volume provided a classical exposition for a widely accepted and comforting account of the role played by language in the creation and subsequent preservation of new knowledge. This view, based largely on German comparative philology, was embraced by George Eliot and G.H. Lewes even though it bore stiking resemblances to the lexical ideas and practise of Samuel Taylor Coleridge (1772–1834) and William Whewell (1794–1866), representative figures of an earlier generation of philosophical Idealists – Kantians, admiring commentators on Plato, and both of them powerful defenders of the Anglican Church and Tory traditionalism. There was something about Müller's “great and delightful book” (as George Eliot called it) which appealed to distinguished Victorians of every intellectual stripe. Among the auditors at the Royal Institution were “Germano-Coleridgian” clergymen (Bishop Thirlwall, Dean Stanley F.D. Maurice), poets and philosophers (Tennyson, John Stuart Mill, the Duke of Argyle), and a distinguished group of scientists, headed by Michael Faraday. All were excited and enthusiastic, despite their very different intellectual positions. Linda Dowling suggests why:Muller's lectures on language … were deeply reassuring. They managed to suggest that even though the new philology had reconstituted language in wholly new terms as a phonetic totality independent of representation and of human control, language somehow remained unchanged in its power to guarantee human identity and value. (“Victorian Oxford” 161)
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Soltan Beyad, Maryam, and Mahsa Vafa. "Transcending Self-Consciousness: Imagination, Unity and Self-Dissolution in the English Romantic and Sufis Epistemology." International Journal of Linguistics, Literature and Translation 3, no. 8 (August 30, 2021): 08–18. http://dx.doi.org/10.32996/ijllt.2021.4.8.2.
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English Romantic literature of the late eighteenth and early nineteenth centuries often recounts an individual life journey which depicts physical and spiritual pilgrimage and traverses both the inner and outer world to liberate the self and reach a revelatory moment of unification where the division between human mind and the external world is reconciled. For the Romantic poets this reconciliatory state cannot be achieved through rational investigation but via the power of imagination. In this regard, there is striking resemblance between the mystical and philosophical thought of Sufism and the idealistic thought of the English Romantic poets as they both strive for a sense of unification with the Divine or the Ultimate reality, and they both rely on imagination and intuitive perception to apprehend reality. Applying an analytical-comparative approach with specific reference to Northrop Frye’s anagogic theory (1957) which emphasizes literary commonalities regardless of direct influence or cultural or theological distinctions, this study endeavors to depict that certain Romantic poets’ longing for the reconciliation of subject and object dualism via imagination and its sublime product, poetic language, echoes the mystic’s pursuit of transcendental states of consciousness and unification with the divinely infinite. Through analysis of the concept of self-dissolution (fana) in Islamic mysticism and Sufi literature, particularly the poems of Jalal ad-Din Mohammad Balkhi (1207-1273) known in the West as Rumi, the outcome of this study reveals that the Romantics’ yearning for a state of reconciliation, which is prevalent in the major works of the Romantic poets such as William Blake (1757-1827), William Wordsworth (1770-1850), Samuel Taylor Coleridge (1772-1834), Percy Bysshe Shelley (1792-1822), and John Keats (1795-1821), corresponds to the mystic’s pursuit of unity or the Sufi’s concept of self-annihilation or fana.
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Bâcle, Benjamin. "Les contre-écritures de Maine de Biran (1766-1824) et de Samuel Taylor Coleridge (1772-1834)." TRANS-, no. 20 (September 27, 2016). http://dx.doi.org/10.4000/trans.1355.
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"Coleridge’s links with leading men of science." Notes and Records of the Royal Society of London 49, no. 2 (July 31, 1995): 261–76. http://dx.doi.org/10.1098/rsnr.1995.0027.
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Samuel Taylor Coleridge (1772-1834) was a man of literature, and his cast of mind was not scientific. However, he cultivated the friendship of several leading British and German men of science, and could almost be called one of the scientific community. Georg Christoph Lichtenberg (F.R.S., 1793), renowned as satirist and aphorist, was Professor of Natural Philosophy in Göttingen, and a leading German authority in astronomy and physics, as well as in a number of newly emerging sciences, such as chemistry, geodesy, geophysics, meteorology and statistics. He was also the foremost German anglophile during the last decades of the Enlightenment, disseminating English culture and discoveries in the popular Göttingen Pocket Calendar that he edited from 1777 to 1799, and using his Commentaries (1794-99) to Hogarth’s prints as a teaching aid for English life, literature and art. Repeatedly, but without providing details, he referred to his contacts and sources of information in England, yet so far no relevant correspondence has been found, and we are left with only indirect evidence of these, such as the last letter to reach Lichtenberg, sent on 19 February 1799 by Carl Christian von Hinliber, a distinguished member of a Hanover family with close links to the English court and the University of Göttingen. It concerned Coleridge’s wish to be introduced to Lichtenberg as soon as possible after his arrival in Göttingen, and commended the young poet as remarkably well qualified for a course in natural philosophy. As Lichtenberg was terminally ill and no longer able to respond, the note has received attention mainly for the eerie significance of the sender’s name; for hinüber , meaning across or beyond, serves as euphemism for death and dying. But the short communication is also indicative of Coleridge’s scientific interests and background knowledge at the time soon after the first edition of the Lyrical Ballads (1798) had been published.
Dissertations / Theses on the topic "Coleridge, Samuel Taylor, 1772-1834 Christabel"
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Stokes-King, Lisa. ""Lovely shapes and sounds intelligible" : Kristevan semiotic and Coleridge's language of the unconscious." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99394.
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Romantic literature's preoccupation with subjectivity, and the nature of the self, is recognised as influential on modern conceptions of consciousness, and in particular as a precursor of psychoanalysis. This thesis examines Coleridge's understanding of consciousness, as expressed in his prose, to demonstrate that he theorised a language of the unconscious; a non-arbitrary, authentic language that remains inaccessible. By comparing this idea with Julia Kristeva's theory of Semiotic language, the thesis will show that this language is indeed recognised in her psychoanalytic theory as a product of the unconscious. Most importantly, it will show that while Coleridge's supernatural poetry laments the inaccessibility of unconscious language, Kristevan theory demonstrates it to be present in that very poetry.
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Silberberg-Lemêle, Sylvia. "Le rêve d’amour à travers la tension des opposés et le phénomène catalytique dans la poésie de S. T. Coleridge." Caen, 2006. http://www.theses.fr/2006CAEN1446.
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L’imagination poétique de Coleridge repose sur la transformation d’une carence maternelle en un lien idéal d’amour, par la poétisation qui lui procure une expérience catalytique. Confronté dans sa jeunesse à un deuil pathologique et à un conflit d’ambivalence haine-amour, le poète cherche à tisser une relation sujet-objet harmonieuse de substitution avec la nature. Il prend conscience d’un mouvement organique intégrateur animé par une force, l’amour. Il l’expérimente dans son œuvre poétique, notamment les « Conversation Poems », où, influencé par la théorie empiriste de David Hartley, il articule la reconstitution du lien d’amour autour d’un objet, le catalyseur, qui permet par sa seule présence et par la réflexivité de la vision, le passage de la réalité au rêve, la conciliation des contraires, la régénération de l’âme. Mais une idéalisation que fragilisent des éléments intérieurs et extérieurs le conduit à représenter la difficile instauration du rêve d’amour, à travers des catalyseurs négatifs. Le poète tente alors de faire évoluer le phénomène catalytique, en lui substituant le surnaturel, la prière et surtout une imagination poétique souveraine. Après une période où le catalyseur n’apparaît que de façon épisodique, on assiste en 1802 à la fin du deuil, qui correspond à l’impossibilité de créer à nouveau le rêve d’amour par la poétisation, tournant décisif dans la créativité poétique de S. T. Coleridge
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McLean, Karen, and n/a. "Samuel Taylor Coleridge�s use of platonic and neoplatonic theories of evil and creation." University of Otago. Department of English, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080222.121810.
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Samuel Taylor Coleridge used theories of evil and creation from Plato, Plotinus and Proclus to refine his definitions of the Trinity and the Absolute and Apostate Wills, and to move beyond the Germanic Naturphilosophie concept of self-hood as achieved by a self-objectification which emphasised differences between the persons of the Trinity rather than their similarities. His use of specific classical Greek concepts allowed him to propose that the Absolute Will�s self-substantiative act established unity and distinction as simultaneous and interrelated equals. From this, Coleridge investigated how identity and relationship rely upon unity and distinction, as he believed that identity is a unified self distinct from others, and that relationship is the unified common ground of many selves.
My first chapter explains my methodology in dealing with Coleridge�s problematic relationship with both Greek and German sources, and describes how Coleridge�s philosophical investigations into evil and creation resulted from personal crises oyer his sense of self and sin. I provide an overview of the system Coleridge devised to address these concerns, concentrating upon the aspects which he believed clarified humanity�s status in relation to evil and the divine. I demonstrate how Coleridge accounts for the origin of the Apostate Will, and I explain his view of identity and relationships between the persons of the Trinity, providing a relevant overview that allows me to point out his use of the fundamental Greek concepts that anchor the subsequent chapters on Plato, Plotinus and Proclus.
My second chapter examines Coleridge�s statement that Plato had formulated a triune creative principle, a concept critical to Coleridge�s need to unite God to the created universe. After describing the Platonic structure of reality and its divine creative act, I focus on the Platonic triad of Difference, Unity and Being. Plato�s account of these three principles and how they arise from the divine principle activity influences Coleridge�s view of the Trinity, what it contains in terms of distinction and unity, and how the Trinity arises from the superessential Absolute Will. I explain how Coleridge refined his definition of Christ as pleroma by referencing the way that the Form of the Good simultaneously exhibits plurality and identity.
My third chapter shows how the Plotinian theory of the One�s will-based self-substantiation influenced Coleridge�s definition of the Absolute Will. I determine that Plotinus�s concept of heterotes (otherness) informs Coleridge�s view of the origin of evil, and I show how his concept of redemption is influenced by Plotinus�s account of noetic contemplation.
My fourth chapter explains how Coleridge used the Proclian concept of Bound to develop the actualising quality of the Logos, in relation to Christ as a successful plurality but also in terms of Christ�s role in the redemption.
My conclusion surveys all four philosophers to demonstrate how concepts drawn from Plato, Plotinus and Proclus helped Coleridge to define the Absolute Will and the way that its activity is the unity, distinction, identity and relationship of the Trinity. These three distinct yet related systems influenced Coleridge�s view of evil, as well as his understanding of the Absolute Will�s self-creative act, its relation to the Trinity, and the simultaneously fallen and divine status of humanity.
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Ortemann, Marie-Jeanne. "L'Image poétique dans l'oeuvre de S. T. Coleridge, ou la question de la représentation." Reims, 1987. http://www.theses.fr/1987REIML002.
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L'image poétique est envisagée comme le critère formel permettant d'explorer l'unité de l'œuvre du poète-métaphysicien, définie comme un va-et-vient poésie-prose. Toujours fonde sur la relation "i thou", le travail incessant de l'esprit, tel qu'il est recompose a partir des étapes jalonnant l'axe "idea-image", apparait comme le sous-bassement nécessaire a toute mise en forme poétique. Elle-même analogue en ce sens a l'élaboration philosophique. L'histoire de la relation sujet-objet, et l'engendrement de mots-images qui l'exprime dans le poème, sont autant de représentations explorant jusqu'aux limites de la connaissance. Il en résulte, notamment dans les late poems, un jeu d'ombre et de lumière qui construit le clair-obscur propre a l'œuvre coleridgienneThe poetical image is considered as the formal criterion enabling the reader to examine the poet-metaphysician's writings as a whole, which is then defined as a prose-poetry intercourse. Based on the "i thou" relationship the workings of the mind, reconstructed from the significant "landing-places" marking out the "idea-image" axis, emerge as the necessary foundation of poetical composition, which makes it similar to philosophical reasoning. The history of the subject-object relationship with the producing of words as images, which together constitute the formal sign of this relationship in the poem, are representations indicating how far the process of knowledge can be investigated. Consequently an interplay of light and darkness, as is epitomized in the late poems, can be observed, and its arrangement constitutes the unique coleridgian chiaroscuro
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Gervais-Brown, Sabine. "Sara Coleridge (1802-52) : stratégie d'une femme, critique et poète, aux prises avec son siècle." Toulouse 2, 1998. http://www.theses.fr/1998TOU20077.
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Sara Coleridge est un exemple typique de ces femmes qui ont joué un rôle essentiel bien que discret dans la production des textes romantiques. Nous proposons d'abord l'analyse d'articles parus après la publication de sa correspondance en 1873. Malgré l'éloge dont Sara fait l'objet, le personnage qui s'en détache est simplifié dans le but de soutenir le discours idéologique. L'étude de sources plus privées révèle une existence minée par la souffrance. Dans sa chambre de convalescence, Sara s'autorise pourtant un accès à la création. Ces longues périodes d'isolement la préparent à l'édition de l'œuvre paternelle. Nous examinons ensuite la manière dont Sara réhabilite la philosophie de son père et prend part à la polémique qui oppose alors les défenseurs de l'art aux partisans d'une morale pratique. De ses multiples introductions et essais, il est possible de dégager quelques-uns de ses principes esthétiques en matière de représentation artistique. Notre attention se porte enfin sur ses compositions poétiques, certaines extraites de son conte fantastique Phantasmion, d'autres encore inédites dont nous proposons l'édition en annexe. Ses poèmes offrent une épistémologie féminine construite au sein d'un cadre idéologique explore jusque dans ses limites. Le récit de l'amour, thème conventionnel de la poésie féminine, est celui de l'amour frustré et n'a pas de réponse humaine. Animée par le même désir de transcender la réalité que celle des poètes romantiques, la poésie de Sara s'en distingue en proposant un autre chemin, non plus par l'appropriation, typique de la poésie masculine, mais par la réciprocité susceptible d'offrir une solution face au problème de la construction d'une subjectivité poétique en conflit avec ce que la société attend des femmes. Ce n'est que lorsqu'elle dépasse les restrictions imposées à son sexe et que sa poésie acquiert une qualité métaphysique que Sara parvient à négocier la difficulté posée par la tradition dominanteSara Coleridge is a typical example of those women who have played a discreet, although essential, role in romantic text production. In the first part I attempt to analyze some of articles written following the publication of her correspondence in 1873. Despite the eulogy of which Sara is the object, her portrait is simplified to serve the ideological discourse. The study of more private sources reveals an existence mined by suffering. Yet within the confines of her convalescence bedroom, Sara allows herself an access to creation. These long periods of isolation prepare her for the edition of her father's works: the focus of the second part, in which I examine how Sara rehabilitates the philosophy of Samuel Taylor Coleridge and engages in the polemic between defenders of art and partisans of morality. From her numerous introductions and essays, it is possible to draw some of her aesthetic principles in artistic representation. Finally, in the third part, attention is drawn to her own poetical compositions; some extracted from her fairy tale Phantasmion, and others unpublished, of which I provide an edition in the appendices. Her poems offer a feminine epistemology constructed within an ideological framework explored to its limits. The account of love being the conventional theme of feminine poetry is that of frustrated love with no human reply. Animated by the same desire to transcend reality as that of the romantics, her poetry proposes another path, not through appropriation of the other, but by reciprocity. It represents an attempt to solve the problem of constructing a poetical subjectivity which is in conflict with what society expects of women. It is only when her poetry goes beyond the restrictions imposed on her sex, when it acquires a metaphysical quality, that Sara can negotiate the difficulty posed by the dominant tradition
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Perry, Seamus. "Radical differences : divisions in Coleridgean literary thinking; and, The construction of an English romanticism." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670268.
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Cohen, Ruth Marianne. "Wordsworth, poète moral : problèmes de création." Toulouse 2, 2001. http://www.theses.fr/2001TOU2A001.
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Cette thèse tente la démonstration d'un projet moral de grande ampleur chez Wordsworth, né de sa foi en la valeur éducative de la poésie qui contribue ainsi au progrès moral des hommes. Le volume I présente la genèse des problèmes de création à travers l'étude de la composition de The Excursion et les complexes désaccords avec Coleridge, écrivain métaphysique. De sa crise poétique résultera chez Wordsworth un dilemne artistique perceptible dans l'ensemble de son oeuvre. Les problèmes liés à The Excursion révèlent les sources d'un credo, d'un art moral s'enracinant dans l'acte de perception. Le volume II est consacré à l'étude de plusieurs textes qui couvrent la carrière poétique de Wordsworth. Celle du Prospectus de The Excursion s'attache à montrer les ambigui͏̈tés syntaxiques, la complexité des rôles énonciatifs, la nébulosité des intentions morales. Elle souligne le mélange curieux de style épique miltonien et de moralité rurale wordsworthienne. Ensuite une confrontation de plusieurs manuscrits du livre I de The Excursion met en évidence, grâce à l'étude des métaphores et de la métatextualité, des épiphanies morales. Enfin l'ode tardive "On the Power of Sound", longue gestation de l'écoute créatrice, donne lieu à un examen du réseau sémantique de la musique dans des hypotextes et intertextes afin de montrer comment l'art de Wordsworth transforme plusieurs manuscrits, divers écrits, certains encore inédits, révélateurs de la méthode de travail de Wordsworth, qui contribuent à mettre en relief l'unité de son projet poétique moralThis thesis attempts to demonstrate the existence in Wordsworth's work of a great moral project founded on his belief in the educative value of poetry fundamental to the moral progress of man. Volume I presents the creative problems of The Excursion and the complex conflicts with Coleridge and his metaphysical approach to creation. Due to the resulting poetic crisis between the two poets, Wordsworth had to confront an artistic dilemma in his work as a whole. The creative problems he had with The Excursion reveal the emergence of a credo, a moral art developing in the very act of perception. Volune II is devoted to a close examination of several texts written at the various stages of his career which give convincing proof of the poet's moral intention. A linguistic study of the Prospectus to The Excursion shows that the ambiguity of the syntax, the complexity of the enunciative roles and the deliberately nebulous technique point to an underlying moral art. The grammatical and stylistic approach also highlights the curious mixture of epic Miltonian style and one of Wordsworthian pastoral morality. A detailed comparison between the variants of several metatextuality, the moral epiphanies in Wordsworth's early poetry. At the end of his career, the ode "On the Power of Sound", the result of a long creative gestation of the poet's moral voice, provides the material for a close examination of the semantic field of music in the hypotexts and intertexts. These show how the moral art of Wordsworth blends and transforms several poetic traditions to express his own authentic interior poetic voice. Volume III contains transcriptions of manuscript fragments, some of which are still unedited, that illustrate Wordsworth's method of work, particulary with the intention of bringing the unity of his poetic moral project into relief
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Beck, Philippe. "Histoire et imagination, au point de vue philosophique, à la charnière des XVIIIe et XIXe siècles : évènement et figure dans le pré-romantisme allemand (Moritz) et le post-kantisme anglais (Coleridge)." Paris, EHESS, 1994. http://www.theses.fr/1994EHES0310.
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Le propos majeur du travail consiste a decrire la relation entre allegorie et tautegorie. A la fin des lumieres, tautegorie signigie "symbole". Un symbole est un signe caracterise par sa fecondite, sa transparence et l'infinite de sa teneur. La forme d'un symbole, on peut s'en rendre compte a lire moritz et coleridge, est supposee n'etre pas materielle. Or, cela est impossible, car toute forme doit se deployer dans et par quelque materiau, si fin qu'il soit. Ainsi doiton decrite l'antinomie du symbole si l'on veut comprendre de quelle maniere un evenement peut etre dit "symbolique". Le probleme est alors de montrer comment le concept de symbole ou de tautegorie est necessaire a une theorie de l'histoire, et de mettre en relief comment il rend impossible la tache de concevoir ce qu'est en realite un evenement singulier. Un evenement est toujours allegorique, il ne cesse pas d'etre historique. Un symbole ouvre en lui-meme a l'eternite d'une synchronie intuitiveThe main purpose of the thesis consists in describing the relationship between allegory and tautegory. At the end of the "enlightened age", tautegory means "symbol". A symbol is a sign characterized by its pregnancy, translucence and infinity of purport. The form of a symbol, as one can see in reading moritz and cileridge, is supposed not to be material. Yet, this is impossible, for each form must unfold in and bv some material, however thin it may be. Thus, one has to describe the antinomy of the symbol, in order to understand in what way an event can be said to be "symbolic". The problem is then to show how the concept of symbol or tautegory is necessary to a historical theory, and to point out how it makes it at the same time impossible to conceive what a singulat event really is. An event is always allegorical, it does not cease to be historical. A symbol in itself opens onto the eternity of an intuitive synchrony
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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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Metzger, Florence. "Réception, traduction et retraduction des poèmes de S.T. Coleridge." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0415.
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Meschonnic soulignait l’importance de l’« inséparabilité entre histoire et fonctionnement, entre langage et littérature », la nécessité de « reconnaître l’historicité du traduire, et des traductions » (poétique du traduire, introduction). En s’appuyant sur l’analyse des différentes traductions françaises de l’œuvre du poète-philosophe Coleridge, traductions publiées entre 1825 et 2015, nous tenterons de mettre en perspective ces traductions plurielles et les différentes théories de la traduction. Entre théorie de la traduction et pratique du traduire, comment peut-on définir le rôle et la place du traducteur ? La poésie est souvent considérée comme « intraduisible ». Pourtant, la poésie se traduit depuis des siècles. S’agit-il de traduction ou de « transposition créatrice », comme le pensait Jakobson ? Nous analyserons les différents procédés mis en œuvre pour compenser « what gets lost in translation », selon la formule de Robert Frost. En se plaçant dans une perspective comparative, nous examinerons le rôle joué par la traduction dans l’introduction de la poésie et de la pensée de Coleridge en France, ainsi que les échanges intellectuels entre France et Angleterre au moment de la naissance du RomantismeMeschonnic emphasized the importance of the "inseparability of history and modes of operating, between language and literature", the necessity of "recognizing the historicity of translating, and of translations" (Poetics of translating, introduction). By analyzing the different French translations of the work of the poet-philosopher Coleridge, published between 1837 and 2006, I will try to put these translations in the context of the different theories of translation and the different aesthetics of reception. Between the theory of translation and the practice of translating, how can the role and position of the translator be defined? Poetry is often considered as "untranslatable". Yet poetry has been translated for centuries. Is it translation or, what Jakobson calls a process of "creative transposition"? I will analyse the different processes used to make up for "what gets lost in translation" (Robert Frost). In a comparative perspective, I will discuss the role played by translation in the reception of Coleridge's poetry and thought in France and examine the intellectual exchanges between France and Great-Britain at the time of the birth of Romanticism
Books on the topic "Coleridge, Samuel Taylor, 1772-1834 Christabel"
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Harold, Bloom, ed. Samuel Taylor Coleridge. New York: Chelsea House Publishers, 1986.
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Harold, Bloom, and Marson Janyce, eds. Samuel Taylor Coleridge. New York: Chelsea House, 2009.
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Samuel Taylor Coleridge. London: British Library, 2003.
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Coleridge. Cambridge, Mass: Harvard University Press, 1987.
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Coleridge, Samuel Taylor. Samuel Taylor Coleridge. New York: Sterling Pub. Co., 2003.
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Coleridge, Samuel Taylor. Samuel Taylor Coleridge. London: Everyman, 1996.
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Coleridge, Samuel Taylor. Shorter works and fragments. Princeton: Princeton University Press, 1995.
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Coleridge, Samuel Taylor. Shorter works and fragments. London: Routledge, 1995.
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Coleridge, Samuel Taylor. Samuel Taylor Coleridge. Oxford: [Oxfordshire], 1985.
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Coleridge, Samuel Taylor. Samuel Taylor Coleridge. Oxford: Oxford University Press, 1994.
Find full textBook chapters on the topic "Coleridge, Samuel Taylor, 1772-1834 Christabel"
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Jasper, David. "Coleridge, Samuel Taylor (1772–1834)." In A Handbook to English Romanticism, 69–77. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22288-9_19.
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Jasper, David. "Coleridge, Samuel Taylor (1772–1834)." In A Handbook to English Romanticism, 69–77. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-13375-8_19.
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Orel, Harold. "Samuel Taylor Coleridge (1772–1834)." In William Wordsworth, 1–17. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230501904_1.
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"Samuel Taylor Coleridge (1772–1834)." In The Longman Anthology of Gothic Verse, 276–319. Routledge, 2014. http://dx.doi.org/10.4324/9781315834023-28.
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"Samuel Taylor Coleridge (1772–1834; English)." In Romanticism: 100 Poems, 48–56. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108867337.014.
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