Journal articles: 'Defence of poetry'

1

Bussanich, John. "Plato’s Defence of Poetry." Ancient Philosophy 6 (1986): 210–13. http://dx.doi.org/10.5840/ancientphil1986619.

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Waugh, Joanne Beil, and Julius A. Elias. "Plato's Defence of Poetry." Journal of Aesthetics and Art Criticism 45, no. 1 (1986): 99. http://dx.doi.org/10.2307/430475.

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McKim, Richard, and Julius A. Elias. "Plato's Defence of Poetry." Classical World 79, no. 3 (1986): 208. http://dx.doi.org/10.2307/4349865.

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Kraut, Richard, and Julius A. Elias. "Plato's Defence of Poetry." Noûs 21, no. 1 (March 1987): 66. http://dx.doi.org/10.2307/2215067.

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Anton, John P. "Plato’s Defence of Poetry." Idealistic Studies 17, no. 1 (1987): 89–90. http://dx.doi.org/10.5840/idstudies198717113.

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FALCK, COLIN. "A Defence of Poetry." Journal of Aesthetics and Art Criticism 44, no. 4 (June 1, 1986): 393–404. http://dx.doi.org/10.1111/1540_6245.jaac44.4.0393.

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Falck, Colin. "A Defence of Poetry." Journal of Aesthetics and Art Criticism 44, no. 4 (1986): 393. http://dx.doi.org/10.2307/429790.

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Craven, W. G. "Coluccio Salutati's defence of Poetry." Renaissance Studies 10, no. 1 (March 1996): 1–30. http://dx.doi.org/10.1111/j.1477-4658.1996.tb00001.x.

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Craven, W. G. "Coluccio Salutati's Defence of Poetry." Renaissance Studies 10, no. 1 (March 1996): 1–30. http://dx.doi.org/10.1111/1477-4658.00194.

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WAUGH, JOANNE BEIL. "Julius Elias, Plato's Defence of Poetry." Journal of Aesthetics and Art Criticism 45, no. 1 (September 1, 1986): 99–102. http://dx.doi.org/10.1111/1540_6245.jaac45.1.0099.

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Gouws, John. "CATHERINE BATES, On Not Defending Poetry: Defence and Indefensibility in Sidney’s Defence of Poesy." Notes and Queries 66, no. 4 (September 14, 2019): 587–88. http://dx.doi.org/10.1093/notesj/gjz141.

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Hetherington, Michael. "CATHERINE BATES. On Not Defending Poetry: Defence and Indefensibility in Sidney’s Defence of Poesy." Review of English Studies 69, no. 292 (April 20, 2018): 978–80. http://dx.doi.org/10.1093/res/hgy038.

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Evans, Scott D. "A “Divine Consideration” :Utopia in Sidney’s Defence of Poetry." Moreana 33 (Number 125), no. 1 (March 1996): 7–30. http://dx.doi.org/10.3366/more.1996.33.1.6.

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Berry, Edward. "The Poet as Warrior in Sidney's Defence of Poetry." Studies in English Literature, 1500-1900 29, no. 1 (1989): 21. http://dx.doi.org/10.2307/450452.

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Farzad, Narguess. "Qeysar Aminpur and the Persian Poetry of Sacred Defence." British Journal of Middle Eastern Studies 34, no. 3 (December 2007): 351–74. http://dx.doi.org/10.1080/13530190701388358.

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Uhlmann, Anthony. "Spinoza, aesthetics, and Percy Shelley’s ‘A Defence of Poetry’." Textual Practice 33, no. 5 (February 26, 2019): 721–38. http://dx.doi.org/10.1080/0950236x.2019.1581680.

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Gottlieb, Evan M. "CHARLES KINGSLEY, THE ROMANTIC LEGACY, AND THE UNMAKING OF THE WORKING-CLASS INTELLECTUAL." Victorian Literature and Culture 29, no. 1 (March 2001): 51–65. http://dx.doi.org/10.1017/s1060150301291049.

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Poets are the unacknowledged legislators of the world.—Percy Shelley, “A Defence of Poetry”THESE WORDS, written in 1821, celebrate the figure of the poet as leader and prophet.1 By noting that this position is “unacknowledged,” however, Shelley intimates that the Industrial Revolution sweeping Britain threatens to shrink the political and social relevance of poets. While Shelley makes no mention of class distinctions in “A Defence of Poetry,” had he paused to consider the relative status of the poet in class terms, he would probably have admitted that his era’s working-class versifiers were, with a few exceptions, the most unacknowledged poets of all.

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Boos, Florence S. "Sexual Polarities in The Defence of Guenevere." Browning Institute Studies 13 (1985): 181–200. http://dx.doi.org/10.1017/s0092472500005423.

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William Morris's early poetry is striking for its erotic intensity and powerful evocations of passionate and unhappy women. Indeed, his portrayals of confined, alienated, and dependent women are so sharp that they pose some obvious questions. Do they, in the end, simply stylize and project some of the most destructive conventions of Victorian patriarchy? Or do they actually provide some “defence” of female passion and sexuality, against the social hierarchies and emotional suffocation they depict?

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Reeves, Charles Eric, and Mark Edmundson. "Literature against Philosophy, Plato to Derrida: A Defence of Poetry." Journal of Aesthetics and Art Criticism 55, no. 1 (1997): 68. http://dx.doi.org/10.2307/431612.

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Tambling, Jeremy, Mark Edmundson, and Mack Smith. "Literature against Philosophy, Plato to Derrida: A Defence of Poetry." Modern Language Review 93, no. 1 (January 1998): 156. http://dx.doi.org/10.2307/3733639.

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Lazarus, Micha. "Poetry and Horseplay in Sidney's Defence of Poesie." Journal of the Warburg and Courtauld Institutes 79, no. 1 (January 1, 2016): 149–82. http://dx.doi.org/10.1086/jwci26322522.

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22

Argullol, Rafael. "Seven Arguments in Defence of Poetry: Resisting the Madding Noise." Diogenes 53, no. 1 (February 2006): 117–21. http://dx.doi.org/10.1177/0392192106062456.

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Simpson, D. "Literature against Philosophy, Plato to Derrida: A Defence of Poetry." Modern Language Quarterly 59, no. 1 (January 1, 1998): 135–37. http://dx.doi.org/10.1215/00267929-59-1-135.

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Pavićević, Jovana. "ODBRANA POEZIJE: RUSKI FORMALIZAM I NOVA KRITIKA." Lipar XXI, no. 73 (2020): 89–100. http://dx.doi.org/10.46793/lipar73.089p.

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The paper aims to present the key concepts that two formalist schools of thought developed in order to defend poetry as a miracle of communication. Russian Formalism takes Shklovsky’s defamiliarization (остранение) as its key concept and the trans-sense language (zaum) of Russian Futurist poets as a basis for analysing what constitutes differentia specifica of poetry. The ideas of the Russian formalist school, through Roman Jakobson, spread first to Eastern Europe, and then to the United States of America, where they influenced a group of critics, who were already inspired by T. S. Eliot’s and I. A. Richards’ ideas on poetic language and communication, to develop a new critical methodology. The name “New Criticism” was supposed to indicate that this school of thought was about different approaches and new tendencies in criticism. As the paper demonstrates, the key representatives of New Criticism are particularly interested in exploring the function of poetry and of criticism as well as the nature of poetic imagination and language. In order to examine what the poem says as a poem, they developed the practice of close reading and focused on metaphor, paradox, and specific method by which a poet transforms his experience into a poem as autonomous features of poetic expression. The special terminology introduced by Russian Formalism and New Criticism, and the complex, ironic and intellectual language they used not only managed to throw light on what specific problems of the science of literature were, but also enabled a defence through poetry – a kind of resuscitation and refinement of non-literary reality.

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Quayle, Jonathan. "Directing the ‘Unfinished Scene’: Utopia and the Role of the Poet in Shelley's Hellas." Romanticism 26, no. 3 (October 2020): 280–91. http://dx.doi.org/10.3366/rom.2020.0478.

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Hellas; A Lyrical Drama (1822) reveals profound tensions in Shelley's thinking about the role that poets play in writing the future. In the Preface, Shelley invokes his ‘poet's privilege’ to imagine the outcome of the ‘unfinished scene’ – the ongoing Greek War of Independence – but the final chorus, which begins by triumphantly announcing the return of a ‘great age’, also voices an anxiety that it may be impossible to imagine a future that is unbound by the failures of the past. This essay examines the ways in which Shelley imagines the outcome of the Greek War in Hellas, especially in dialogue with the claims he makes for poetry and poets in A Defence of Poetry (comp. 1821). I argue that what emerges in Hellas is a fraught form of utopian thought that is defined by hazardous struggle, but which may ultimately direct humanity towards a better future.

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Blyth, Dougal. "Political Technê: Plato and the Poets." Polis 31, no. 2 (August 15, 2014): 313–51. http://dx.doi.org/10.1163/20512996-12340019.

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Plato’s treatment of poetry is usually discussed without reference to other contemporary reception of Greek poetry, leading to divergent political or aesthetic accounts of its meaning. Yet the culture of the Greek polis, in particular Athens, is the defining context for understanding his aims. Four distinct points are made here, and cumulatively an interpretation of Plato’s opposition to poetry: on the basis of other evidence, including Aristophanes’ Frogs, that Plato would quite reasonably understand poetry to claim the craft of looking after a city (political technê); that Socrates makes a rival claim that philosophy is the pursuit of this skill; that Plato considers the poets, owing to this rivalry, to aim to exclude philosophy from Athens; and finally, that Plato’s exclusion of poetry from the theoretical just city of the Republic is part of his defence of the possibility of philosophy in Athens.1

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27

Lewis, Dallin. "Prophesying the Present: Shelley's Critique of Malthus inA Defence of Poetry." European Romantic Review 25, no. 5 (August 5, 2014): 575–90. http://dx.doi.org/10.1080/10509585.2014.938228.

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28

Várzeas, Marta. "In Defence of Poetry: Intertextual Dialogue and the Dynamic of Appropriation in Plutarch’s De audiendis poetis." Ploutarchos 16 (October 29, 2019): 77–90. http://dx.doi.org/10.14195/0258-655x_16_7.

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Intertextuality may be defined as the interaction between different texts, a dialogic relationship found especially in literary works and which the reader is asked to decipher. The absorption and tacit transformation of other texts in Plutarch’s work suggests that the intertextuality in De audiendis poetis can be approached as literary intertextuality, making it both critical and creative. The allusion to other texts is the most important thread that weaves argumentative discourse and evidences together, in other words, the benefits that can be drawn from reading the poets.

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29

Campana, Joseph. "On Not Defending Poetry: Spenser, Suffering, and the Energy of Affect." PMLA/Publications of the Modern Language Association of America 120, no. 1 (January 2005): 33–48. http://dx.doi.org/10.1632/003081205x36840.

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Early modern defenses of poetry, such as Philip Sidney's influential Defence of Poesy, respond to long-standing anxieties about the validity of poetry by asserting the primacy of its moral function. Sidney's heroic rhetoric locates poetry's “power” in its capacity to create iconic portraits (“speaking pictures”) of unchanging moral truths. Edmund Spenser departs markedly from Sidney's static moral vision of the function of poetry. Whereas Sidney privileges enargeia, or vividness, The Faerie Queene works consistently to disarm the heroic masculinity that violently produces enargeia as a form of iconic, moral clarity. Spenser's Legend of Temperance finds energeia, or vitality, in moments of suffering and in corresponding moments of sympathy. Through suffering, Spenser highlights the dense networks of affect and obligation that defy moral and visual clarity. For him, poetry resonates with the affective energies of corporeal experience, from which language derives its capacity to move.

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30

Bocheński, Tomasz. "Tuwim’s Dialogues with Banality." Acta Universitatis Lodziensis. Folia Litteraria Polonica 36, no. 6 (May 30, 2017): 219–31. http://dx.doi.org/10.18778/1505-9057.36.16.

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The article examines the relation between Tuwim’s poetry and modern colloquial language. The avant-garde artists for whom in the beginning of the 20th-century art was an elite occupation, treated every-day speech as a mass form of communication. Tuwim’s poetry was frequently criticised for banality. Matywiecki presents the poet as a hero fighting with the demon of commonness. The crucial thesis of the article is that banality which is modified in a creative way says more about the epoch than elitist visions. In his poetry, satire and cabaret work Tuwim transformed triviality into dialog and a common human being into a creative person. Transition of the street talk into original speech is the defence against reducing individual being to cliché which means the fear of 20th-century killing ideologies.

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31

Stillman, Robert E. "The Truths of a Slippery World: Poetry and Tyranny in Sidney's Defence." Renaissance Quarterly 55, no. 4 (2002): 1287–319. http://dx.doi.org/10.2307/1262104.

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Against the “presentism “ of current criticism linking the Defence's universalizing epistemology to the absolutism of Soviet-style propaganda, this study historicizes Philip Sidney's poetics as a consciously constructed vehicle of political liberation. The Defence's epistemology is recontextualized as a governing body of assumptions about the nature of knowledge that Sidney derived from the revival of natural law theory among an intellectual elite closely associated with the late Philip Melanchthon — the so-called Philippists — and the proponents of tyrannomachist political philosophy. Poetry's preeminence, Sidney maintains, derives from its serviceability in freeing us from the sovereignty of self-love and self-loving sovereigns.

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32

Bonnecase, Denis. "Langue, parole et musique : Prometheus Unbound à travers The Defence of Poetry." XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 31, no. 1 (1990): 123–42. http://dx.doi.org/10.3406/xvii.1990.1892.

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33

REEVE, CHARLES ERIC. "Mark Edmundson, Literature Against Philosophy, Plato To Derrida: A Defence of Poetry." Journal of Aesthetics and Art Criticism 55, no. 1 (December 1, 1997): 68–69. http://dx.doi.org/10.1111/1540_6245.jaac55.1.0068.

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34

Milne, Fiona. "Don Juan, the Law and Byronic Self-Defence." Byron Journal 49, no. 1 (June 1, 2021): 43–54. http://dx.doi.org/10.3828/bj.2021.6.

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From the publication of the first two cantos of Don Juan in 1819, the poem’s legal status was in doubt. Although never found blasphemous or seditious in a criminal court, Byron’s copyright in Don Juan was not upheld by the civil courts, owing to the possibility that the poem might be ‘injurious’ to the public. Alongside these courtroom debates, Byron and his poetry came under increasingly intense scrutiny before the figurative ‘tribunal of the public’, in periodicals and newspapers. Reviewers and commentators appraised Don Juan in the vocabulary of the criminal law, assuming the roles of advocate, jury and judge. This article analyses some of these legal and quasi-legal attacks, and investigates how Byron engaged with them. Don Juan, I propose, bears traces of the legal pressures Byron faced, absorbing the threat of criminal prosecution and exploring the question of what an oppositional statement of self-defence might look like.

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35

Rawes, Alan. "Shelley's ‘compelling rhyme schemes’ in The Triumph of Life." Romanticism 22, no. 1 (April 2016): 76–89. http://dx.doi.org/10.3366/rom.2016.0258.

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Many critics have noted The Triumph of Life's contradictory understandings of ‘life’, interpreting these contradictions as the product of thematic intention or thematic uncertainty. Drawing on a few deconstructive concepts about language and applying these to Shelley's rhymes in The Triumph of Life, this essay argues that in Shelley's poem rhymes create and disseminate equivocality of meaning but also offer Shelley a means of engaging creatively with that equivocality, and it is this interplay between form and poet that produces the poem's contradictory readings of ‘life’. It also suggests that paying attention to this interplay working itself out does not just tell us something fundamental about The Triumph of Life but also a great deal about Shelley's more general sensitive responsiveness to what he describes in A Defence of Poetry as the ‘relations’ between ‘sounds’ and the ‘uniform and harmonious recurrence of sound’, without which poetry, for Shelley, ‘were not poetry’.

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Aman, Yasser K. R. "The Importance of Instapoetry in Light of Dominant Forms with Special Reference to Rupi Kaur’s Milk and Honey." English Language and Literature Studies 12, no. 2 (March 17, 2022): 46. http://dx.doi.org/10.5539/ells.v12n2p46.

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Recently Instapoetry, a form of minimalist poetry, has emerged as a result of using Instagram as a platform for expression. It has strived to gain validity since many of Instapoets have gained millions of followers who have approved this kind of writing which, most of the time, is accompanied by advertisements that symbolize the hidden economic agenda that controls who will get published. However, Instapoetry has been and is still being faced by a wave of disapproval. The paper’s argument is to verify the validity and investigate the reliability of Instapoetry, an emergent subgenre, by measuring it against the dominant literary canon which includes areas of the residual. The paper sheds light on how the Marxist economic approach to literature reproduction affects this newly-exercised type of poetry; to what extent Instapoetry can be considered a mirror of social values, and how it can be a form of propaganda. The researcher compares theories of poetry in Plato’s Republic, Aristotle’s Poetics, Sidney’s An Apology for Poetry and Shelley’s A Defence of Poetry in order to formulate measurements, a paradigm, against which this, and other future types, of poetry can be tested, putting in mind the economic factor that has changed the map of publishing houses in the UK and the USA in 2017 for example.

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37

Sno, Herman N., Don H. Linszen, and Frans De Jonghe. "Art Imitates Life: Déjà vu Experiences in Prose and Poetry." British Journal of Psychiatry 160, no. 4 (April 1992): 511–18. http://dx.doi.org/10.1192/bjp.160.4.511.

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The déjà vu experience is a subjective phenomenon that has been described in many novels and poems. Here we review over 20 literary descriptions. These accounts are consistent with the data obtained from psychiatric literature, including various phenomenological, aetiological and psychopathogenetic aspects of the déjà vu experience. The explanations, explicitly formulated by creative authors, include reincarnation, dreams, organic factors and unconscious memories. Not infrequently, an association with defence or organic factors is demonstrable on the basis of psychoanalytic or clinical psychiatric interpretation. The authors recommend that psychiatrists be encouraged to overstep the limits of psychiatric literature and read prose and poetry as well.

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38

O'Neill, Michael. "Gleams and Dreams: Reflections on Romantic Rhyme." Romanticism 23, no. 2 (July 2017): 123–32. http://dx.doi.org/10.3366/rom.2017.0319.

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‘Gleam’ and ‘dream’: the rhyme performs a quintessential Romantic pairing and serves as a window opening on to the topic of rhyme in poetry of the period, not least through the serendipitous way in which it off-rhymes with the word ‘rhyme’ itself. Rhyme is a matter of spanning or failing to span abysses in Romantic poetry as much as it is an earnest of some ultimate harmony or fulfilment. The word ‘gleam’ suggests an intimations-inducing flash of light; ‘dream’, for its part, points towards a possibly insubstantial source or vehicle of embodiment or quest or longing. On the face of it, the coupling may seem as hackneyed as any scorner of Romantic verbal effects might wish. Yet Romantic poetry generates an ‘electric life’, in Shelley's words in A Defence of Poetry, from this and comparable verbal interknittings, The essay pays particular attention to the rhyme of ‘gleam’ and ‘dream’ in various poems, and then to rhyme's intratextual and intertextual effects in poems by Wordsworth and Coleridge; it returns at its close to themes of aspiration and affirmation often resonating through Romantic rhyme.

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39

McKIE, M. "IN DEFENCE OF POETRY: Defending Poetry: Art and Ethics in Joseph Brodsky, Seamus Heaney, and Geoffrey Hill. By DAVID-ANTOINE WILLIAMS." Essays in Criticism 61, no. 4 (October 1, 2011): 421–31. http://dx.doi.org/10.1093/escrit/cgr017.

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40

Metzl, Jonathan M. "Medical Humanities Do Not Humanize Doctors: The Trouble with Trying to Soften Hard Science." PMLA/Publications of the Modern Language Association of America 124, no. 3 (May 2009): 951–53. http://dx.doi.org/10.1632/s0030812900109587.

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“Poetry is the breath and finer spirit of all knowledge,” William Wordsworth famously wrote in the Preface to the 1802 version of Lyrical Ballads. “[I]t is the impassioned expression which is in the countenance of all Science. Emphatically it may be said of the Poet, as Shakespeare hath said of man, ‘that he looks before and after.‘ He is the rock of defence of human nature; an upholder and preserver, carrying every where with him relationship and love” (xxxvii).

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41

Stillman, Robert E. "On Not Defending Poetry: Defence and Indefensibility in Sidney’s “Defence of Poesy.” Catherine Bates. Oxford: Oxford University Press, 2017. xviii + 300 pp. $105." Renaissance Quarterly 71, no. 4 (2018): 1590–91. http://dx.doi.org/10.1086/702143.

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42

Halkiewicz-Sojak, Grażyna. "ŚREDNIOWIECZNE INSPIRACJE W POEZJI CYPRIANA NORWIDA." Colloquia Litteraria 20, no. 1 (February 8, 2017): 11. http://dx.doi.org/10.21697/cl.2016.1.2.

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The author begins with underscoring Norwid’s defence of the intellectual achievements of the Middle Ages in part XII of Rzecz o wolności słowa. It prompts her to speculate about the importance and trajectories of reflections on the Middle Ages in Norwid’s poetry in general. Subsequently, Halkiewicz-Sojak casts the topic against the background concerning the romantic fascination with the Medieval tradition and specifically Polish difficulties in adapting the European (northern) variation of that current. On the one hand, Norwid’s considerations upon Godfred’s attitudes in Tasso’s Jersusalem Delivered and Cervantes’s Don Quixote lead to the conclusion that a nineteenth-century poet can only repeat Cervantes’s character’s gestures; therefore, for the author the Medieval props will be the book and the candle rather than a continuation of chivalrous adventures. On the other hand, Norwid – especially in the early drama mystery plays – conjures up poetic worlds of the Slavic Middle Ages and focuses his attention on the Christian initiation of the Slavdom.

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43

BAZIN, VICTORIA. "Marianne Moore, Kenneth Burke and the Poetics of Literary Labour." Journal of American Studies 35, no. 3 (December 2001): 433–52. http://dx.doi.org/10.1017/s0021875801006715.

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Writing to Morton Zabel in 1932, Marianne Moore praised Zabel’s review of Emily Dickinson for Poetry magazine but also took the opportunity to remind her addressee that ‘‘Emily Dickinson cared about events that mattered to the nation.’’ In his review, Zabel had repeatedly insisted upon Dickinson’s ‘‘fast seclusion’’ from her community, locked as she was within an ‘‘asylum of the spirit.’’ This emphasis upon ‘‘isolation’’ and ‘‘introspection’’ represented the woman poet as being oddly detached from the ‘‘real’’ and implicitly masculine world of political and social change, a critical strategy Moore would have been all too familiar with, her own work having been repeatedly constructed in terms of aesthetic ‘‘purity.’’ Moore’s defence of Dickinson as a poet fully engaged with the political and social issues of her day is also, implicitly, a reminder to Zabel that women’s poetry need not be confined by critical interpretation to the private and feminized sphere of ‘‘introspection’’ but could be related to public affairs of national importance.

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44

Poshi, Ilda, and Ilirjana Kaceli. "Translating Literariness: Allen Ginsberg’s “Howl” Vs Ukë Zenel Buçpapaj’s “Kujë”." European Journal of Language and Literature 4, no. 1 (April 30, 2016): 128. http://dx.doi.org/10.26417/ejls.v4i1.p128-137.

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Prior to being accepted as a real and systematic discipline translation has been lengthily considered a multi-sided driving force used to enable multi-cultural/linguistic communication. As experience shows, translation was born as a practical endeavour to convey social, historical and cultural disparities between countries and only in the 1960s, thanks to Holmes, it was recognised as a solid discipline inexorably intertwined with other disciplines. Moreover, and above all, translation is not just science, it is not a mere process of decoding the encoded – it is an art. Such categorisation is what made Otokar Fischer and other scholars faithfully promote translation as an interface between science and art. This is what this research will try to encompass. We will see how in literary translation, the art of translating marries the theory so that to explain the uniqueness of this discipline. In addition, we will see the concept of literariness as an element of paramount importance in literary translation and especially in poetry, the most sublime aka most problematic genre of literature. As P.B Shelley confesses in A Defence of Poetry: “Poetry ... awakens and enlarges the mind itself by rendering it the receptacle of a thousand unapprehended combinations of thought. Poetry lifts the veil from the hidden beauty of the world, and makes familiar objects be as if they were not familiar; it reproduces all that it represents, and the impersonations clothed in its Elysian light stand thenceforward in the minds of those who have once contemplated them, as memorials of that gentle and exalted content which extends itself over all thoughts and actions with which it coexists. (P.B. Shelley, 1904, 33). Dynamic equivalence is the key to achieve the explanation of complex phenomena through simpler phenomena happening in literary translation and especially in poetry. Through an inductive-descriptive method we aim at bringing light to how and to what extent literariness can be translated by analysing coram Allen Ginsberg’s Howl and its translation in Albanian Kujë by Ukë Zenel Buçpapaj. This way we will see the essential and irreplaceable niche literariness occupies in poetry translation.

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45

Rhodes, Alice. "Radical Birdcalls: Avian Voices and the Politics of the Involuntary." Essays in Romanticism 27, no. 2 (October 1, 2020): 101–14. http://dx.doi.org/10.3828/eir.2020.27.2.2.

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This essay investigates Romantic-era treatments of bird calls as “unpremeditated”, spontaneous, and involuntary. Looking at parrots, starlings, mockingbirds, gamecocks, and skylarks in the work of writers including John Thelwall, Percy Shelley, Thomas Beddoes, and Helen Maria Williams, I explore the way in which talking and singing birds are often understood through reference to materialist philosophy and the associationism of David Hartley. Taking Thelwall’s King Chaunticlere and John Gilpin’s Ghost, and Shelley’s ‘To a Sky-Lark’ and A Defence of Poetry as my main focus, I argue that these writers use materialist metaphors of unconscious avian utterance to make nuanced claims about the seemingly ambiguous role of the will in political speech.

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정선영. "Poet’s Responsibility as an Ecological Thinker in Shelley’s A Defence of Poetry and Snyder’s A Place in Space." Literature and Environment 11, no. 2 (December 2012): 131–63. http://dx.doi.org/10.36063/asle.2012.11.2.006.

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47

Lee, Monika. "Dream Shapes as Quest or Question in Shelley's Prometheus Unbound." Romantik: Journal for the Study of Romanticisms 5, no. 1 (December 1, 2016): 111. http://dx.doi.org/10.7146/rom.v5i1.26421.

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In Percy Bysshe Shelley’s Prometheus Unbound, the Oceanides – Asia, Panthea, and Ione – direct the evolution of poetic consciousness through their lyricism which expresses human intuition and what Shelley calls in his ‘Defence of Poetry’ (1820) ‘the before unapprehended relations of things’. Their presence in Shelley’s lyrical drama leads from both abstract transcendental and literalist perspectives on reality in Act I to a more flexible and creative inner perspective in Act 2. The internal spaces evoked by the language of the Oceanides, spaces of reverie and dream, are the locus of metaphor – the endowment of absence with meaning and the identification of disparate objects with one another. As in dream, the dissolution of metaphor is integral to its dynamic processes. Asia, her dreams, and the unconscious liberate Prometheus as consciousness from the fixed rigidity which kills both metaphor and purpose; dream unfurls a ‘nobler’ myth to replace the stagnant one. Although Prometheus Unbound cannot narrate its own apotheosis, it weaves the process or spell of metaphor-making: ‘These are the spells by which to reassume / An empire o’er the disentangled Doom’ (IV, 568–69). After the words have been spoken, meaning must be continually sought in the non-verbal reverberating echoes of the unconscious.

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Adeniyi, Emmanuel. "The Portraiture of Stockholm Syndrome: Cultural Dislocation in Phillis Wheatley’s Poetry Collection and Selected African American Texts." English Studies at NBU 4, no. 1 (June 30, 2018): 41–60. http://dx.doi.org/10.33919/esnbu.18.1.4.

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One of the tropes that have often been glossed over in African American literature is the concept of Stockholm Syndrome. The syndrome emphasises irrationality and abnormal psychological or mental disposition of Stockholm Syndrome sufferers towards individuals responsible for their pitiable conditions. This article examines the conception and its nexus with slavery and the use of religion (Christianity) as an ideological tool for the indoctrination or brainwashing of African slaves and their descendants in the United States of America. I argue that the syndrome, though conceived as a correlate of Freudian ego-defence mechanism, operates like a psychedelic or hallucinogenic drug which, according to Karl Marx, dulls the reasoning capacity and cerebration of the sufferers and prevents them from thinking rationally. Besides, it alters their perception of reality forcing them to accept abnormality as normality in a bid to create an escapist route for their fears, hurt feelings and pent-up wounds.

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Moses, David. "Lyrical liars, animal desires and figurative kinship: Robert Henryson's defence of poetry in the prologue to The Morall Fabillis." Innes Review 72, no. 1 (May 2021): 27–48. http://dx.doi.org/10.3366/inr.2021.0280.

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This article cites Robert Henryson's Fables in order to contextualise the history of the medieval notion that the world of imaginary, poetic fiction, needs justification; and examines the theological sources which served as the foundation of that debate and provided the validation for the use of fable animals as moral exemplars.

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Azcárate, Asunción López-Varela, and Estefanía Saavedra. "The Metamorphosis of the Myth of Alchemy: Mary Shelley’s Frankenstein." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 15, no. 1 (January 1, 2017): 108–27. http://dx.doi.org/10.7195/ri14.v15i1.1036.

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This article takes as starting point the myth of alchemy in Mary Shelley´s Frankenstein or the Modern Prometheus, often interpreted as a warning of the risks and dangers of science and technology demonized in the form of the creature. Set in the Romantic period, the paper argues that the novel stages an ambiguous relationship between the advances in natural science and the philosophical and spiritual concerns that Mary Shelley inherited from her father, the philosopher William Godwin, which she discussed with her husband, the poet Percy B. Shelley. In the context of contemporary interdisciplinary discourses that contemplate ‘consilience’ between the humanities and the sciences, this paper offers a reading of Frankenstein and of Percy B. Shelley’s essay “A Defence of Poetry” as critical of empirical science in their ambiguous positioning with regards to alchemy and contemporary science. Furthermore, the research seeks to establish links with eco-cybernetic theories which bring to the fore a renewed interest on humanistic aspects.

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Journal articles on the topic 'Defence of poetry'

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