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Relevant bibliographies by topics / Dryden, john, 1631-1700, bibliography

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Academic literature on the topic 'Dryden, john, 1631-1700, bibliography'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2024

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Journal articles on the topic "Dryden, john, 1631-1700, bibliography"

1

Skouen, Tina. "The Vocal Wit of John Dryden." Rhetorica 24, no. 4 (2006): 371–402. http://dx.doi.org/10.1525/rh.2006.24.4.371.

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Abstract The English poet-critic John Dryden (1631–1700) took a keen interest in refining the mother tongue. As a literary critic, he was particularly concerned with the contrast between the sound of the vernacular and that of Latin. This study establishes a connection between Dryden's observations on sound and the recommendations concerning elocution found in such seventeenth-century rhetorics as Some Instructions Concerning the Art of Oratory (1659) by Obadiah Walker. In order to appreciate Dryden's use of sound in his own poems, I argue that one should also take into account the phonetic theory provided by contemporary grammars. The study thus pays tribute to the fact that in the age of Dryden the concerns of rhetoric and grammar were closely interwoven.

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Boulton. "‘Mighty things from small beginnings grow’ John Dryden (1631-1700) Annus mirabilis." Anaesthesia 54, no. 9 (September 30, 1999): 823–25. http://dx.doi.org/10.1046/j.1365-2044.1999.01103.x.

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Caldwell, Tanya. "John Dryden (1631-1700): His Politics, His Plays, and his Poets (review)." University of Toronto Quarterly 75, no. 1 (2006): 256–57. http://dx.doi.org/10.1353/utq.2006.0025.

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4

Reverand, Cedric D. "John Dryden (1631–1700): His Politics, His Plays, and His Poets ed. by Claude Rawson and Aaron Santesso." Scriblerian and the Kit-Cats 38, no. 1 (2005): 103–5. http://dx.doi.org/10.1353/scb.2005.0051.

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5

Rounce, Adam. "John Dryden (1631–1700): His Politics, His Plays, and His Poets. claude rawson and aaron santesso (eds). Pp. 302. Newark: Delaware University Press, 2004. Cloth, £35.00." Review of English Studies 57, no. 230 (June 1, 2006): 425–26. http://dx.doi.org/10.1093/res/hgl062.

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6

Van Rooy, Raf. "From koine to standard: the early modern origin of a key linguistic term." Journal of Historical Sociolinguistics 7, no. 2 (October 1, 2021): 283–302. http://dx.doi.org/10.1515/jhsl-2020-0008.

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Abstract In this paper, I explore the early history of the word standard as a linguistic term, arguing that it came to compete with the designation common language in the seventeenth century. The latter phrase was, in turn, formed by ideas on the Greek koine during the Renaissance and appears to have been the first widely used collocation referring to a standard language-like entity. In order to sketch this evolution, I first discuss premodern ideas on the koine. Then, I attempt to outline how the intuitive comparison of the koine with vernacular norms that were being increasingly regulated resulted in the development of the concept of common language, termed lingua communis in Latin (a calque of Greek hē koinḕ diálektos), in the sixteenth century. This phrase highlighted the communicative functionality of the vernaculars, which were being codified in grammars and dictionaries. Scholars contrasted these common languages with regional dialects, which had a limited reach in terms of communication. This distinction received a social and evaluative connotation during the seventeenth century, which created a need for terminological alternatives; an increasingly popular option competing with common language was standard, which was variously combined with language and tongue by English authors from about 1650 onwards, especially in Protestant circles, where the vernaculars tended to play a more prominent role than in Catholic areas. Of major importance for this evolution was the work and linguistic usage of the poet John Dryden (1631–1700). This essay uncovers the early history of standard as a key linguistic term, while also presenting a case study which shows the impact of the rediscovery of the Greek heritage on language studies in Western Europe, especially through the term common language.

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Dissertations / Theses on the topic "Dryden, john, 1631-1700, bibliography"

1

Poyet, Albert. "John dryden, poete satirique." Paris 3, 1988. http://www.theses.fr/1989PA030052.

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Centree sur la poesie satirique de dryden, dont sont soulignees la polysemie fondamentale et l'ambiguite, mais prenant en compte l'ensemble tres vaste de son oeuvre, cette etude se situe dans une perspective a la fois historique et stylistique, voire linguistique. L'ecrivain a ete associe a divers milieux sociaux et a vecu dans une periode de tensions que refletent ses poemes, ses pieces de theatre, ses essais de critique litteraire et ses textes polemiques. Quant a sa vision du monde, elle apparait constituee de courants de pensee mouvants et divergents, et meme contradictoires, comme le manifestent ses idees religieuses, scientifiques, historiques, politiques et litteraires envisagees tour a tour. Si le penchant de dryden pour l'argumentation et son gout pour certaines formes reductrices (au plan de la rhetorique ou des images) favorisent l'expression satirique, son ecriture ne cesse de s'enrichir d'allusions culturelles et de resonances (grace en particulier a une parfaite maitrise de la langue et de la prosodie). Ainsi satire et poesie se trouvent intimement liees et leurs incidences reciproques et volontiers paradoxales sont analysees dans les prologues et les epilogues, dans mac flecknoe, dans absalom and achitophel, dans the medall et dans the hind and the panther. L'ironie, tributaire notamment d'une certaine polyphonie enonciative et de jongleries et creations verbales, en vient a etre intensifiee mais aussi perturbee par les effets poetiques
Focussed on dryden's satirical poetry whose fundamental ambivalence and ambiguity are stressed, but also taking into account his whole extensive work, this study develops along a historical and stylistic (if not linguistic) line. Our author was connected with various social classes and lived in a period of tensions mirrored in his poems, his plays, his critical essays and his polemical writings, while his vision of the world integrates moving and diverging, even contradictory, ideas, as is revealed in his religious, scientific, historical, political and literary views. If dryden's keen expertise in argumentation and his fondness for rhetorical and stylistic reductions are conducive to satire, his writing is ceaselessly enriched by cultural allusions and resonance (thanks in particular to a perfect mastery of language and prosody). Thus satire and poetry are shown to be intimately and intricately associated and their often paradoxical relationship is analysed in the prologues and epilogues, mac flecknoe, absalom and achitophel, the medall and the hind and the panther. Irony, which tends to be linked with a form of enunciative polyphony, with plays on words and verbal creations, is both intensified and blurred, even subverted, by poetry

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2

Volpi, Angiola Maria. "Sources et influences classiques dans la poésie de Dryden." Paris 4, 2003. http://www.theses.fr/2003PA040011.

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La présente thèse essaie d'apporter une contribution à l'étude du classicisme de Dryden en explorant l'oeuvre de divers auteurs de l'Antiquité (Aristophane, Lucien, Silius Italicus) que la critique n'avait pas mis en relation avec la poésie drydienne aussi bien qu'en approfondissant l'examen d'influences qui avaient déjà été prises en compte (Pindare, Juvenal) pour en renouveler l'approche. Le rapport à la parole, au pouvoir du "logos" qu'exprime l'Auteur à travers ses personnages, en accord avec les modèles anciens, est les fil conducteur des analyses de la première partie de la thèse, où l'étude du rôle de l'exemple de Silius dans "Annus Mirabilis" ouvre la voie à l'exploration de l'univers satirique drydenien, comme celles de la deuxième partie, qui ont pour objectif d'attribuer a "To the Pious Memory of Mrs Anne Killigrew" et à "Alexander's Feast" le statut d'épinicies, d'odes victoriales. La troisième partie est une étude de la présence de Juvénal dans la poésie de l'auteur
The present thesis seecks to contribute to the study of Dryden's classicism, both by exploring the works of various authors of antiquity (Aristophenes, Lucian, Silius Italicus) unrelated to Dryden's poetry by the critics, and by making a more detailed examination of the already recognised influences (Pindare, Juvenal) while adopting a novel approach to these. The emphasis placed ont he relationship to the word, the power of the "logos" as expresses by the author through his characters in accordance with the ancient models, closely links the analysis contained in part one of the thesis, where a study of the influence of Silius on "Annus Mirabilis" paves the way for an exploration of Dryden's satiric world, with those of part two, which aims to characterize the poems "To the Pious Memory of Mrs Anne Killigrew" and "Alexander's Feast" as victory odes. The final part three is a study of Juvenal's presence in Dryden's poetry

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3

Manco, Clara. "« In Earnest or Jest » : rire, pouvoir et politique dans les Comédies de la Restauration (1660-1688)." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL048.pdf.

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Quel rôle joue le rire dans l'économie symbolique du pouvoir ? Comment reflète-t-il, et dans quelle mesure contribue-t-il en retour à structurer les imaginaires politiques contemporains ? Le moment historique situé entre la Restauration et le changement dynastique de la Glorieuse Révolution constitue un épisode privilégié de l'histoire du théâtre anglais pour aborder ces questions. Après les tourments de la guerre civile et le hiatus des années Cromwell, la scène entretient des liens institutionnels plus étroits que jamais avec le pouvoir de la Couronne. Parallèlement, une opposition émerge et se structure sous la forme du parti Whig. Celle-ci investit aussi très tôt l'institution théâtrale en tirant profit, entre autres, de la dépendance économique de nombreux dramaturges et du personnel théâtral. La comédie s'adapte ainsi à cette triple contrainte (économique, sociale, institutionnelle) en politisant pour l'occasion les stéréotypes qu'elle hérite de traditions antérieures, comme celui du cocu, du dévot ou du débauché. Ces types établis, qui sont le matériau propre de la comédie, deviennent à la fois des images des différents acteurs de l'échiquier politique et des armes au service de ces luttes d'influence. De ces exigences contradictoires émerge alors un mode de production et de réception comique unique, influencé par les pratiques satiriques, et fondé sur l'ambiguïté. Cette étude comparative s'appuie sur un corpus de quarante pièces de vingt et un auteurs différents, allant de figures canoniques comme Dryden, Shadwell et Behn à d'autres moins connues comme D'Urfey, Crowne et Ravenscroft
What is the role of laughter in the symbolic economy of power? How does it reflect and shape the minds and political imagination of contemporary society? The historical period between the Restoration and the dynastic shift of the Glorious Revolution constitutes a pivotal point in the history of English theatre in which to explore these questions. Following the violence of the Civil War and the hiatus of the Cromwellian years, the institutional links between the theatres and the Crown become tighter than ever. Meanwhile, the political opposition consolidates itself, becoming the Whig party, and invests in theatrical institutions by taking advantage inter alia of the financial dependence of playwrights and stage personnel. Comedy adapts to these economic, social and institutional constraints by politicising the stereotypes inherited from previous traditions, such as the « cuckold », the « zealot » or the « rake ». These comedic vehicles are used both as mirror images of the actors of political life and as tools serving specific agendas in contemporary power struggles. From these contradictory demands emerges a distinctive mode of comic production and reception, heavily influenced by satiric practices and structured with deliberate ambiguity. This comparative study is based on forty plays by twenty-one different authors, from canonical figures such as Dryden, Shadwell and Behn, to lesser-known authors like D'Urfey, Crowne and Ravenscroft

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4

Park, Yoon-hee. "Rewriting Woman Evil?: Antifeminism and its Hermeneutic Problems in Four Criseida Stories." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278387/.

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Since Benoit de Sainte-Maure's creation of the Briseida story, Criseida has evolved as one of the most infamous heroines in European literature, an inconstant femme fatale. This study analyzes four different receptions of the Criseida story with a special emphasis on the antifeminist tradition. An interesting pattern arises from the ways in which four British writers render Criseida: Geoffrey Chaucer's Troilus and Crisevde is a response to the antifeminist tradition of the story (particularly to Giovanni Boccaccio's II Filostrato); Robert Henryson's Testament of Cresseid is a direct response to Chaucer's poem; William Shakespeare's Troilus and Cressida aligns itself with the antifeminist tradition, but in a different way; and John Dryden's Troilus and Cressida or Truth Found Too Late is a straight rewriting of Shakespeare's play. These works themselves form an interesting canon within the whole tradition. All four writers are not only readers of the continually evolving story of Criseida but also critics, writers, and literary historians in the Jaussian sense. They critique their predecessors' works, write what they have conceived from the tradition of the story, and reinterpret the old works in that historical context.

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Books on the topic "Dryden, john, 1631-1700, bibliography"

1

1947-, Winn James Anderson, ed. Critical essays on John Dryden. New York: G.K. Hall, 1997.

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Hammond, Paul. John Dryden: A literary life. London: Macmillan, 1991.

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Winn, James Anderson. John Dryden and his world. New Haven: Yale University Press, 1987.

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John, Dryden. John Dryden: Poems. London: Faber and Faber, 2004.

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David, Hopkins. John Dryden. Tavistock: Northcote House, 2004.

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Julien, Rawson Claude, and Santesso Aaron 1972-, eds. John Dryden (1631-1700): His politics, his plays, and his poets. Newark: University of Delaware Press, 2004.

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1953-, Hammond Paul, and Hopkins David 1948-, eds. John Dryden: Tercentenary essays. Oxford: Clarendon Press, 2000.

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John, Dryden. John Dryden: The major works. Oxford: Oxford University Press, 2003.

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Reverand, Cedric D. Dryden's final poetic mode: The fables. Philadelphia: University of Pennsylvania Press, 1988.

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John, Dryden. Dryden: Poems and prose. Harmondsworth: Penguin, 1985.

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Book chapters on the topic "Dryden, john, 1631-1700, bibliography"

1

McGowan, Ian. "John Dryden 1631–1700." In The Restoration and Eighteenth Century, 18–66. New York: Palgrave Macmillan US, 1989. http://dx.doi.org/10.1007/978-1-349-60485-2_4.

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"John Dryden (1631–1700)." In The correspondence of John Dryden. Manchester University Press, 2022. http://dx.doi.org/10.7765/9781526136374.00008.

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"John Dryden (1631–1700)." In London, 186–202. Harvard University Press, 2015. http://dx.doi.org/10.2307/j.ctv22jnsm7.48.

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"John Dryden (1631–1700) from Annus Mirabilis." In London, 186–98. Harvard University Press, 2015. http://dx.doi.org/10.4159/9780674273702-061.

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"King Arthur (1691) by John Dryden (1631-1700)." In Arthurian Drama: An Anthology, 105. Routledge, 2014. http://dx.doi.org/10.4324/9781315765259-32.

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Weiss, Piero. "The First English Operas." In Opera, 60–64. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195116373.003.0011.

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Abstract The Restoration playwright and poet John Dryden (1631-1700) witnessed the birth of opera in England. It happened in 1656, while the Puritans ruled the country and regular theatrical performances were banned. Dryden himself tells us about it in the preface to one of his heroic plays, The Conquest of Granada by the Spaniards (1672): The first light we had of [heroic plays] on the English theatre was from the late Sir William Davenant [1606-67]. It being forbidden him by the rebellious times to act tragedies and comedies, because they contained some matter of scandal to those good people who could more easily dispossess their lawful sovereign than endure a wanton jest, he was forced to turn his thoughts another way, and to introduce the examples of moral virtue writ in verse, and performed in recitative music. The original of this music, and of the scenes which adorned his work, he had from the Italian operas; but he heightened his characters (as I may probably imagine) from the example of Corneille and some French poets. In this condition did this part of poetry remain at his Majesty’s return; when, growing bolder, as being now owned by a public authority, he reviewed his Siege of Rhodes, and caused it be acted as a just drama.

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