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Relevant bibliographies by topics / Samuel Taylor; Romantic poetry

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Academic literature on the topic 'Samuel Taylor; Romantic poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "Samuel Taylor; Romantic poetry"

1

Mitchell, Robert. "Suspended Animation, Slow Time, and the Poetics of Trance." PMLA/Publications of the Modern Language Association of America 126, no. 1 (January 2011): 107–22. http://dx.doi.org/10.1632/pmla.2011.126.1.107.

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Suspended animation emerged as a concept in the late eighteenth century as part of the efforts of the newly founded Royal Humane Society to convince lay and medical readers that individuals who had apparently drowned might still be alive, albeit in states of “suspended animation” (a condition we would now likely describe as a coma). The term was quickly taken up by medical and literary authors, including Samuel Taylor Coleridge, Mary and Percy Bysshe Shelley, and John Keats. Exploring these Romantic-era approaches to suspended animation can help us understand the reception and formal structures of creative literature, grasp the often counterintuitive links that Romantic-era authors established between “altered states” and “Romantic sobriety,” and articulate why poetry and other slow media remain important in our contemporary new-media landscape.

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Russett, Margaret E. "Language Strange: The Romantic Scene of Instruction in Twenty-First-Century Turkey." Publications of the Modern Language Association of America 133, no. 5 (October 2018): 1191–206. http://dx.doi.org/10.1632/pmla.2018.133.5.1191.

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Reflecting on my experience of teaching British Romantic literature at a Turkish university, this essay addresses the current conversation about global English by exploring the intersections among second-language literary study, translation theory, and Romantic aesthetics. It begins with a reconsideration of orientalism that traces a foreignizing impulse in canonical Romanticism, links this with Victor Shklovsky's concept of ostranenie (“estrangement”), and goes on to propose foreign language study as the exemplary instance of Romantic or Shklovskian aesthetic experience. Turning next to recent accounts, by Emily Apter and others, of Istanbul as the birthplace of “translational transnationalism,” I juxtapose the utopianism of contemporary translation theory with Samuel Taylor Coleridge's poetic ideal of “untranslatableness.” I conclude with a reading of Orhan Pamuk's novel Snow, particularly its homage to Coleridge's “Kubla Khan,” as a meditation on translatability, before briefly revisiting the Turkish Romantic classroom and its global English futurity.

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Bode, Christoph. "Discursive Constructions of the Self in British Romanticism." Articles, no. 51 (October 31, 2008): 0. http://dx.doi.org/10.7202/019264ar.

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Abstract This essay examines how subjective identities are discursively constructed in William Blake and P.B. Shelley, making brief references to William Wordsworth, Samuel Taylor Coleridge, Lord Byron, John Keats, and Charlotte Smith. It is argued that, although the poets come up with strikingly divergent solutions to the challenge of self-modelling, they face the same fundamental problems of self-grounding, working as they do within the paradox-prone paradigm of a Romantic self that tries to constitute itself out of itself. Comparing these Romantic poets with twentieth-century poetic models of selfhood and identity in Robert Frost and Wallace Stevens, this essay provides a tentative answer to the question of whether we continue to operate within the Romantic framework of discursive self-construction or whether in fact we have moved beyond this mode of self-construction.

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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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Zapf, Nora. "„We were a ghastly crew“: Gespenstige Schiffe und ruheloses Schreiben bei Samuel Taylor Coleridge und Arthur Rimbaud." arcadia 51, no. 2 (November 1, 2016): 325–43. http://dx.doi.org/10.1515/arcadia-2016-0026.

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AbstractEven though Coleridge’s fantastic romantic poem “The Rime of the Ancient Mariner” (1798) and Rimbaud’s hallucinatory symbolist poem “Le bateau ivre” (1871) use very different procedures, both of them show, each in their own way, a ghostly movement of the ship: a movement that seems to lead into the vastness of the globe but finds itself confined to the narrowness of one’s own self. Both of these sea poems draw a route that in the end is aimless in its bouncing and circular movement. The haunted ghost ship as a wooden skeleton without crew flies over water in Coleridge’s ballad, or falls into unattainable depths in Rimbaud’s long poem. Can these poetic travel narratives be described as forms of a “haunted globalization,” in which leaving the known for the unknown turns out to mean always moving around the same – the self, the known, the own writing process? Even if in the self, there will always be found the other, the foreign, too.

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Ivana, Dragoş. "Aloisia Şorop. Moiré. Fluids and Fluidity in Romantic Poetry: William Wordsworth, Samuel Taylor Coleridge. (Craiova: Editura Universitaria, 2017). Pp. 325. ISBN 978-606-14-1237-2." American, British and Canadian Studies 30, no. 1 (June 1, 2018): 202–6. http://dx.doi.org/10.2478/abcsj-2018-0012.

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7

Pop Zarieva, Natalija. "THE ENDURANCE OF THE GOTHIC THE ROMANTICS’ CONTRIBUTION TO THE VAMPIRE MYTH." Knowledge International Journal 28, no. 7 (December 10, 2018): 2339–44. http://dx.doi.org/10.35120/kij28072339n.

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The end of the eighteenth century and the beginning of the nineteenth century, also known as the period of Romanticism, were marked with the interest of the authors in nature and emotions, but also in the supernatural, horrible and the exotic. Although it was the era of reason and the progress of sciences, critics have identified the significance of the Gothic influence on the works of most of the English Romantic figures, among which Lord Byron is known to have had the major influence on the creation and persistence of the vampire figure, as a Gothic trope, haunting the last and this century’s literature and film. This paper attempts to unravel the origins and nature of the mysterious cultural appeal to the literary vampire by tracing its origins from Eastern European folklore, the first poem titled “Der Vampir”(1743) by Heinrich Ossenfelder, to the German Sturm and Drang poets, such as Johann Wolfgang Goethe and Gottfried August Buerger and their respective poems “Die Braut von Korinth” (1789) and “Lenore” (1773). The role of British ballad writers Southey, Lewis and Scott and their ballad collections will be considered as a significant effort to “renew the spirit” of British poetry which according to Scott had reached “a remarkably low ebb in Britain” (as cited in Thomson, 2002, p.80). Another literary figure engaged in writing Gothic ballads following the tradition of Mathew Lewis, not so well-known during her time, was the Scottish writer Anne Bannerman. Her ballad “Dark Ladie” deserves special attention in this context, as it features a female character who is transformed from the previous ballad tradition: from a passive victim of male seduction, here she becomes a fatal woman who comes back from the undead to seek for revenge and initiates the line of female vampires such as Keats’s “Lamia” and Coleridge’s “Christabel”. Thus, this paper elaborates on the major contributors to the Gothic stream in poetry in the specific period, mainly ballads, and traces the presence and development of Gothic elements and vampiric features. The continuous appeal to the Gothic found its place in the works of several major English Romantics, even though they put great effort to differentiate their poetry from the popular literature of the day – Gothic novels. This paper will concentrate on Lord Byron’s Oriental tale The Giaour (1813) and Samuel Taylor Coleridge’s The Rime of the Ancient Mariner (1798). Both works incorporate Gothic themes, settings and characters, but there hasn’t been much literary focus with reference to the vampire theme they are based on. Although, critics have observed the contribution of the ambivalent vampire figure in Romantic literature, critical evaluation of the growth of this Gothic character in these two poems until now is incomplete. Hence, we will focus on Byron and Coleridge’s appropriation of the vampire figure and their contribution to the growth of this character. The various metaphoric usages of this character will also be explored and defined to determine their purpose.

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Pop Zarieva, Natalija. "THE ENDURANCE OF THE GOTHIC THE ROMANTICS’ CONTRIBUTION TO THE VAMPIRE MYTH." Knowledge International Journal 28, no. 7 (December 10, 2018): 2339–44. http://dx.doi.org/10.35120/kij29082339n.

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The end of the eighteenth century and the beginning of the nineteenth century, also known as the period of Romanticism, were marked with the interest of the authors in nature and emotions, but also in the supernatural, horrible and the exotic. Although it was the era of reason and the progress of sciences, critics have identified the significance of the Gothic influence on the works of most of the English Romantic figures, among which Lord Byron is known to have had the major influence on the creation and persistence of the vampire figure, as a Gothic trope, haunting the last and this century’s literature and film. This paper attempts to unravel the origins and nature of the mysterious cultural appeal to the literary vampire by tracing its origins from Eastern European folklore, the first poem titled “Der Vampir”(1743) by Heinrich Ossenfelder, to the German Sturm and Drang poets, such as Johann Wolfgang Goethe and Gottfried August Buerger and their respective poems “Die Braut von Korinth” (1789) and “Lenore” (1773). The role of British ballad writers Southey, Lewis and Scott and their ballad collections will be considered as a significant effort to “renew the spirit” of British poetry which according to Scott had reached “a remarkably low ebb in Britain” (as cited in Thomson, 2002, p.80). Another literary figure engaged in writing Gothic ballads following the tradition of Mathew Lewis, not so well-known during her time, was the Scottish writer Anne Bannerman. Her ballad “Dark Ladie” deserves special attention in this context, as it features a female character who is transformed from the previous ballad tradition: from a passive victim of male seduction, here she becomes a fatal woman who comes back from the undead to seek for revenge and initiates the line of female vampires such as Keats’s “Lamia” and Coleridge’s “Christabel”. Thus, this paper elaborates on the major contributors to the Gothic stream in poetry in the specific period, mainly ballads, and traces the presence and development of Gothic elements and vampiric features. The continuous appeal to the Gothic found its place in the works of several major English Romantics, even though they put great effort to differentiate their poetry from the popular literature of the day – Gothic novels. This paper will concentrate on Lord Byron’s Oriental tale The Giaour (1813) and Samuel Taylor Coleridge’s The Rime of the Ancient Mariner (1798). Both works incorporate Gothic themes, settings and characters, but there hasn’t been much literary focus with reference to the vampire theme they are based on. Although, critics have observed the contribution of the ambivalent vampire figure in Romantic literature, critical evaluation of the growth of this Gothic character in these two poems until now is incomplete. Hence, we will focus on Byron and Coleridge’s appropriation of the vampire figure and their contribution to the growth of this character. The various metaphoric usages of this character will also be explored and defined to determine their purpose.

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Leather, Mark, Gil Fewings, and Su Porter. "Outdoor education: the Romantic origins at the University of St Mark and St John." History of Education Review 49, no. 1 (May 6, 2020): 85–100. http://dx.doi.org/10.1108/her-04-2019-0009.

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PurposeThis paper discusses the history of outdoor education at a university in the South West England, starting in 1840.Design/methodology/approachThis research uses secondary sources of data; original unpublished work from the university archive is used alongside published works on the university founders and first principals, as well as sources on the developments of outdoor education in the UK.FindingsBoth founding principals were driven by their strong values of social justice and their own experiences of poverty and inequality, to establish a means for everyone to access high-quality education regardless of background or means. They saw education as key to providing a pathway out of poverty and towards opportunity and achievement for all. Kay-Shuttleworth, founder of St John's, wrote that “the best book is Nature, with an intelligent interpreter”, whilst Derwent Coleridge, St Mark's first principal, had a profound love of nature and reverence for his father's poetic circle. His father, the famous English Romantic poet Samuel Taylor–Coleridge, made the first recorded use of the verb “mountaineering”. Coleridge was using a new word for a new activity; the ascending of mountains for pleasure, rather than for economic or military purposes.Originality/valueThe Romantic influence on outdoor education, the early appreciation of nature and the outdoors for physical and psychological well-being and the drive for social justice have not been told in any case study before.

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Bruni Roccia, Gioiella. "The Romantic Quest for Identity: Re-reading the First Part of The Rime of the Ancient Mariner." Journal of English Language and Literature 6, no. 3 (December 31, 2016): 489–94. http://dx.doi.org/10.17722/jell.v6i3.305.

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This paper proposes a re-reading of Samuel Taylor Coleridge’s poetic masterpiece, The Rime of the Ancient Mariner, in an attempt to deepen the critical discussion about one of the major themes explored in the poem, that is the search for identity. In particular, this attempt will consist of a close reading of the first section of the ballad, inasmuch as it contains the fundamental pattern of the whole text. The conceptual framework underlying this analysis is based on Coleridge’s key principle of “the coincidence of opposites”, which the Author develops in his critical work Biographia Literaria. Indeed, the whole of Coleridge’s oeuvre is permeated by the idea of a dialectical tension between contrary forces, which struggle against each other so as to be joined, at last, in the dynamic unity of a superior harmony. In the light of this conception, the Romantic quest for identity takes the form of a struggle between two opposing forces: the impact of otherness with its confounding effects on the one side, and the irrepressible aspiration towards a unified self on the other. Such a conflicting dynamics appears to structure the entire ballad, starting from the incipit of the poem and involving all the characters – especially the two opposite figures of the ancient Mariner and the Wedding Guest.

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Dissertations / Theses on the topic "Samuel Taylor; Romantic poetry"

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Koenig-Woodyard, Chris. "The transmission and reception of Coleridge's 'Christabel' : 1797-1912." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365560.

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Ng, Chak Kwan. "Lived space and performativity in British Romantic poetry." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/11701.

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In Romantic studies, Romanticism is regarded as a reaction against modernity, or more accurately, a self-critique of modernity. There have been critical debates over the nature of the preoccupation of the Romantics with the past and the natural world, whether such concern is an illustration of the reactionary tendency of Romanticism, or an aesthetic innovation of the Romantics. This study tries to approach this problem from the perspective of space. It draws from the spatial theory of Henri Lefebvre, discussed in the Production of Space, in which Lefebvre conceives a spatial history of modernity, and sees Romanticism as the cultural movement that took place at the threshold of the formation of abstract space. The poetry of three British Romantic writers, William Wordsworth, S. T. Coleridge and Joanna Baillie, is examined. This study analyses how the writers’ thinking and poetry writing are interactive with the formation of social space during the Romantic period. Their poetry embodies the lived experience of the time. The writers show an awareness of the performative aspect of poetry, that poetry is a kind of linguistic creation instead of mere representation, which can be used to appropriate the lived space of reality. This awareness is particular to these Romantic writers because their poetic tactics are socially contextualized. Poetry is their method, as well as manner of life, for confronting the unprecedented social changes brought by modernity. By using Merleau-Ponty’s phenomenology, an examination of the significance of the body and perception in Romantic poetry is also employed to show how, through the use of performative poetic language, the writers re-create their lived space so as to counter the dominance of abstract space.

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Meritt, Mark Dean. "Body-snatchers of literature : embodied genius and the problem of authority in romantic biographical sketches /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3061958.

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Thesis (Ph. D.)--University of Oregon, 2002.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 251-257). Also available for download via the World Wide Web; free to University of Oregon users.

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Ogden, Rebecca Lee Jensen. "Merit Beyond Any Already Published: Austen and Authorship in the Romantic Age." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2417.

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In recent decades there have been many attempts to pull Austen into the fold of high Romantic literature. On one level, these thematic comparisons are useful, for Austen has long been anachronistically treated as separate from the Romantic tradition. In the past, her writings have essentially straddled Romantic classification, labeled either as hangers-on in the satiric eighteenth-century literary tradition or as early artifacts of a kind of proto-Victorianism. To a large extent, scholars have described Austen as a writer departing from, rather than embracing, the literary trends of the Romantic era. Yet, while recent publications depicting a “Romantic Austen” yield impressive insights into the timeliness of her fiction, they haven't fully addressed Austen's participation in some of the most crucial literary debates of her time. Thus, it is my intention in this essay to extend the discussion of Austen as a Romantic to her participation in Romantic-era debates over emergent literary categories of authorship and realism. I argue that we can best contextualize Austen by examining how her model of authorship differs from those that surfaced in literary conversations of the time, particularly those relating to the high Romantic myth of the solitary genius. Likewise, as questions of solitary authorship often overlap with discussions of realism and romance in literature, it is important to reexamine how Austen responds to these categories, particularly in the context of a strictly Romantic engagement with these terms. I find that, though Austen's writing has long been implicated in the emergence of realism in literature, little has been written to link this impulse to the earlier emergence of Romantic-era categories of authorship and literary creativity. I contend that Austen's self-projection (as both an author and realist) engages with Romantic-era literary debates over these categories; likewise, I argue that her response to these emergent concerns is more complex and nuanced than has heretofore been accounted for in literary scholarship.

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Folliot, Laurent. "Des paysages impossibles : nature, forme et historicité chez W. Wordsworth et S.T. Coleridge." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2010. http://tel.archives-ouvertes.fr/tel-00881236.

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Souvent perçu comme le poète de la " nature " par excellence, William Wordsworth serait bien plutôt celui qui a donné définitivement congé à une riche tradition descriptive, puisque les évocations du paysage sont chez lui bien plus rares que chez tous ses prédécesseurs du XVIIIe siècle. Le présent travail se propose de prêter attention à cette raréfaction, qu'on peut également voir, sur le plan de l'histoire esthétique, comme le moment d'émergence d 'une modernité abstraite. La poésie wordsworthienne, qui a pour ambition de refonder le langage et les formes poétiques par un retour à l'authenticité de la nature, apparaît indissociablement comme une rupture avec un mode essentiel de la première modernité anglaise, celui des Géorgiques. Elle prend ainsi acte de la crise de la représentation qui affecte l'optimisme du XVIIIe siècle et qui empêche désormais de voir dans le paysage la manifestation d' un ordre providentiel. Le " romantisme " anglais est ce qui surgit au défaut de la cosmologie, pour témoigner d'une fondamentale absence au monde. Cette évolution est ici étudiée en deux temps. On s'attachera d'abord à retracer, dans son détail, la trajectoire de la poésie de jeunesse de Wordsworth et de Coleridge, pour montrer que le moment refondateur de Lyrical Ballads intervient au terme d'un épuisement des formes et de la topique qui garantissaient traditionnellement l'intelligibilité du cosmos. Et l'on abordera ensuite trois moments distincts de la maturité poétique de Wordsworth [1798, 1802, 1807], qui suggèrent que le retour de l'idéologie dans son œuvre répond intimement à l'ébranlement radical dans lequel elle trouve son inspiration.

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McBriar, Shannon Ross. "Shining through the surface : Washington Allston, Samuel Taylor Coleridge and imitation in romantic art criticism." Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:67bc3d1d-ad3f-4e93-b774-5055f1e350b8.

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This thesis has evolved from William Blake's phrase, "Imitation is Criticism" written in the margin of Sir Joshua Reynolds's Discourses on Art. As a concept central to the production and criticism of art, imitation has largely been explored in the philosophical context of aesthetics rather than in terms of its practical application in image-text studies of the Romantic period. It has also traditionally served as a marker for the period designation 'Romantic', which in image-text studies continues to be played out in terms of the transition from imitative to expressive modes of making and response. Yet this notion of periodization has proven problematic in studying the response to 'false criticism' within what Wallace Stevens calls that 'corpus of remarks about painting'. These remarks reveal an important tension within imitation as a way of making something like something else, but also as a means of characterizing the relationships that underpin that resemblance. This tension not only occupies a central place in the concurrent development of art criticism and literary criticism in the period, but also offers a new foundation for the interdisciplinary study of image-text relationships in the period. The thesis is divided into two parts, each guided by the important role that imitation plays in the fight against 'false criticism' with respect to the visual arts. The first part examines the tension within imitation from the standpoint of artists and connoisseurs who expressed concern about the excesses of description in asserting the need for a credible art criticism while at the same time realizing its inevitability. The second part examines the tension within imitation from the standpoint of the American artist Washington Allston and his friend Samuel Taylor Coleridge, both of whom used this tension to advantage in setting forth a lexicon and methodology that could account not only for the 'specific image' described, but also the geometrical and structural relationships that underpin that image.

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Pacheco, Katie. "The Buddhist Coleridge: Creating Space for The Rime of the Ancient Mariner within Buddhist Romantic Studies." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/937.

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The popularization of academic spaces that combine Buddhist philosophy with the literature of the Romantic period – a discipline I refer to as Buddhist Romantic Studies – have exposed the lack of scholarly attention Samuel Taylor Coleridge and The Rime of the Ancient Mariner have received within such studies. Validating Coleridge’s right to exist within Buddhist Romantic spheres, my thesis argues that Coleridge was cognizant of Buddhism through historical and textual encounters. To create a space for The Rime within Buddhist Romantic Studies, my thesis provides an interpretation of the poem that centers on the concept of prajna, or wisdom, as a vital tool for cultivating the mind. Focusing on prajna, I argue that the Mariner’s didactic story traces his cognitive voyage from ignorance to enlightenment. By examining The Rime within the framework of Buddhism, readers will also be able to grasp the importance of cultivating the mind and transcending ignorance.

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Kimbell, Sara E. "The Romantic Pilgrim: Narrative Structure in Samuel Barber's Hermit Songs." Youngstown State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1274965990.

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Grinnell, George C. Clark David L. "On hypochondria: interpreting romantic health and illness (Samuel Taylor Coleridge, Mary Shelley, Thomas de Quincey, Thomas Beddoes, Charles Brockden Brown) /." *McMaster only, 2005.

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Worth, Ryan Mitchell. "Romantic Symbolism Re-examined: The Ontic Fallacy." BYU ScholarsArchive, 2021. https://scholarsarchive.byu.edu/etd/9136.

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Romantic symbolism is a poorly understood concept. It was first formulated by the Romantics in a variety of contexts. Goethe develops his theory of the symbol most notably in his scientific works. Schelling's approach to the Romantic symbol is firmly rooted in his philosophical writings. Coleridge articulates a Romantic notion of symbolism across his extensive literary criticism. The foundational influence of these related theories of Romantic symbolism can be seen in the artistic, literary, and scientific productions of Romantic minded individuals all over Europe in the late eighteenth and early nineteenth century. However, the nature and scope of the Romantic symbol as originally formulated by Goethe, Schelling, and others has been obfuscated in unfortunate ways by the contemporary theoretical assumptions and narrow interpretations of recent academic scholarship. This thesis restores the original connotation of the Romantic symbol by identifying the common way in which it is misconstrued: the ontic fallacy.

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Books on the topic "Samuel Taylor; Romantic poetry"

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How to study Romantic poetry. New York: St. Martin's Press, 2001.

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How to study Romantic poetry. Basingstoke: Macmillan, 1988.

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Romantic complexity: Keats, Coleridge, and Wordsworth. Chicago: University of Illinois Press, 2006.

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Gibson, Matthew. Yeats, Coleridge and the romantic sage. Houndmills, Basingstoke, Hampshire [England]: Macmillan Press, 2000.

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Kneale, J. Douglas. Romantic aversions: Aftermaths of classicism in Wordsworth and Coleridge. Liverpool: Liverpool University Press, 1999.

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Kneale, J. Douglas. Romantic aversions: Aftermaths of Classicism in Wordsworth and Coleridge. Montreal: McGill-Queen's University Press, 1999.

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The symbolic imagination: Coleridge and the romantic tradition. 2nd ed. New York: Fordham University Press, 2001.

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Sitterson, Joseph C. Romantic poems, poets, and narrators. Kent, Ohio: Kent State University Press, 2000.

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Plagiarism and literary property in the Romantic period. Philadelphia: University of Pennsylvania Press, 2007.

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Kearns, Sheila M. Coleridge, Wordsworth, and romantic autobiography: Reading strategies of self-representation. Madison, N.J: Fairleigh Dickinson University Press, 1995.

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Book chapters on the topic "Samuel Taylor; Romantic poetry"

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Zuccato, Edoardo. "Charles Lloyd and Samuel Taylor Coleridge." In Petrarch in Romantic England, 94–125. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230584433_5.

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Higgins, David. "Local and Global Geographies: Samuel Taylor Coleridge and the Wordsworths." In Romantic Englishness, 45–63. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137411631_3.

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Béres Rogers, Kathleen. "Ideality and Art in Samuel Taylor Coleridge’s “Rime of the Ancient Mariner” and Edgar Allan Poe’s “Berenice” and “The Tell-Tale Heart”." In Creating Romantic Obsession, 149–88. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-13988-9_6.

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James, Felicity. "Charles Lamb, Samuel Taylor Coleridge, and the Forging of the Romantic Literary Coterie." In Re-evaluating the Literary Coterie, 1580–1830, 137–57. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-54553-4_8.

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Strabone, Jeff. "Samuel Taylor Coleridge and Other Bardic Poets: Thomas Chatterton, Edward Jones, Iolo Morganwg, and Odin." In Poetry and British Nationalisms in the Bardic Eighteenth Century, 215–60. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95255-0_4.

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Stokes, Christopher. "‘Hence the necessity of Prayer’." In Romantic Prayer, 98–127. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198857808.003.0005.

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Samuel Taylor Coleridge began as a Unitarian: this chapter charts the poetic emergence, in his work, of a stranger and more disturbing sense of prayer than Rational Dissent could conceive. Pushing at the borders of reason—slightly archaic and opening the self to mysterious otherness—Gothic prayers become something of a Coleridgean obsession in the late 1790s, in poems like ‘Christabel’ and ‘The Rime of the Ancient Mariner’. The attempt to understand prayer as an experience beyond the shallowly rational version of it which Coleridge inherits from Unitarian thought continues, and culminates in his 1820s Kantian-influenced philosophy of prayer, which is reconstructed from notebook entries and other fragmentary materials.

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Spivak, Gayatri Chakravorty. "Willing Suspension of Disbelief, Here, Now." In Constellations of a Contemporary Romanticism. Fordham University Press, 2016. http://dx.doi.org/10.5422/fordham/9780823271030.003.0015.

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“Willing Suspension” is, among many other things, the revisiting of a principal figure and phrase of the British Romanticism that constituted Spivak’s own critical point of departure. “Folded together (com-plicit), not just face-to-face with Samuel Taylor Coleridge,” Spivak reviews this Romantic complicity, the interpolated “heres” and “nows” of a critical trajectory stretching from Calcutta to Columbia. “Under the sign of the hurricane lantern,” Spivak follows the expedited route in Coleridge from “the willing suspension of disbelief” to “poetic faith,” one only made “complicit in dreams.”

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Bainbridge, Simon. "Romanticism on the Rocks." In Mountaineering and British Romanticism, 129–61. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857891.003.0006.

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This chapter examines the influence of mountaineering’s demanding physical activities and challenging situations on Romantic-period literature, contesting later constructions of ‘Romanticism’ that see the period’s response as essentially imaginative and transcendent. It investigates the development of rock climbing from the 1790s to the 1820s, examining the activities and writings of a number of pioneer climbers. It then focuses on William Wordsworth’s and Samuel Taylor Coleridge’s climbing writing, showing how the specific physical activities, environment, and emotions involved in climbing were productive of visionary states. It investigates Wordsworth’s presentation of the role of ‘fear’ in his mountain-based development in The Prelude. The chapter concludes with an examination of Coleridge’s mountaineering writings, exploring the relationship between mountaineering and writing, the poet’s attitude to risk, and his ambivalent construction of his mountaineering identity.

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"14. Samuel Taylor Coleridge." In Classic Writings on Poetry, 297–304. Columbia University Press, 2005. http://dx.doi.org/10.7312/harm12370-014.

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Robertson, Lisa Ann. "Enacting the Absolute: Subject-Object Relations in Samuel Taylor Coleridge’s Theory of Knowledge." In Distributed Cognition in Enlightenment and Romantic Culture, 118–38. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474442282.003.0007.

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This chapter examines Samuel Taylor Coleridge’s ‘Theory of Life’ (1816/1848) and his theory of knowledge, discussed in Biographia Literaria (1817), through the lens of autopoietic enaction. It focuses on parallels between historical and contemporary theories, particularly their philosophical underpinnings, and argues that Coleridge’s theories are an important alternative to Cartesian accounts of the mind. Interrogating these theories in terms of enactive concepts, such as structural coupling, dynamic co-emergence, and mutual co-dependence, exposes the inherent embodied, embedded, and enacted premises on which Coleridge’s theory of cognition relies. The relationship between the subject and the object implicit in dualist and materialist theories reveals the effects assumptions about this relationship have on the way human beings understand themselves in relationship to nature and their own bodies – effects that are frequently inimical. The chapter concludes that Coleridge and the enactive approach offer valuable options for overcoming the schism between consciousness and nature, mind and world.

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