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Murillo, Edwin. "Existencial Poetics in the 19th Century Latin America". Revista de Filología y Lingüística de la Universidad de Costa Rica 45, n.º 1 (21 de março de 2019): 115–32. http://dx.doi.org/10.15517/rfl.v45i1.36674.
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Typically, the origin story of Existentialism has depicted Latin America’s contributions as subsequent and tributary to its European counterpart. Nevertheless, a select few critics have approached this history in Hispanic America from a chronologically inclusive perspective, by calling attention to an Existential Poetics in modernismo. This article expands the borders of Existential Poetics to fashion a Latin American literary imaginary. Given the work already done on Rubén Darío and José Martí, both of whom have been studied independently, my analysis will be collective, favoring philopoetic works by Manuel Gutiérrez Nájera, Julián del Casal, José Asunción Silva, and João Cruz e Sousa. The purpose of examining Hispanic-American poets in conjunction with a Brazilian is to accentuate the Pan-American quality of this Existentialism avant la lettre. As I will discuss, all these poems deal with a crisis of irrelevance and overtly question being in the world, classic motifs of Existentialism. Together, these poems allow for the synchronized inclusion of Latin American voices to the universal history of Existentialism, an approached not explicitly carried out by most philosophical and literary historiographers.
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Satorno, Marla Do Vale. "Urban scenarios in Walt Whitman’s poetry". Babel: Revista Eletrônica de Línguas e Literaturas Estrangeiras 7, n.º 1 (22 de julho de 2017): 28–35. http://dx.doi.org/10.69969/revistababel.v7i1.3626.
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One of the most striking features in 19th century poetry is the scenes of astonishing industrial progress, the development of the cities, the people who rush around, either working or just living their lives. Such urban scenarios are constant images in poems of this period. American poet Walt Whitman is also one of the poets who conveys urban movement through his poetry. With these characteristics as a starting point, the purpose of this article is to focus on the urban images in Whitman’s poetry, analyzing the poetry of the cities. Closely linked to Baudelaire’s flâneur, Whitman also observes city life from a contemplative point of view. In poems like City of Ships, I Hear America Singing, Crossing the Brooklyn Ferry, among others, Whitman sings of city life, its constant movement, its people and its landscapes. Focusing on the poet’s observation of urban life in the nineteenth century, this article also intends to make a link between the 19th Century idea of modernity and Whitman’s poems. A small selection of poems from Leaves of Grass which highlights these characteristics was chosen to be the focus of this analysis.
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Abushihab, Ibrahim. "A Stylistic Analysis of Arab-American Poetry: Mahjar (Place of Emigration) Poetry". Journal of Language Teaching and Research 11, n.º 4 (1 de julho de 2020): 652. http://dx.doi.org/10.17507/jltr.1104.17.
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The present paper represents an attempt to focus upon analyzing and describing the major features of Arab American poetry written by prominent Arab poets who had arrived in America on behalf of millions of immigrants during the 19th century. Some of who wrote in English and Arabic like Ameen Rihani (1876-1940); Khalil Gibran (1883-1931) and Mikhail Naimy (1889-1988). Others wrote in Arabic like Elia Abumadi (1890-1957). Most of their poems in Mahjar (place of emigration) reveal nostalgia, their love to their countries and their ancestors and issues relating to Arab countries. The paper analyzes some of their poems based on linguistic, grammatical, lexical and rhetorical levels.
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Petrosyan, Gayane. "The Theme of Death and Eternity in Emily Dickenson’s Poetry". Armenian Folia Anglistika 4, n.º 1-2 (5) (15 de outubro de 2008): 112–19. http://dx.doi.org/10.46991/afa/2008.4.1-2.112.
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The poetry of the world-renowned poetess Emily Dickenson received general acclaim in the fifties of the previous century, 70 years after her death. This country-dwelling lady who had locked herself from the surrounding world, created one of the most precious examples of the 19th century American poetry and became one of the most celebrated poets of all time without leaving her own garden.Her soul was her universe and the mission of Dickenson’s sole was to open the universe to let the people see it. Interestingly, most of her poems lack a title, are short and symbolic. The poetess managed to disclose the dark side of the human brain which symbolizes death and eternity.
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Scheyer, Lauri, e Zanyar Kareem Abdul. "THE FUNCTION OF POETRY IN THE MODERN WORLD: A CASE STUDY OF WALT WHITMAN AND AUDRE LORDE’S POEMS". Language Literacy: Journal of Linguistics, Literature, and Language Teaching 6, n.º 2 (27 de dezembro de 2022): 245–50. http://dx.doi.org/10.30743/ll.v6i2.5226.
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Lyric poetry has historically referred to a genre that we think of as brief, musical, and personal as well as subjective. This article addresses the role of lyric poetry in the modern world, and how critical analysis enables us to better appreciate the potential impact of poetry today. Specifically, we will offer brief contrastive assessments of two landmark exemplars of American poets, Walt Whitman and Audre Lorde. These two figures demonstrate some of the varied ways of the American poetry tradition. We compare Walt Whitman, a canonical white male poet from the 19th century, with an equally important 20th century African American woman poet, Audre Lorde. These American poets differ in historical periods, sex, race, and other factors, yet both uphold the conventional functions of lyric poetry and prove its continuing relevance to a global readership. The results show that as the reflection of human life, poetry could represent honesty, realism, democracy and even power.
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Korchagin, Kirill M. "Bureau “Transatlantic”: French and US Poets on Rendezvous". Literature of the Americas, n.º 12 (2022): 261–73. http://dx.doi.org/10.22455/2541-7894-2022-12-261-273.
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Since the middle of the 19th century, American literature has been perceived by French poets as a kind of Other, at the same time alien and attractive, capable of teaching the experience of liberation, which the French poets themselves lack. Nevertheless, the situation is more familiar when other poets of the world are looking for inspiration in French poetry. French poetry for American modernists of the first quarter of the 20th century was synonymous with everything that expands the horizons of literature. At the same time, the reverse situation, when French poetry is saturated with outside influences, in particular, American ones, is studied much worse. Abigail Lang's book tries to fill this gap, considering the transformations that the new, “post-Surrealist” French poetry is experiencing under the impression of the new American poetry. The book is divided into three chapters: the first one deals with the reception of objectivism since the 1970s to the present, the second one deals with the problem of the “transatlantic” poetic community, which manifests itself in various forms and genres, and, finally, the third one tells about the “speech turn,” which, from the author's point of view, takes place in French poetry of recent decades.
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Sharma, Manisha. "COLOURIMAGERY IN THE HAIKU POEMS OF IMAGISTS POETS". International Journal of Research -GRANTHAALAYAH 2, n.º 3SE (31 de dezembro de 2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3541.
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Imagism was a movement in early 20th century Anglo-American poetry that favoured precision of imagery and clear, sharp language. Imagists stressed on the direct treatment of the subject matter and strictly adhered to the rule that even a single word was not used unnecessarily. Imagists used the exact word instead of decorative words and rejected most 19th century poetry as cloudy verbosity. Imagist poets were influenced by Japanese Haiku, poems of 17 syllables which usually present only two juxtaposed images. Ezra Pound has made a conscious study of the Japanese Haiku. According to Pound, Japanese make a wonderful use of Haiku where they usually use a single image. A haiku is a haiku because all the images it conveys occur simultaneously in a person's present perceptions of the world. Ezra Pound is one the major exponents of imagist school who gave systematic theory of modernism. Ezra Pound's In a Station of the Metro is regarded as a fine specimen of Haiku. Pound recalls that once he stepped out of a "metro", train at La Concorde, and saw suddenly a beautiful face, and then another and another, and then a beautiful child's face, and then another beautiful woman. Throughout the day, Pound attempted to find words as worthy and as lovely as that sudden emotion. To his mind came an equation which was not in speech but in little sploches of colour. This feeling was the beginning of a language in colourfor Pound. Pound further elaborates that to express this kind of emotion he might find a new school of painting that would speak only by arrangements in colours. To substantiate his arguments, Pound expounds his view in Vorticism.
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de Sousa Santos, Maria Irene Ramalho. "American Exceptionalism and the Naturalization of “America”". Prospects 19 (outubro de 1994): 1–24. http://dx.doi.org/10.1017/s0361233300005044.
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American exceptionalism, Joyce Appleby has recently reminded us, is “America's peculiar form of Eurocentrism.” Now that the multicultural history of the United States is finally being written, nothing would justify another look at American exceptionalism, except perhaps the need to examine the intellectual ways that have hidden American historical and social diversity for so long. In this essay I basically argue that a certain appropriation of the 18th-Century conception of nature as “what is” played a role also in the development of American exceptionalism. The naturalist rhetoric in American discourse in the 19th Century, I further argue, ran parallel to the most savage depredations of nature ever performed by humankind. I am particularly interested in foregrounding the discrepancy between the steady construction of that greatest of modern artifacts, the American nation, and its concomitant self-justification as a thing of nature. The other side of the commodification of America is its naturalization, an idea that I find is supported, whether critically or uncritically, by many American poets and artists. In recent times we have witnessed a number of ecological attempts at the social recovery of nature in the most advanced capitalist countries, including, of course, the United States. I am not concerned here with these developments, of which ecofeminism is arguably one of the most interesting ones.
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Li, Na. "A Stylistic Analysis into the Art of Deviation as Stylistic Features of Dickinson’s Poem “I Heard a Fly Buzz -When I Died”". Journal of Education and Educational Research 5, n.º 1 (14 de setembro de 2023): 28–32. http://dx.doi.org/10.54097/jeer.v5i1.11555.
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Emily Dickinson is one of the most outstanding and influential American poets of the 19th century. Her poem “I Heard a Fly Buzz -When I Died” is told from a perspective of narrator who is near her death. As a typical modernist poet, Dickinson’s poems have prominent modernist characteristics. Her poetry language deviates from the norm, not limited to the language norms, forming a unique foregrounding effect from different levels such as phonetic level (the repetition of diphthong, flow, nasal, and iambic tetrameter and iambic trimeter), graphological level (the frequent use of capital words and dashes), rhetorical level (enjambment, contrast, synesthesia, oxymoron), semantic level (lexical meaning transference) and grammatical level (juxtaposition and ellipsis). Exploring the stylistic characteristics of Dickinson’s poetry based on the theory of deviation from the functional stylistics is helpful to excavating the implicated theme meaning and unique aesthetic value of Dickinson’s poetry.
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Fernández, Rocío. "Bazaar, merchandise and decadence: Antonio José Ponte and Julián del Casal". Anclajes 25, n.º 1 (1 de janeiro de 2021): 71–86. http://dx.doi.org/10.19137/anclajes-2021-2516.
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The fascination of Latin American modernism for 19th century French fashion merchandise has been widely addressed in literary theory. Texts filled with diverse cultural materials, textures and objects configured a poetics of the bazaar that became part of a series of strategies through which Latin American literature defined and linked itself to hegemonic aesthetics of the 19th century. The poems and chronicles of Cuban writer Julián del Casal (1863-1893) are no exception; this proliferation of merchandise reveals how the gaze and the images become configured as empty fictions, filled by a cosmopolitan desire. This feature, tied to the function and configuration of images in Cuban modernism, makes possible an anachronical reading of the presence of State merchandise at the other end of the century: Antonio José Ponte’s decadent reality in post-Soviet Cuba.
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Ahmed, Mohammad Kaosar, e Sultana Jahan. "A Quest for Idyllic Beauty in the Land of Mystery: A Comparative Discussion of Rabindranath Tagores ÒAimless JourneyÓ (ÒNiruddesh YatraÓ) and Robert Frosts ÒStopping by Woods on a Snowy EveningÓ". IIUC Studies 12 (10 de dezembro de 2016): 27–40. http://dx.doi.org/10.3329/iiucs.v12i0.30579.
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A study in poetic affinities between Rabindranath Tagore and Robert Frost seems a bit strange to the reader as both the poets belong to two different nations. Apparently there is no connection between the two great poets one belongs to America and the other belongs to India with a poetic career spanning the last four decades of the 19th century and the first four decades of the 20th century. The affinities between Tagore and Frost are clearly seen in their works. In respect of their poetic vision, their attitude to nature, the world, sense of beauty and wonder, yearning for the ideal, both the poets share a considerable portion of similarities. However, a sense of divergence from each other prevails beneath the similarities as Tagore is a devotee and his appreciation, particularly in the West, refers to him as a mystic poet, while Frost is an agnostic. This paper attempts to make a comparative study of Frosts Stopping by Woods on a Snowy Evening and Tagores Aimless Journey with a view to unfolding the astonishing similarities and differences between the poets.IIUC Studies Vol.12 December 2015: 27-40
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Helbling, Mark. "The Response of African Americans to Lindbergh's Flight to Paris". Prospects 27 (outubro de 2002): 375–98. http://dx.doi.org/10.1017/s0361233300001253.
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On May 21, 1927, at 10:24 p.m., Charles Lindbergh gently touched down on French soil, the first person to fly the Atlantic alone. Immediately, the world had a new hero — mobbed wherever he went, the recipient of thousands of letters and poems, the inspiration for popular as well as classical music. But what, exactly, Lindbergh meant to his generation and subsequent generations has remained a source of interest and controversy. In “The Meaning of Lindbergh's Flight” (1958), for example, John W. Ward argued that Lindbergh revealed a deep tension in the American public: “Was the flight the achievement of a heroic, solitary, unaided individual or did the flight represent the triumph of the machine, the success of an industrially organized society?” Twenty-two years later, Laurence Goldstein, in “Lindbergh in 1927: The Response of Poets to the Poem of Fact” (1980), was less certain how to know the significance of Lindbergh's transatlantic flight. But he did argue that Lindbergh's problematic relationship to the “idealizing tendency of popular discourse” was itself a way to understand his complex response to his times and his achievement. More recently, Susan M. Gray, in Charles Lindbergh and the American Dilemma: The Conflict of Technology and Human Values (1988), argued that Lindbergh is best understood as a case study of a larger American issue, the “dialectical tension between technology and human values.” Not only did Lindbergh reveal the complex tensions noted by Ward and Goldstein, but, more fundamentally, he revealed the dialectical imagination characteristic of American thinking since the early 19th century.
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Ibraheeh Dawood(Ph.D.), Lecturer: Imad, e Lecturer: Omran Musa Mohammed. "The Emphatic Imagery: A Study in Dickinson's Narrative of Time, Life and Death". Journal of Education College Wasit University 2, n.º 11 (2 de dezembro de 2021): 2136–64. http://dx.doi.org/10.31185/eduj.vol2.iss11.2646.
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Emily Dickinson is of those woman poets who in their time said something for few or no listeners till it was too late to rediscover what she actually meant. The early transcendentalists of 19th century America eclipsed her significance for a while. In this, she has to accept the lot of a woman trying to be an artist in the midst of a masculine-oriented mainstream culture. However, Dickinson is so prolific a writer that a reader cannot help stopping at her shelves to explore the meanings she had left in between the lines of her poems. Like other poets and thinkers of her time, Dickinson tried her best to draw a philosophical narrative of her own. That was a universal narrative rather than a mere personal complain or discomfort. In addition to her particular understanding of the questions of time, life and death, she also excelled in revealing a linguistic skill that only Wallace Stevens later perfected in a much critical way. As she grew older and abler in her artistic experience, her poetry grew much more mystic, religious and philosophical too. Behind the simplicity of the utterance and the clarity of the image, she wrapped her words with unfathomable meaning that frequently requires a critical taste to arrive at its significance; a depth of meaning and a wide array of symbolism.
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Pastorková, Marieta. "A linguisitc picture of the world: conceptualization of the human body in the poetry of Emily Dickinson". NOVÁ FILOLOGICKÁ REVUE 15, n.º 1 (24 de janeiro de 2024): 15–24. http://dx.doi.org/10.24040/nfr.2023.15.1.15-24.
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The paper focuses on the linguistic picture of the body in the poetry of Emily Dickinson, a 19th-Century American poet. The aim is to provide a coherent linguistic picture of the body of Dickinson’s lyric subject and to reconstruct the way she conceptualized and portrayed its physical appearance with regard to the artist’s perception of the self. This research is focused on cognitive ethnolinguistics, the methodology utilizes analytic and interpretative techniques with emphasis on the cognitive definition reconstruction and facet parametrization. The research sample consists of the selected poems in which the poet refers to the body of her lyric subject. This research has allowed for the identification of the following facets into which the conceptualization of Dickinson’s perception of the body can be categorized: 1) the perspective of the body as a spirit-encompassing vessel; 2) the body as a reflection of the social oppression experienced by women in the nineteenth century; 3) the facet of the body size, and 4) the ephemerality of the physical body. The identified facets overlap to some extent, but together they form a unified picture which reveals certain aspects of cognitive metaphor theory, such as the conceptual metaphor of a container. This unified picture also reveals literary and linguistic reflections of socio-cultural aspects of the 19th-Century America such as the tendency to diminish the female lyric subject.
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Al-Dabbagh, Abdulla. "The anti-romantic reaction in modern(ist) literary criticism". Acta Neophilologica 47, n.º 1-2 (16 de dezembro de 2014): 55–67. http://dx.doi.org/10.4312/an.47.1-2.55-67.
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While the antagonism of modernism to realism has often been commented upon, its equally vehement rejection of romanticism has not been as widely discussed. Yet, if modernism compromised at times with realism or, at least, with a "naturalistic" version of realism, its total antipathy to the fundamentals of romanticism has been absolute. This was a modernist trend that covered both literature and criticism and a modernist characteristic that extended from German philosophers, French poets to British and American professors of literature. Names as diverse as Paul Valery, Charles Maurras and F.R. Leavis shared a common anti-romantic outlook. Many of the important modernist literary trends like the Anglo-American imagism, French surrealism, German expressionism and Italian futurism have been antagonistic not only to ordinary realism as a relic of the 19th century, but also, and fundamentally, to that century's romanticism. In nihilistically breaking with everything from the past, or at least the immediate past, they were by definition anti-romantics. Even writers like Bernard Shaw or Bertolt Brecht and critics like Raymond Williams or George Lukacs, who would generally be regarded as in the pro-realist camp, have, at times, exhibited, to the extent that they were afflicted with the modernist ethos, strong anti-romantic tendencies.
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Arianto, Tomi. "NATIONAL ROMANTICISM IN WALT WHITMAN POEMS". Lire Journal (Journal of Linguistics and Literature) 2, n.º 1 (25 de agosto de 2018): 14–20. http://dx.doi.org/10.33019/lire.v2i1.18.
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Romanticism is often misunderstood as something genuine love and merely about romance. In fact, romanticism is an understanding of great ideas that also be delivered great ideas. The development of Romanticism delivered a new orientation that called National Romanticism by maintaining the freedom of individual, sovereignty, and independent of human rights. This study took data from three Walt Whitman poems; Patriotic, War Democracy, and Poem of America. Researcher was using the concept of interpretation to explore the meaning of poetry and the influence of romanticism in Whitman poetry. Researchers use Isaiah's theory in his book “the root of romanticism” to explore the influence of the romanticism idea on Whitman's poems. From the three samples of poetry, it is found that romanticism is very influential in Whitman poetry, especially the idea of romantic nationalism. Patriotic themes, nationalities and egalitarian concepts are reflected in Whitman's collection of "Leaves of grass" poems. Patriotic themes and nationalities are seen from the struggle for the right of individual freedom in opposing slavery and aristocratic government. The egalitarian concept is seen from the struggle to promote equality, as well as the democracy system that promotes people's sovereignty. The role of the idea of romanticism has evolved in American territory because it shares the same pattern and state of affairs as revolutions against noble, social, and political norms and rationalization of nature. Thus, the representation of romantic ideas originating from Western Europe of the 18th century has penetrated into the 19th century America which is reflected in the works that carried Whitman.
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Kofman, Andrey F. "The Fate of Spanish Folk Genres in the New World". Studia Litterarum 9, n.º 1 (2024): 206–45. http://dx.doi.org/10.22455/2500-4247-2024-9-1-206-245.
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The article shows what transformation three Spanish folklore genres, transferred to the New World by streams of conquistadors and emigrants (romance, copla, and décima), underwent. The traditional Spanish monorim romance is virtually extinct; strophic novelistic romance remained latent for almost three centuries until it gave rise to the growth of Creole romance in the 19th century. The article considers the features of this genre, which are generally determined by its lyrical-epic nature, in contrast to the Spanish romance. The most productive and viable in the New World was copla, the most widespread form of the so-called “arte menor,” the art of small poetic forms. It has not changed at all formally. However, being an improvisational genre, especially susceptible to variability, it has accumulated new substantive elements. Based on a comparison of Spanish and American variants, the article demonstrates the processes of targeted variability and desymbolization and pays special attention to the formation of machista motifs. Décima, a complex stanza born in the bosom of Spanish literature, existed for a very short time in Spanish folklore. In the New World, it reappeared as a folklore genre, became an improvisation tool, applicable in competitions of folk poets, and significantly expanded its themes.
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ÓRZHITSKIY, Ígor. "UKRAINIAN ALLUSIONS IN HISPANIC AMERICAN LITERATURE: FROM MAZEPA TO PUTIN". 8, n.º 8 (28 de dezembro de 2023): 90–104. http://dx.doi.org/10.26565/2521-6481-2023-8-06.
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The article offers a brief overview of some works written in Latin American countries from the late 19th to the early 21st century, which contain references to Ukrainian realities, but have not hitherto become the object of literary criticism from this angle. This oversight is regrettably common to literary studies both on the Latin American and the Ukrainian side. Thus, three writers from Mexico, one from the Argentine and one from Nicaragua have never been examined from this point of view, wheras the literary presence of Ukraine in that area of the world lies outside the scope interest of Latin American scholarly research. The figure of the Ukrainian leader Stepán Mazepa, which appears in two poems – Trilogy and Lamentation of the Voluptuous – by the outstanding Mexican author Amado Nervo, parallels the way it is conceived of by several 19th-century European writers (including Victor Hugo), being treated in rather metaphysical terms, with as good as no regard for the Ukrainian national and historical context. The Jewish Gauchos, a novel by the Argentine writer Alberto Gerchunoff, includes some fond memories of the author’s childhood spent in Ukraine, as well as a condemnation of the oppression of the Jews by the Russian tsarism. Taking his hint from A. Gerchunoff, the prominent Nicaraguan poet Rubén Darío makes in his Canto a la Argentina a general mention of the Jews of the Russian Empire who were able to resettle in that country. A sophisticated investigation of some enigmas of the Second World War by the Mexican Ignacio Padilla led the author, in his detective novel Amphitryon, to an original appraisal of the Civil War in Russia, with sympathies expressed towards the Ukrainians’ aspirations for independence. The Mexican Jorge Zepeda Patterson, whose novel Milena or The most beautiful femur in the world bears a clear reference to the initial stage of the Russian invasion of Ukraine in 2014, seeks to unmask the deep secrets of the international sex racket mafia as one of the dirty faces of big politics, especially on the side of Russia.
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Zuo, Jiaxin. "A Gendered Analysis of Emily Dickinson’s Poetry and her Feminine Consciousness - Taking They shut me up in Prose - as an Example". Journal of Education, Humanities and Social Sciences 21 (15 de novembro de 2023): 117–21. http://dx.doi.org/10.54097/ehss.v21i.13172.
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Emily Dickinson was one of the greatest female poets in the history of Western literature and a pioneer of modernist poetry. Her reclusive life was considered eccentric at her time. Her poetry is unique in style and expression, and she wrote about women’s desire for freedom and independence, as well as her ambition of breaking the restrictions for women in a patriarchal society. She believed that poetry was a superior literary form compared to prose and that women could also express themselves through poetry. This essay focuses on the feminine consciousness expressed in Emily Dickinson’s poetry. By analyzing her poem, They shut me up in Prose - from a gendered or feminist perspective, this essay discusses the relationship between Emily Dickinson’s female identity and her career as a poet: Emily Dickinson’s feminist thought expressed in her poetry was influenced by the women’s rights movement in the 19th century America, as well as her own life and education experience, and poetry was her way to rebel against the patriarchal literary tradition.
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Wang, Ni. "Analysis of Unreliable Narration in Edgar Allan Poe’s The Tell-Tale Heart". Pacific International Journal 5, n.º 1 (31 de março de 2022): 28–31. http://dx.doi.org/10.55014/pij.v5i1.147.
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Edgar Allan Poe was a 19th century American poet, novelist and literary critic. His novel is recognized as the pinnacle of short gothic fiction, a unique existence in any era. The Tell-Tale Heart is a typical Gothic mystery novel of Edgar Allan Poe. The novel tells the process of a crazy young man killing an old man and the psychological changes during the process from a first-person perspective. Much researches had done at home and abroad about The Tell-Tale Heart, mainly around the narrative aesthetics, narrative style and the gothic style, etc., however, few researches focus on reliable narrative, this paper through the study of unreliable narration in The Tell-Tale Heart, let the reader get a better understand of his work The Tell-Tale Heart and Poe’s works.
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Davidson, Ryan J. "A proposal for Revaluation: Points of Contact and Sides of Likeness between William Blake and Walt Whitman". Hawliyat 18 (11 de julho de 2018): 61–76. http://dx.doi.org/10.31377/haw.v18i0.78.
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This article proposes an approach to evaluating the relationship between William Blake and Walt Whitman. I begin by grounding my proposal in a critical framework. It is framed by a book history approach, but also an approach to 19th century American literature as a post-colonial literature. In regards to the book history element I trace an outline of Blake’s publication history and the poems of Blake’s that Whitman might have encountered. I then provide examples of the similarities between Blake and Whitman. This paper concludes with a discussion of the implications it may have on ideas of literary influence. This is the beginning of a much larger project wherein I trace the actual influences which created the similarities that I outline here.
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Taylor, Ellen. "Ornithological Passions of American Poet Celia Thaxter". Ecozon@: European Journal of Literature, Culture and Environment 12, n.º 1 (7 de fevereiro de 2021): 138–52. http://dx.doi.org/10.37536/ecozona.2021.12.1.3831.
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American poet Celia Leighton Thaxter (1835 – 1894) was shaped by both environmental beauty and destruction she witnessed in her New England community. As a woman who spent much of her life on a small wind-swept island, she was educated by seasons and migrations that later informed her work. A brief education among Boston’s literary elite launched her creative career, where she focused on her local ecology. At that time, over-hunting and newly fashionable plumed hats and accessories had created a serious possibility of avian decimation. By creating awareness of humans’ culpability for birds’ endangerment, Thaxter’s work evoked public sympathy and contributed to social and political change.
This essay applies ecofeminist and cultural analyses to Thaxter’s work written as part of the 19th century bird defense movement, by examining the emotional rhetoric employed and activism implied in her poems and prose about birds, specifically: “The Kittiwakes,” “The Wounded Curlew,” and “The Great Blue Heron: A Warning.” Little attention has been paid to Thaxter’s didactic poems which use birds as subjects to instruct children and adults about the fragility of birdlife and to warn of humans’ destructive behaviors. These works illustrate Thaxter’s ecological sensibility and her use of emotion and reason to communicate an ecological message. Her poetry and prose about birdlife fortified the budding Audubon Society and contributed to the birth of the environmental movement. We can learn from such poetic activism, from attention to nature turned commodity, and the dangers of depleting finite resources. In our global environmental crisis, we recognize the interwoven relationships between birds and humans. Perhaps poems can help stymie our current ecological trajectory.
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Budrewicz, Aleksandra. "„Poezje polsko-amerykańskie” Pawła Gawrzyjelskiego (1882)". Prace Literackie 61 (15 de fevereiro de 2023): 67–82. http://dx.doi.org/10.19195/0079-4767.61.5.
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The article is devoted to the literary achievement of Paweł Gawrzyjelski (1844?–1889), the author of a volume of poetry Odgłos z za morza. Poezye polsko-amerykańskie [Sounds from overseas. Polish-American poems] (Chicago 1882). This collection discusses some questions related to psychological and ethical problems of the Polish people in the USA in the 19th century. The content of the volume is presented in the context of other poetry published in “Gazeta Polska w Chicago” [Polish Daily in Chicago] between 1870 and 1890 (this is where Gawrzyjelski’s work was published for the first time). “Gazeta” emphasized the importance of Polish history and hopes for regaining independence. The Polish diaspora was expected to support this cause. Gawrzyjelski’s poetry stands out as he depicted a situation of an expat who will never go back to his homeland. He found it difficult to settle down in the USA; he expressed longing for Poland and could not accept the materialistic approach to life prevalent among Americans in his time. Gawrzyjelski’s pessimism and neurasthenia have likely contributed to his suicide.
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Wright, Emily. "Cavaliers and Crackers, Tara and Tobacco Road: The Myth of a Two-Class White South". Prospects 30 (outubro de 2005): 505–17. http://dx.doi.org/10.1017/s0361233300002155.
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In Tell About the South: The Southern Rage to Explain, eminent southernist Y(stet)Fred Hobson argues that since the early 19th century, southern discourse has been dominated by a desire to explain the South to a nation critical of its practices. This “rage to explain” was particularly apparent in the era known as the Southern Renaissance — the period roughly between World War I and World War II that saw a flowering of southern letters and intellectual life. During this period, southern poets, novelists, essayists, historians, and sociologists participated in a comprehensive enactment of the southern “rage to explain” the South, both to itself and to the rest of the world. Within this outbreak of explanation, a significant pattern emerges: a pattern of resistance to what I shall call the myth of a two-class white South.Throughout American history, northerners and southerners alike have colluded to create the impression that the antebellum white South consisted of only two classes: aristocratic planters on one extreme and debased poor whites on the other. This impression was initiated in the 18th century, when William Byrd's histories of the dividing line introduced the image of the poor white in the form of the laughable “Lubberlander.” The stereotype of the comic and/or degraded poor white can be traced from Byrd through George Washington Harris's tales of Sut Lovingood (1867) to William Alexander Percy's diatribes against poor whites in Lantern on the Levee (1941) and William Faulkner's unflattering portrayal of the Snopeses (1940–59). Meanwhile, the images of the courteous, kindly planter and of the plantation as pastoral idyll can be traced from John Pendleton Kennedy's Swallow Barn (1832) through the postbellum plantation fiction of Thomas Nelson Page to Stark Young's Civil War romance, So Red the Rose (1934).
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Bonilla Navarro, José Francisco. "Tendencias temáticas y discursivas de la poesía centroamericana del siglo XIX (Trends in Topics and Discourse in 19th-Century Central American Poetry)". LETRAS 2, n.º 60 (22 de fevereiro de 2017): 45. http://dx.doi.org/10.15359/rl.2-60.2.
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El estudio es una exploración histórica sobre algunos aspectos del desarrollo de la poesía centroamericana a lo largo del siglo XIX, como parte de un proyecto más amplio para la recuperación documental y comentada, de una importante manifestación del género lírico, escasamente tratado por la crítica. Se describe la recopilación El Parnaso centroamericano (1882), del que se hacen observaciones sobre sus criterios de selección, la temática predominante, y las tendencias estético-discursivas de los poemas recogidos: poesía panegírica, poesía patriótica, poesía amorosa, metapoesía.The study is a historical exploration of certain aspects in the development of Central American poetry during the 19th century. It was carried out as part of a larger project for the recovery and analysis of documents corresponding to a significant manifestation in the genre of poetry which has been somewhat overlooked by literary critics. A description is provided of El Parnaso centroamericano (1882), with a commentary on selection criteria, the predominant issues, and the esthetic discourse tendencies of the poems collected: panegyric poetry, patriotic poetry, love poetry, and metapoetry.
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Shcherbak, N. F., e A. I. Gerus. "Transcendentalism, Network Concepts and American Poetry". Discourse 6, n.º 1 (5 de março de 2020): 106–20. http://dx.doi.org/10.32603/2412-8562-2020-6-1-106-120.
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Introduction. The paper aims at describing the philosophy of transcendentalism as viewed by 19th century American philosopher Ralph Emerson, one of its founders and, above all, the direct application of this framework to the contemporary view of network concepts introduced as a state-of the art paradigm of cultural and social development, often viewed as directly applicable to the study of social processes as well as literary texts.Methodology and sources. The chosen methodology includes the structural semantic study of Emerson’s texts and the analysis of the view of contemporary philosophers of the language and literary critics on the network concept as a basis for state of the art social schemes and internet-communication principles, as well as literary texts analysis.Results and discussion. The results of the research allow to hypothesize that the philosophy of transcendentalism which attempted to give a full-fledged representation of a harmonious and dynamic cosmic principle, seeing ways of moral purification and comprehension of the super-soul has similar principles with the works by outstanding poststructuralist or postmodern philosophers (like G. Deleuze) and is directly applicable to the study of contemporary literary texts if not social processes. These concepts allow to see the development of aesthetic paradigm (a vivid example being the development of the transcendental motive in poetry). One of the possible examples could be seen in the development of poetic paradigm with а) early romantic poetry concentrating on the poet’s emotions, thus rendering the transcendental, with b) modernist writing which used language as a medium, when a poem became a means of expressing the transcendental, with c) poetry combining political views and the transcendental experience, with d) post-colonial poetry, with the transcendental being transferred from the sphere of “eternal” to the sphere of “everyday”. Conclusion. American transcendentalism allows to see common patterns of development and innovation of cultural, literary, philosophical scene, characteristic of the contemporary aesthetic paradigm.
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Jang, Ki Yoon. "The Empire Strikes Back: Poe’s Critique of US Vampiric Imperialism in “Ligeia”". Institute of British and American Studies 60 (29 de fevereiro de 2024): 61–87. http://dx.doi.org/10.25093/ibas.2024.60.61.
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Edgar Allan Poe’s “Ligeia” has been an object of scholarly attention ever since D. H. Lawrence’s ground-breaking reading of it as a ‘vampire story’ in Studies in Classic American Literature. That attention has one critical blind spot to it, which is the lack of consideration on one of the story’s three main characters: Rowena. This paper proposes giving her a chance to be examined as yet another vampiric figure along with the narrator and Ligeia, on account of the symbiotically interdependent relationship between the vampire and the victim. The paper parallels this relationship with the complex interaction between the US and England in the 19th century, which revolves around a paradox of the former’s attempt to liberate itself from the latter’s imperial dominion while aspiring to be a new empire like the latter. The paper posits the narrator and Rowena as the US and England, respectively, and traces their struggle to take over the origin of Western imperialism which is embodied in Ligeia and to perpetuate its legacy. The ultimate goal of this paper is to show “Ligeia” as a story of Poe’s questioning the US’s unquestioning pursuit of global imperialism, thereby proving its resonance for our own time.
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Nuo Xu. "Application of Foreignization Strategy in Chinese Translation of Emily Dickinson's Poetry: Taking Zhou Jianxin's Translation Selected Poems of Emily Dickinson: 601-900 as an Example". International Journal of Linguistics, Literature and Translation 5, n.º 5 (13 de maio de 2022): 142–48. http://dx.doi.org/10.32996/ijllt.2022.5.5.18.
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Poetry is the perfect combination of form and content. Therefore, poetry translation should faithfully translate the original form and content. In other words, foreignization could be the best translation strategy for poetry translation, especially for those poems with distinctive formal characteristics, such as the poems of Emily Dickinson, a 19th-century American poetess. Currently, there have been 17 Chinese translations of Dickinson's poetry published in China, with few of them using a foreignization strategy; most of these translations fail to faithfully reproduce the original flavor of Dickinson's poetry. This study takes the only version of the current 17 translations that adopts the foreignization strategy, Zhou Jianxin's translated book, Selected Poems of Emily Dickinson: 601-900, as a research object to investigate Zhou's translation of poetic form and vocabulary through data statistics and textual analysis. It is found that Zhou has basically reproduced original punctuation marks and lexical connotations and achieved equivalence of lexical function and meaning in lexical translation. Zhou's translation shows no traces of translation. That is, it reads natural and fluent. It retains original thought-provoking content and form and is a successful example of adopting a foreignization strategy to translate Dickinson's poems into Chinese, which justifies that the application of foreignization strategy in the Chinese translation of Dickinson's poetry is not only necessary but also feasible, which is the purpose of this study. It is expected that this study should encourage more Chinese translators to apply the foreignization strategy in translating Dickinson's poetry in the future so as to further enhance the quality of Chinese translation of Dickinson's poetry and present a truer and more authentic image of Dickinson's poetry in the Chinese world.
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Maver, Igor. "Slovenian 19TH Century literary responses to the Poetry of Lord Byron Byronism on the the Slovene Territory in the 19th century". Futhark. Revista de Investigación y Cultura, n.º 6 (2011): 193–203. http://dx.doi.org/10.12795/futhark.2011.i06.09.
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The article examines the influence of lord Byron's poetry through the translations into the Slovenian language in the 19th century. Byron is analyzed through the translations and cultural mediation of the poets dr. France Prešeren, Jovan Vesel Koseski and Josip Stritar, who all, particularly Prešeren, contributed to the development of the Slovenian Romantic Revival movement and Slovenian literature in its own right within the Habsburg and later the Austro-Hungarian monarchy. Lord Byron's poetry enabled Slovenian poets and translators to articulate their own national/political identification within the multinational empire.
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Memmedhuseynova, Zulfiyye. "A Literature Review on Karabakh Women Poets of the 19th Century". Edeb Erkan, n.º 5 (20 de maio de 2024): 107–24. http://dx.doi.org/10.59402/ee005202406.
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The 19th century was the beginning of a period in the history of Azerbaijan in which new views, different approaches, and judgments emerged. The upheavals in social life as a matter, of course, led to the awakening of literary and artistic thoughts, and enlightenment, and elucidated the development of public, ethnic, and national identity. In the 19th century, the poetic assemblies functioning in Karabakh contributed to the development of literature, especially poetry, and the inclusion of poetry in social life and its impact on it. Thanks to the "Meclis-i Uns" and "Meclis-i Feramushan" literary assemblies, poets living in Karabakh came together and depicted the problems of the period, social life, and nature in their poems. Referring to these literary samples, it is feasible to see the view of 19th-century Karabakh. Aghabeyim Agha, Khurshidbanu Natavan, Fatma Khanim Kamina, and Ashuq Peri were female poets grown up in the Karabakh literary environment in the 19th century. Research related to the life, art, and literary personality of women poets who grew up in Karabakh was thoroughly scrutinized and investigated based on the qualitative method in the article. As a result of our research, we have come to the following conclusions; There is a need to prepare coherent comparative texts from the work of female poets. The works of these poets were published due to the permission of Soviet censorship. Poems with religious content were not included in these books, and Sufi works were presented as secular and divine poems. Keywords: Karabakh, Enlightenment, Poet, Literary Heritage, Azerbaijan.
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Tatham, David, Albert Boime, Elizabeth Johns e John Wilmerding. "19th-Century American Painting". Art Journal 51, n.º 4 (1992): 95. http://dx.doi.org/10.2307/777290.
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Akram, Habeeb. "Nineteenth century American metaphysical women poets". International Journal of English and Literature 7, n.º 1 (31 de janeiro de 2016): 1–7. http://dx.doi.org/10.5897/ijel2015.0853.
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Kurbanova, Madina Rakhmat kizi. "CONCEPTUALIZING «MOTHERLAND» IN 19TH CENTURY RUSSIAN POETRY". American Journal of Interdisciplinary Innovations and Research 6, n.º 2 (1 de fevereiro de 2024): 15–20. http://dx.doi.org/10.37547/tajiir/volume06issue02-03.
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The article explores the multifaceted concept of «Motherland» in 19th century Russian poetry. It delves into how this concept is interwoven with the era’s socio-political, cultural discourses, and national identity, through a comprehensive literature review, theoretical framework, and mixed-methods approach. The study examines poets like Pushkin, Lermontov, Tyutchev, and Nekrasov, highlighting their diverse thematic representations of Motherland, from reverence to critique. It underscores poetry’s role in shaping Russian national consciousness and cultural memory, offering new insights into the complex dynamics of identity formation and the symbolic geography of Russia.
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Sommer, Tim. "Wordsworth’s 19th Century American Critics". Wordsworth Circle 48, n.º 3 (junho de 2017): 178–83. http://dx.doi.org/10.1086/twc48030178.
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Dedovic-Atilla, Elma. "Byron’s and Shelley’s Revolutionary Ideas in Literature". English Studies at NBU 3, n.º 1 (31 de maio de 2017): 27–48. http://dx.doi.org/10.33919/esnbu.17.1.2.
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The paper explores the revolutionary spirit of literary works of two Romantic poets: George Gordon Byron and Percy Bysshe Shelley. In the period of conservative early 19th century English society that held high regard for propriety, tradition, decorum, conventions and institutionalized religion, the two poets’ multi-layered rebellious and subversive writing and thinking instigated public uproar and elitist outrage, threatening to undermine traditional concepts and practices. Acting as precursors to new era notions and liberties, their opuses present literary voices of protest against 19th century social, religious, moral and literary conventions. Their revolutionary and non-conformist methods and ideas are discussed and analyzed in this paper through three works of theirs: Byron’s The Vision of Judgement and Childe Harold’s Pilgrimage and Shelley’s Prometheus Unbound.
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Romanova, Alyona N. "Anna Gotovtseva, the interlocutor of poets". Literature at School, n.º 2, 2020 (2020): 62–75. http://dx.doi.org/10.31862/0130-3414-2020-2-62-75.
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The article examines the history of the publication of some works by the little-known poetess of the first third of the 19th century Anna Gotovtseva, including her poem addressed to A.S. Pushkin, and poems by A.S. Pushkin and P.A. Vyazemsky, appealed to Gotovtseva. The author reveals some features of the historical and literary process, which influenced the poetic dialogue of writers, published in the “Northern Flowers” almanac, which marked the emergence of female professional poetry in the literature of the first third of the 19th century. A.I. Gotovtseva’s poems are analyzed in the context of the contemporary Russian poetry o that time, and the artistic originality of her works is revealed in comparison with the lyrics of poets of the elegiac romanticism. The author considers the influence of French writers such as Alphonse de Lamartin and Madame Janlis on the development of literary opinions and priorities of the provincial poetess, which predetermined the internal contradiction of the poetic dialogue between Pushkin and his admirer Anna Gotovtseva. The hypothesis about the indirect influence of “Note” by Janlis on the development of the controversy about women writers reflected both in the journalistic statements and in the artistic works by Pushkin and his contemporaries – men of letters – is tested in the article.
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Jackson, Virginia, e Yopie Prins. "LYRICAL STUDIES". Victorian Literature and Culture 27, n.º 2 (setembro de 1999): 521–30. http://dx.doi.org/10.1017/s1060150399272178.
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THE VICTORIAN POETESS has become as important a figure in the late twentieth century as she was in the late nineteenth — perhaps because she seems now, as then, to have lapsed into the obscurity of literary history. In recent years feminist critics have been interested in reclaiming a tradition of nineteenth-century popular poetesses whose verse circulated broadly on both sides of the Atlantic. A spate of new anthologies, annotated editions, and critical collections (as well as texts now available on-line) has reintroduced supposedly lost women poets into the canon of Victorian poetry. Indeed, this recovery is often predicated on a rhetoric of loss, as if only by losing women poets we can rediscover and read them anew. Thus in recent advertisements for such anthologies, we read that Victorian Women Poets (edited by Angela Leighton and Margaret Reynolds in 1995) “aims to recover the lost map of Victorian women’s poetry,” and British Women Poets of the 19th Century (edited by Margaret Higonnet in 1996) “restores the voices and reputations of these ‘lost’ artists”; likewise, the compendious Nineteenth-Century Women Poets (edited by Isobel Armstrong and Joseph Bristow with Cath Sharrock in 1996) “rediscovers rich and diverse female traditions.”
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Shamilova, Shahnaz. "MODERN FRENCH AND AZERBAİJANİ POETRY AT THE LEVEL OF COMPARATİVİSTİCS". Scientific Journal of Polonia University 62, n.º 1 (8 de julho de 2024): 104–14. http://dx.doi.org/10.23856/6214.
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In the article, the stages of development of Azerbaijani poetry from the 19th century to the 20th–21st centuries, which were accompanied by fundamental changes, were reviewed. It has been noted that the wars that took place at the beginning of the 20th century and the strict rules and regulations applied by the Soviet regime had an undeniable influence on our literature. It was at that time, during the years of Repression, prominent representatives of Azerbaijani poetry were subjected to political oppression and persecution, exiled and shot. The names of the poets who played a special role in the development of Azerbaijani poetic thought during the Soviet period were mentioned, and at the same time, the genre and form innovations they brought to our poetry were shown. Starting from the 60s, poets and writers began to deepen their view of man and his spiritual world. This movement, which began in literature for the sake of freedom of speech and thought, political thought, pluralism, national independence, and social justice, was continued in the 70s and 90s, and finally achieved its prospective goals with the acquisition of political sovereignty and state independence of Azerbaijan. The trend of critical realism that prevailed in Azerbaijani poetry in the 19th century was replaced by socialism- realism in the 20th century. The names of the leading representatives of this current have been mentioned. The article compares the similarities and differences of both French and Azerbaijani poetry of the 20th century in terms of literary trends, form, content, and genre, citing the names of poets and showing examples. In particular, the poems of the French surrealist poet Jacques Préver are compared to the poems of Rasul Rza and Huseyn Javid and Adil Mirseyid. The article also examines the form and content of the newest poets distinguished by their innovation in 21st century Azerbaijani poetry.
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Sinitsyna, Mariya V. "I. A. Kovanko’s Odes: Poetics in the Literary Context". Izvestiya of Saratov University. New Series. Series: Philology. Journalism 20, n.º 4 (25 de novembro de 2020): 429–33. http://dx.doi.org/10.18500/1817-7115-2020-20-4-429-433.
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The paper considers the peculiarities of I. A. Kovanko’s odes written at the end of the 18th century and the beginning of the 19th century. The reminiscences from G. R. Derzhavin’s and M. V. Lomonosov’s poetry are revealed. The article focuses on the influence of classicism and sentimentalism on Kovanko’s work and the synthesis of heterogeneous elements that trace back to the 18th century poets.
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Moody, Linda A. "Religio-Political Insights of 19th Century Women Hymnists and Lyric Poets". Janus Head 2, n.º 1 (1999): 73–100. http://dx.doi.org/10.5840/jh19992119.
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Szilágyi, Márton. "Történeti rétegek a Csokonai-kultuszban: Csokonai Vitéz Mihály, mint kultusztárgy". Acta Papensia 7, n.º 3-4 (2007): 325–46. http://dx.doi.org/10.55954/ap.2007.3-4.325.
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The essay examines the historic layers of the cultlike respect developing around Mihály Vitéz Csokonai, one of the most important poets of the 18–19th-Century Hungarian literature. After a critical analysis of the concerning literature in cult history, the author makes an attempt to give a new function to the research of writers' cults. The essay emphasises that the analysis of pictural and textual ways of cults gives an opportunity to identify the social status of writers at the time. The author proves that anecdotes preserved by folklore and other narratives correspond with the Csokonai image published by professional scholars at the time. The figure of Csokonai provided a model concerning the role of a poet. Sándor Petőfi, the most influential poet of the 19th Century interpreted his own appereance in literature as the rebirth of Csokonai. The image of Csokonai in folklore makes it clear that he, as the prototype of Hungarian poets, appears in anecdotes either as an amusing person or someone who possesses transnatural powers against those evil to him. It is in these two types that folklore identifies the social role of poets.
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Coles, Katharine. "Is the American Sonnet Black?" Axon: Creative Explorations 13, n.º 2 (21 de fevereiro de 2024): 160–77. http://dx.doi.org/10.54375/001/4pkk68wz6k.
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“Is the American Sonnet Black” traces the history of Black poetry in the United States from the 18th Century forward, beginning with Phillis Wheatly and ending with Terrance Hayes. It makes the case that work by Black poets has been not only present but essential to the development of American poetry and our understanding of how all poets must work to position themselves simultaneously as outsiders and as insiders to their tradition. In the cases of those poets whose bodies (by virtue of gender and/or race) mark them visibly and culturally as “outsiders,” this positioning is more difficult and complex in a way that may lead to creative breakthroughs in how those poets use form to navigate the content specific to their experience.
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Botelho, Alice Vieira. "O mito de Byron no decembrismo russo: algumas considerações sobre a obra de Wilhelm Küchelbecker". RUS (São Paulo) 15, n.º 26 (31 de maio de 2024): 252–68. http://dx.doi.org/10.11606/issn.2317-4765.rus.2024.222350.
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This paper analyzes the relationship between Russian Decembrist revolutionary poets and Byron’s myth. Our point of departure is the historical context of the emergence of Byronism in Russia’s 19th century and the connection between Byron’s myth and the poet-prophet in Decembrist’s civic discourse. We expose the possibilities and obstacles that challenge the construction of a lyrical subjectivity rooted in Romantic individualism in Russia’s first decades of the 19th century. Finally, we build a close-reading of Küchelbecker’s poem “Byron’s death”, in order to identify how the poet resignifies Byron’s myth aiming to defend the poet-prophet’s sovereignty and political emancipation.
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Oyebode, Femi. "Baudelaire and The Flowers of Evil". Advances in Psychiatric Treatment 19, n.º 1 (janeiro de 2013): 77–80. http://dx.doi.org/10.1192/apt.bp.110.008391.
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SummaryThis article examines Charles Baudelaire's life, works and his most important collection, The Flowers of Evil. Baudelaire is regarded as one of the most important 19th-century French poets. He revolutionised the content and subject matter of poetry and served as a model for later poets around the world. He continues to exert immense influence on writers. He contracted syphilis early in life, experienced episodes of depression, and had intense and complicated relationships with his mother and other women in his life.
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Zagarell, Sandra A., Susan K. Harris, Barbara Bardes e Suzanne Gossett. "19th-Century American Women's Novels: Interpretive Strategies". Tulsa Studies in Women's Literature 10, n.º 2 (1991): 300. http://dx.doi.org/10.2307/464022.
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Goldberg, Marcia. "Textured Panels in 19th-Century American Painting". Journal of the American Institute for Conservation 32, n.º 1 (1993): 33. http://dx.doi.org/10.2307/3179650.
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Peel, Ellen, e Susan K. Harris. "19th-Century American Women's Novels: Interpretative Strategies." American Literature 63, n.º 4 (dezembro de 1991): 747. http://dx.doi.org/10.2307/2926886.
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Ghuman, Nalini. "19th- and 20th-Century British and American". Musical Times 136, n.º 1826 (abril de 1995): 196. http://dx.doi.org/10.2307/1004177.
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Coultrap-McQuin, Susan, e Susan K. Harris. "19th-Century American Women's Novels: Interpretative Strategies." Journal of American History 78, n.º 2 (setembro de 1991): 661. http://dx.doi.org/10.2307/2079580.
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Goldberg, Marcia. "Textured Panels in 19th-Century American Painting". Journal of the American Institute for Conservation 32, n.º 1 (janeiro de 1993): 33–42. http://dx.doi.org/10.1179/019713693806066492.
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