Добірка наукової літератури з теми "English literature History and criticism 18th century"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся зі списками актуальних статей, книг, дисертацій, тез та інших наукових джерел на тему "English literature History and criticism 18th century".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Статті в журналах з теми "English literature History and criticism 18th century"
1
Kettler, Andrew. "Dispersing the Devil’s Stench: Shifting Perceptions of Sulfuric Miasma in Early Modern English Literatures." Partial Answers: Journal of Literature and the History of Ideas 22, no. 1 (January 2024): 27–53. http://dx.doi.org/10.1353/pan.2024.a916698.
Повний текст джерелаАнотація:
Abstract: From approximately 1500 to 1650, English references to sulfur’s stench focused on sensory indications of hell, demons, and wickedness in worldly environments. Thereafter, most English references to the pungent rock turned proportionately to technics, medicine, and progress. The increasing presence of sulfuric miasma within secularizing applications for fumigations, gunpowder, and industry led to a limiting of the role of sulfur as a signifier of hell within English environments. Due to economic incentives, supernatural discourses on brimstone atmospheres faced semantic dispersion, as sulfur took on a growing number of connotations instead of remaining a significant environmental signifier of the scent of the devil and his toadies. These shifting literary associations for sulfur exemplify the fluctuating powers of the market, religious voices, biopolitical networks, and the state to define what is matter out of place , or what can be considered too environmentally toxic for economic consumption. Revising the prominence of synchronic work in Early Modern Studies that critiques the dis-enchantment thesis, and redeploying theory from Douglas, Jameson, Greenblatt, Eagleton, and Rancière, this essay highlights connections between the History of Ideas, Environmental Studies, and literary criticism through asserting that the sheer abundance of sulfuric substances in the environment, caused by increased uses for the rock in the coal-fired furnaces of the 18th century, added to a literary dislodgment of mystical definitions of sulfur’s smell as signifying evil. As the Industrial Revolution stuffed chimneys with additional sulfur compounds, material encounters with brimstone became common. Continuously taught that sulfur meant profit and purity, reformed English noses found less sin in the smell of acrid sulfur smoke. This analysis portrays that within literatures that included associations to sulfur, the impending Anthropocene was tested, greenwashed, and approved by the masses of the disenchanting English public sphere.
2
Wanting, Sun. "A study of emotion in English literature in the 18th century from the perspective of cultural ecology." OOO "Zhurnal "Voprosy Istorii" 2023, no. 4-1 (April 1, 2023): 86–93. http://dx.doi.org/10.31166/voprosyistorii202304statyi21.
Повний текст джерелаАнотація:
From the perspective of cultural ecology, this paper discusses the influence of enlightenment on English literature in the eighteenth century and analyzes the emotional expression in English literature in the 18th century.
3
Almelek İşman, Sibel. "Portrait historié: Ladies as goddesses in the 18th century European art." Journal of Human Sciences 14, no. 1 (February 15, 2017): 396. http://dx.doi.org/10.14687/jhs.v14i1.4198.
Повний текст джерелаАнотація:
Portrait historié is a term that describes portrayals of known individuals in different roles such as characters taken from the bible, mythology or literature. These portraits were especially widespread in the 18th century French and English art. In the hierarchy of genres established by the Academy, history painting was at the top and portraiture came next. Artists aspired to elevate the importance of portraits by combining it with history. This article will focus on goddesses selected by history portrait artists. Ladies of the nobility and female members of the royal families have been depicted as goddesses in many paintings. French artists Nicolas de Largillière, Jean Marc Nattier and Louise Élisabeth Vigée Le Brun; English artists George Romney and Sir Joshua Reynolds can be counted among the artists working in this genre. Mythological figures such as Diana, Minerva, Venus, Hebe, Iris, Ariadne, Circe, Medea, Cassandra, Muses, Graces, Nymphs and Bacchantes inspired the artists and their sitters. Ladies were picturised with the attributes of these divine beings.
4
Jenkins, E. R. "English South African children’s literature and the environment." Literator 25, no. 3 (July 31, 2004): 107–24. http://dx.doi.org/10.4102/lit.v25i3.266.
Повний текст джерелаАнотація:
Historical studies of nature conservation and literary criticism of fiction concerned with the natural environment provide some pointers for the study of South African children’s literature in English. This kind of literature, in turn, has a contribution to make to studies of South African social history and literature. There are English-language stories, poems and picture books for children which reflect human interaction with nature in South Africa since early in the nineteenth century: from hunting, through domestication of the wilds, the development of scientific agriculture, and the changing roles of nature reserves, to modern ecological concern for the entire environment. Until late in the twentieth century the literature usually endorsed the assumption held by whites that they had exclusive ownership of the land and wildlife. In recent years English-language children’s writers and translators of indigenous folktales for children have begun to explore traditional beliefs about and practices in conservation.
5
Houppermans, Sjef. "French Literature in the Perspective of Literary Historiography." European Review 21, no. 2 (April 30, 2013): 272–80. http://dx.doi.org/10.1017/s1062798712000427.
Повний текст джерелаАнотація:
Literary History has changed its objectives during the last few decades. In theory as well as in literary analysis strictly demarcated approaches have given way to a worldwide perspective. The openness to the world and the ongoing dialogue with the ‘other’ resonates in recent French Literature. Academic critique can accompany and guide these evolutions. This article focuses on three central concepts:transculturalité,colinguismeandtransmédialité. Special attention will be given to the 18th century French-English author William Beckford and the final word is spoken by Edouard Glissant.
6
Wakelin, Daniel. "Written in Haste: Practical Letters and Everyday Criticism in the Fifteenth Century." ELH 91, no. 1 (March 2024): 1–27. http://dx.doi.org/10.1353/elh.2024.a922007.
Повний текст джерелаАнотація:
Abstract: The phrase written in haste is a conventional ending of English letters in the fifteenth century. The formula does reflect the speed of practical uses of literacy. It also, however, is a critical term by which people evaluate their letters against aspirations to write better. The aspiration might concern style, but in haste and the related closing phrase no more also concern the content, extent and frequency of letters. Such phrases engage in a process of criticism which both invites literary critics now to read practical texts slowly and expands the criteria that such criticism might use.
7
Petrov, Alexej, Angelina Dubskikh, and Anna Butova. "Historiosophy & Eros in Russian anacreontics." SHS Web of Conferences 55 (2018): 04016. http://dx.doi.org/10.1051/shsconf/20185504016.
Повний текст джерелаАнотація:
“Love is the eminence grise of history”, – once one of the greats of the past said. Few doubt that history is driven by human, more or less conscious interests – economic, political, religious, etc. As for feelings, passions and instincts, their role in the historical process is not so obvious, particularly of those that are connected with policy or economy indirectly. The objective necessity to rehabilitate the position of Eros in the political life of 18th-century Russia determines the significance of the current research. The article aims to analyse how the feeling of love and/or the underpinning instincts of procreation and self-preservation affect the political life and the course of history. The most important task is to examine some of the poetic texts of the 18th – early 19th centuries, the authors of which are the part of this still non-trivial historiosophical paradigm. So, it is mainly going to be about love, but not always – about love poems. The novelty of the conducted research lies in the fact that mythological and political issues of Anacreonic poetry have already become the matter of literary criticism [1, 2], while the hidden historiosophical senses have been still neglected. Certain creative works of the 18th-century poets: M.V. Lomonosov, G.R. Derzhavin, S.S. Bobrov served as research material. The practical significance of the investigation consists in the fact that the results can be used for further studying of 18th-century literature and historiosophical problems as well as to develop special courses in historical poetry.
8
Sumati Bharti. "Pantheism and William Wordsworth." Knowledgeable Research: A Multidisciplinary Journal 2, no. 04 (November 30, 2023): 39–43. http://dx.doi.org/10.57067/kr.v2i1.191.
Повний текст джерелаАнотація:
A religious theory that may be utilized to construct an Islamic criticism of English literature according to Islamic principles is Wordsworth’s pantheism. Pantheism may encourage academics whose ultimate objective is to understand God via the study of natural objects of the universe found in English literature, despite the fact that it is fundamentally antithetical to God’s oneness. We were therefore enthralled by Wordsworth’s interpretation and comprehension of nature. However, we tried to reconstruct the idea from an Islamic perspective utilizing Quranic text after learning that his idea of God’s partial presence as a being within each natural element violates Islamic monotheism. The romantic poets like such as Wordsworth, Keats, and Shelley in Britain; transcendentalists Emerson and Thoreau in the United States; and Goethe and Hegel in Germany all contributed to the idea’s rise in popularity in the late 18th and early 19th centuries. It emerged as the preeminent literary form dedicated to praising nature in the nineteenth century. Philosophers and poets from all eras and stages manifest pantheism in a variety of languages.
9
Agratina, Elena E. "THE EMERGENCE OF ART CRITICISM IN FRANCE IN THE SECOND HALF OF THE 17TH AND THE FIRST HALF OF THE 18TH CENTURY." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 3 (2022): 146–64. http://dx.doi.org/10.28995/2073-6401-2022-3-146-164.
Повний текст джерелаАнотація:
The topic of the emergence of art criticism in France in the second half of the 17th and the first half of the 18th century, being rather widely covered in foreign academic literature, is still underdeveloped in Russian art history. Nevertheless, that issue is extremely important for understanding the processes that took place in the French and more widely in the European artistic milieu. The article aims to highlight the process of the criticism formation not only as a literary genre but primarily as a phenomenon of cultural life. Based on original written sources and foreign academic literature, the author traces how the appearance of fine art in the light of publicity was prepared in the Parisian artistic milieu. The author addresses the important questions that arose during the formative and legitimizing phase of criticism, such as its distinction from pre-existing art theory, as well as the distinction between the critic and the theorist or fine art historian. The artwork must now satisfy not only the master and the customer and a small circle of connoisseurs, society also becomes an active participant in artistic life, and the viewer enshrines the right to judge the art. The author shows how criticism is gradually becoming more diverse and polyphonic. Works written on behalf of a wide variety of characters are appearing, writers are adapting various literary genres that already exist: epistolary, diary, plays, poems, dialogues. For many years, criticism becomes an active channel of communication linking all participants in artistic life.
10
Böhmerová, Adela. "Historical Aspects of Early Contacts of Slovaks with English." ELOPE: English Language Overseas Perspectives and Enquiries 19, no. 2 (December 31, 2022): 63–85. http://dx.doi.org/10.4312/elope.19.2.63-85.
Повний текст джерелаАнотація:
This study is devoted to tracing, presenting and linguo-culturally interpreting some of the aspects of the early history of the contacts of Slovaks with the English language. Although English in Slovakia started to be of interest to several men of letters already in the 18th century, the need for it as means of communication only arose in the US in the second half of the 19th century among Slovak immigrants. The paper focuses above all on Janko Slovenský’s book as the first material assisting Slovaks in the acquisition of English, and analyses its content, educational merit and cultural value. Also surveyed is the history of the first dictionaries contrasting English and Slovak. The final part introduces the beginnings of English studies in Slovakia dating from the early 1920s, and their early development. The study offers insight into an educationally important subject that so far has only marginally received scholarly attention.
Дисертації з теми "English literature History and criticism 18th century"
1
Martin, Julia School of English UNSW. "Self and subject in eighteenth century diaries." Awarded by:University of New South Wales. School of English, 2002. http://handle.unsw.edu.au/1959.4/18787.
Повний текст джерелаАнотація:
This thesis investigates new ways of reading eighteenth century British diaries and argues that these narratives do not necessarily rely upon the idea of the self as a single, unitary source of meaning. This contradicts what has traditionally been viewed as the very essence of autobiography (Gusdorf, 1954; Olney, 1980, 1988). Close readings of the diaries of John Wesley, Mrs Housman, James Boswell and Hannah Ball (all written between 1720 and 1795) show that they construct 'generalised', rather than 'unique' subjects of narrative. The self is seen to be an amalgam of common characteristic more than being a core of psychological impulses. In order to understand the 'generalised' rather than 'unique' subject found in these diaries, this thesis surveys and uses reading strategies informed by theories that can accommodate fragmented narrative forms like diaries. It also investigates the religious and philosophical underpinnings of eighteenth century autobiographical narratives to determine how the self, and consciousness, were popularly perceived in the period known as the Enlightenment (c. 1690-1810). As they are often marked by missing pages, deletions and heavy editing, careful strategies are required in order to 'read with' eighteenth century diary narratives (Sandoval, 1981; Huff, 2000; Raoul, 2001). This practice invites an engagement with philosophical debates about 'self'-the living human being who writes the diary, and the 'subject'-the 'I' produced by narrative. The thesis argues that more than any other type of written narrative, diaries demand an acknowledgement that the subject of narrative does refer to a self that lives in day-to-day relations. Not to acknowledge this is to 'write off experience altogether' (Probyn,1991:111) and exclude the political dimensions of autobiography from the analysis. The thesis concludes that by seeking to answer the questions of 'What am I?' and 'What are we?' rather than the Romantic or psychological question of 'Who am I?', eighteenth century diary narratives create complex relationships between time, subjective and narrative that transcend most theorisations of autobiography to date. This presents an exciting direction forward for a field of scholarship that has been overly concerned with defining its limitations.
2
Shannon, Josephine E. "From discourse to the couch : the obscured self in eighteenth- and nineteenth-century epistolary narrative." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=34533.
Повний текст джерелаАнотація:
Although the letter purports to represent fact, it cannot avoid having a partly or potentially fictive status, turning as it does on the complex interplay between the real and the imagined. Consequently, the main critical approach of this paper is to consider the interactions between conflicting modes of expression in eighteenth- and nineteenth-century epistolary fiction. The rhetorical and conceptual contrarieties that I examine are broadly characterized by the contradiction between the implied spontaneity of the familiar letter and the inevitable artifice of its form. Working with familiar letters by four writers between the years 1740 and 1825, I specifically address various narrative patterns by which each turns to the act of communication to draw upon the experience of an isolated self. Against a background which explores the main developments in epistolary fiction and a historical progression of the uses and significance of letter-writing, I investigate epistolary texts by Lady Mary Wortley Montagu, Lord Byron, John Keats, and William Hazlitt. In turning to letters by each author, I explore the literary, theoretical and especially the psychological implications of the tenuous divisions between fact and fiction. In particular, my analysis stresses that letter-writing is an authorial act in which writing about the self can be understood as a literary form of self-portraiture or creative expression.I examine this claim---and the metaphors defining it---in two ways. First, by focusing on selected letters, I foreground each writer's language as an agent of internal conflict. In so doing, I am able to formulate distinctive questions regarding the potential of epistolary narratives to transform emotional or psychological schisms into fictions which become explicitly creative texts. Secondly, I analyze the changing nature of the fictions which emerge through this process. My findings conclude that authors' letters must be read, at least very often, as a constituent part of their literary work and as interpretive models of a shifting dynamic of psychological expression.
3
Guthrie, Neil. "A thousand wrecks! : rakes' progresses in some eighteenth century English novels." Thesis, University of Oxford, 1990. http://ora.ox.ac.uk/objects/uuid:b08473d6-9cae-4a14-b7a7-3e40cf7bb283.
Повний текст джерелаАнотація:
This thesis examines the figure of the rake as portrayed in the eighteenth-century English novel, a character strangely neglected in critical studies. The first chapter examines 'libertine' writers of the later seventeenth and early eighteenth centuries, notably Bernard de Mandeville; and the dilemma faced by educators of the day over the benefits of virtue on the one hand, and of worldly wisdom on the other. While Mandeville and other lesser defenders of the rake were very much a scandalous minority early in the eighteenth century, it appears that by about mid century a more moderate strain of libertinism received wider, but by no means universal acceptance (Johnson, Chesterfield, Smith, Hume). The second chapter seeks to define the classic conception of the rake as a young upper-class prodigal, and the standard anti-libertine view that gentleman rakes, by their neglect of social and political duties, were a serious threat to established social and political order. The chapter concludes with various examples of the standard rake in minor eighteenth-century novels that both defend and vilify him. Chapters III to V concentrate on each of the three principal novelists of mid century (Henry Fielding, Samuel Richardson, Tobias Smollett), and their par- ticular uses of and moral conclusions about the conventional rake. The sixth chapter suggests some conclusions to be drawn, mainly from the previous three chapters, and especially the ways in which Fielding, Richardson and Smollett com- ment on the rakes in each other's fiction; and examines the continued use of the rake topos right to the end of the century and at least into the early nineteenth, in differing types of fiction (novels of manners, of Sentiment and of radical ideas, the Gothic novel).
4
Moore, Paul Henry. "Death in the eighteenth-century novel, 1740-1800." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:5def918a-a899-4650-8850-efcacf3f4bf1.
Повний текст джерелаАнотація:
This thesis examines the development of the novel in the eighteenth century in relation to changing attitudes to death, and looks at how far shifting notions of the moral purpose of the novel and subsequent changes in its treatment of deathbed scenes, murders, duels, suicides and speculations about heaven and hell reflect changing beliefs and the modification of strict Christian ideals to accommodate or combat new feelings and philosophies. In establishing this background, the thesis draws upon popular devotional literature, sermons, minor novelists (such as Sarah Fielding and Henry Mackenzie), periodicals, plays, poetry, biography, paintings and funeral iconography. Each chapter attempts to establish the typicality and individuality of a particular author in relation to the period in which he was writing. My starting-point is Richardson, who uses the novel to question both old and new attitudes, paving the way for the novel's predominantly emotional approach to mortality. Fielding's comic novels provide a striking contrast to this, whilst also revealing a concern for emotional comfort which is at once typical of the period and highly individual. Sterne is seen as questioning not only the ways in which we evade and find consolation for our mortality but also our self-indulgent response to death in fiction. The last two chapters deal with the closing decades of the century, when hopes and fears roused by revolutionary ferment led to fresh uncertainties concerning death and the afterlife. In Ann Radcliffe's sentimental-Gothic novels, religious uncertainty is exploited as a source of sublime terror, while the English Jacobins, Godwin, Holcroft and Bage, attempt to modify the conventions of death in the novel in order to communicate a wholly secular philosophy in which Clarissa's hope of heaven is replaced by the hope of man's perfectibility on earth.
5
Ahern, Stephen. "Between duty and desire : sentimental agency in British prose fiction of the later eighteenth century." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0027/NQ50101.pdf.
Повний текст джерела
6
Collins, Margo. "Wayward Women, Virtuous Violence: Feminine Violence in Restoration and Eighteenth-Century British Literature by Women." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2474/.
Повний текст джерелаАнотація:
This dissertation examines the role of "acceptable" feminine violence in Restoration and eighteenth-century drama and fiction. Scenes such as Lady Davers's physical assault on Pamela in Samuel Richardson's Pamela (1740) have understandably troubled recent scholars of gender and literature. But critics, for the most part, have been more inclined to discuss women as victims of violence than as agents of violence. I argue that women in the Restoration and eighteenth century often used violence in order to maintain social boundaries, particularly sexual and economic ones, and that writers of the period drew upon this tradition of acceptable feminine violence in order to create the figure of the violent woman as a necessary agent of social control. One such figure is Violenta, the heroine of Delarivier Manley's novella The Wife's Resentment (1720), who murders and dismembers her bigamous husband. At her trial, Violenta is condemned to death "notwithstanding the Pity of the People" and "the Intercession of the Ladies," who believe that although the "unexampled Cruelty [Violenta] committed afterwards on the dead Body" was excessive, the murder itself is not inexcusable given her husband's bigamy. My research draws upon diverse archival materials, such as conduct manuals, criminal biographies, and legal records, in order to provide a contextual grounding for the interpretation of literary works by women. Moving between contemporary accounts of feminine violence and discussions of pertinent literary works by Eliza Haywood, Susanna Centlivre, Delarivier Manley, Aphra Behn, Mary Pix, and Jane Wiseman, the dissertation examines issues of interpersonal violence and communal violence committed by women.
7
Hone, Joseph. "The end of the line : literature and party politics at the accession of Queen Anne." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:d847a561-130a-42f0-b78f-2463e9e65535.
Повний текст джерелаАнотація:
This thesis provides the first full-length account of the political and cultural significance of the accession of Queen Anne. It offers a critical reassessment of the politics of the royal image across a spectrum of texts, events, and artefacts - from panegyrics, newspapers, sermons, royal progresses, and processions to medals, coins, and playing cards. Recent scholarship has emphasized the importance of party politics to the literature and culture of the early eighteenth century. This thesis nuances that assumption by arguing: (1) that the principal focus of partisan texts was competing representations of monarchy; and (2) that the explosion of partisanship at the start of the eighteenth century was triggered by unrest about the royal succession. Anne was the last protestant Stuart. She had no surviving children. This thesis explores how authors such as Daniel Defoe, Joseph Addison, Alexander Pope, and a great many lesser known and anonymous writers and propagandists conceptualized the end of the Stuart dynasty. Anne's accession forced writers to conjecture on the future succession. There were two rival claimants to the throne after Anne's death: the protestant Electress Sophia of Hanover and Anne's Catholic half-brother, James Francis Edward. Sophia's claim was statutory, James's hereditary. Factions emerged in support of both claimants. Almost all topical writing took a stance on the issue. Many sided with the government, supporting Hanover. Yet some writers favoured the illegal but hereditary claim of James Francis Edward; they had to express support in covert ways. This succession crisis triggered not only printed polemic, but also swathes of clandestine manuscript literature circulating in the Jacobite underground. The government took a hard line on Jacobite writers and printers; this thesis documents both their persecution and the techniques they used to evade the law. The thesis concludes by suggesting that this oppositional literary culture only disintegrated after the defeat of the Jacobite rebellion, and the consequent settlement of the Hanoverian succession, in late 1716. After this point, royal succession ceased to be a major source of political discontent.
8
Bender, Ashley Brookner. "Personal Properties: Stage Props and Self-Expression in British Drama, 1600-1707." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12081/.
Повний текст джерелаАнотація:
This dissertation examines the role of stage properties-props, slangily-in the construction and expression of characters' identities. Through readings of both canonical and non-canonical drama written between 1600 and 1707-for example, Thomas Middleton's The Revenger's Tragedy (1607), Edward Ravenscroft's adaptation of Titus Andronicus (1678), Aphra Behn's The Rover (1677), and William Wycherley's The Plain Dealer (1677)-I demonstrate how props mediate relationships between people. The control of a character's props often accords a person control of the character to whom the props belong. Props consequently make visual the relationships of power and subjugation that exist among characters. The severed body parts, bodies, miniature portraits, and containers of these plays are the mechanisms by which characters attempt to differentiate themselves from others. The characters deploy objects as proof of their identities-for example, when the women in Behn's Rover circulate miniatures of themselves-yet other characters must also interpret these objects. The props, and therefore the characters' identities, are at all times vulnerable to misinterpretation. Much as the props' meanings are often disputed, so too are characters' private identities often at odds with their public personae. The boundaries of selfhood that the characters wish to protect are made vulnerable by the objects that they use to shore up those boundaries. When read in relation to the characters who move them, props reveal the negotiated process of individuation. In doing so, they emphasize the correlation between extrinsic and intrinsic worth. They are a measure of how well characters perform gender and class rolls, thereby demonstrating the importance of external signifiers in the legitimation of England's subjects, even as they expose "legitimacy" as a social construction.
9
Moore, Lindsay Emory. "The Laureates’ Lens: Exposing the Development of Literary History and Literary Criticism From Beneath the Dunce Cap." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822784/.
Повний текст джерелаАнотація:
In this project, I examine the impact of early literary criticism, early literary history, and the history of knowledge on the perception of the laureateship as it was formulated at specific moments in the eighteenth century. Instead of accepting the assessments of Pope and Johnson, I reconstruct the contemporary impact of laureate writings and the writing that fashioned the view of the laureates we have inherited. I use an array of primary documents (from letters and journal entries to poems and non-fiction prose) to analyze the way the laureateship as a literary identity was constructed in several key moments: the debate over hack literature in the pamphlet wars surrounding Elkanah Settle’s The Empress of Morocco (1673), the defense of Colley Cibber and his subsequent attempt to use his expertise of theater in An Apology for the Life of Colley Cibber (1740), the consolidation of hack literature and state-sponsored poetry with the crowning of Colley Cibber as the King of the Dunces in Pope’s The Dunciad in Four Books (1742), the fashioning of Thomas Gray and William Mason as laureate rejecters in Mason’s Memoirs of the Life and Writings of William Whitehead (1788), Southey’s progressive work to abolish laureate task writing in his laureate odes 1813-1821, and, finally, in Wordsworth’s refusal to produce any laureate task writing during his tenure, 1843-1850. In each case, I explain how the construction of this office was central to the consolidation of literary history and to forging authorial identity in the same period. This differs from the conventional treatment of the laureates because I expose the history of the versions of literary history that have to date structured how scholars understand the laureate, and by doing so, reveal how the laureateship was used to create, legitimate and disseminate the model of literary history we still use today.
10
CONNERY, BRIAN ARTHUR. "AN AMBITION TO BE HEARD IN A CROWD: MAD HEROES AND THE SATIRIST IN THE WORKS OF JONATHAN SWIFT (ALIENATION, DOUBLE-BIND)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/183857.
Повний текст джерелаАнотація:
In Swift's works, both heroes and madmen are characterized by supra-normal aspiration, imagination, individuality, and pride, and the mad hero becomes an effective emblem for the chaos arising when individual vision challenges traditional authority in religion, politics, and literature. Swift's view of madness as the willful perversion of reason tends to be traditional, though his sense of its pervasiveness creates a subversive skepticism. Consistently throughout his works, Swift posits conscience as the only safeguard against the madness of pride. Swift views the traditional hero as subversive, typically portraying him as mad while presenting the sane man as unheroic. As the Tale-teller argues, the traditonal hero is a successful madman. Swift's later works demonstrate that madness and heroism often coincide because of the mutually reinforcing relationship between power and ego, and he asserts that the will to power, manifested in the heroic imposition of one's will upon others, is a form of madness. As an alternative to the asocial and amoral traditional hero, Swift promotes a moderate hero in the figures of the Church of England Man, the Examiner, and the Drapier: the one just man, motivated by Roman and Christian virtue, in a mad society. But even the vir bonus remains susceptible to challenges of authority, for in a mad and corrupt society his singular vision cannot appeal to common sense. Moreover, if he becomes powerful, he risks madness, and if he retreats from madness, he becomes impotent. As a consequence of this double bind, the satirist himself suffers a profound alienation. Swift recognizes that by engaging in the controversies of his age, he himself becomes liable to charges of the madness of pride. Even as he harangues the world, his recognition of the heroic conceit in establishing himself as satirist is evident in the self-satire of A Modest Proposal and the verses on his death. Similarly, the self-portraits in his poetry and Gulliver's Travels demonstrate his conscience at work as he satirizes his own indignation and reforming urges, striving thereby to maintain a modicum of humility and thus sanity, and, in laughing with the reader, striving to maintain common sense as well.
Книги з теми "English literature History and criticism 18th century"
1
Felicity, Nussbaum, and Brown Laura 1949-, eds. The New eighteenth century: Theory, politics, English literature. New York: Methuen, 1987.
Знайти повний текст джерела
2
Pritchard, Penny. The long 18th century: Literature from 1660 to 1790. New York: Pearson Longman, 2010.
Знайти повний текст джерела
3
Pritchard, Penny. The long 18th century: Literature from 1660 to 1790. New York: Pearson Longman, 2010.
Знайти повний текст джерела
4
Lucy, Peltz, and National Portrait Gallery (Great Britain), eds. Brilliant women: 18th-century bluestockings. New Haven, Ct: Yale University Press, 2008.
Знайти повний текст джерела
5
Brophy, Elizabeth Bergen. Women's lives and the 18th-century English novel. Tampa: University of South Florida Press, 1991.
Знайти повний текст джерела
6
R, Kropf Carl, ed. Reader entrapment in eighteenth-century literature. New York: AMS Press, 1992.
Знайти повний текст джерела
7
Kaul, Suvir. Eighteenth-century British literature and postcolonial studies. Edinburgh: Edinburgh University Press, 2009.
Знайти повний текст джерела
8
Geoffrey, Carnall, and Butt John 1906-1965, eds. The Oxford History of English Literature: The Age of Johnson, 1740-1789. Oxford: Clarendon Press, 1990.
Знайти повний текст джерела
9
Marie, Mulvey Roberts, and Porter Roy 1946-, eds. Literature & medicine during the eighteenth century. London: Routledge, 1993.
Знайти повний текст джерела
10
1948-, Fox Christopher, ed. Psychology and literature in the eighteenth century. New York, N.Y: AMS Press, 1987.
Знайти повний текст джерелаЧастини книг з теми "English literature History and criticism 18th century"
1
Ayers, David. "Literary criticism and cultural politics." In The Cambridge History of Twentieth-Century English Literature, 379–95. Cambridge University Press, 2005. http://dx.doi.org/10.1017/chol9780521820776.023.
Повний текст джерела
2
Chesnokova, Tatiana G. "Alexander Pope: History in Theory and Theory in History." In “The History of Literature”: Non-scientific sources of a scientific genre, 220–60. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-220-260.
Повний текст джерелаАнотація:
The article examines the seeds of the historical approach to the description of literary and critical phenomena in A. Pope’s literary heritage. The focus is on the mechanisms of formation and the links of those “historical” elements with the poet’s theoretical views. Basing on classicist’s points, Pope transfers his attention from the rules’ matter to their source (seen in the experience of writing) and the way of applying them to the sphere of literary criticism. It conditioned special importance for Pope of the categories of judgement, taste and “Nature methodiz’d” and formed his interest to the issues of literary criticism. Demanding that both poets and judges of poetry satiate their practice with theory, Pope starts the opposite movement as well: from ready critical formulas to their test and improvement in the process of writing and reviewing. This leads to the widening of the scope of historical description within the framework of theoretical comprehension of such subjects as criticism and poetry. Pope’s most ambitious theoretical “utterances” (such as An Essay on Criticism and The First Epistle of the Second Book of Horace, Imitated) have the form of a treatise in verse or an epistle, and the “historization” of poet’s theoretical concepts affects their poetic structure, which introduces the elements of historical description. Preparing the ground for the first histories of literature in the late 18th century, such historical reviews remain the essential element of Pope’s theoretical views and poetic works and the part of his age mental culture.
3
France, Peter, and Kenneth Haynes. "Philosophy, History, and Travel Writing." In The Oxford History Of Literary Translation In English, 473–504. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199246236.003.0011.
Повний текст джерелаАнотація:
Abstract The translation of non-fiction (a category invented in the nineteenth century and developed for the use of libraries) is represented in this chapter by philosophy, history, biography, political and social criticism, and the literature of travel and exploration, the last being a capacious genre, combining science with historical and philosophical reflections. Such works accounted for more than a third of the published translations in the years examined in Chapter 4, above, and they include several popular and critical successes, such as the several histories by Guizot or Humboldt’s Cosmos. The discussion of classical philosophy in this first section, emphasizing the influence of ideas, is meant to complement the discussion in Chapter 5, which treats classical works as literature; Lucretius is discussed in both places.
4
Vinogradov, Igor A. "“Taras Bulba” and Russian History of the 19th–20th Centuries." In Literary Process in Russia of the 18th–19th Centuries. Secular and Spiritual Literature. Issue 3, 97–168. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/lit.pr.2022-3-97-168.
Повний текст джерелаАнотація:
The article is devoted to the study of readers’ receptions of N.V. Gogol “Taras Bulba” in Russia. This work, imbued with a deep religious and patriotic intention, occupies such a significant place in Russian culture that the reviews of readers and critics, the assessments and interpretations of its researchers, dramatizations in the theater, opera and ballet, etc. allows to analyze not only history of the story’s existence, but also to trace the key moments of Russian life in the second half of the 19th–20th centuries. The interaction of the patriotic story’s spiritual lyricism with the contradictory socio-political processes of the era identifies the most significant features of the poetics of Gogol’s work. Enthusiastically received by contemporaries, including A.S. Pushkin, “Taras Bulba” was subsequently met with hostility from domestic liberalradical and Polish nationalist criticism. Continuing to be one of the favorite works of the domestic and foreign readers, the story after 1917 was removed from the Soviet school curriculum and again restored in rights only during the Great Patriotic War. The article presents a detailed analysis of the assessments and interpretations of “Taras Bulba” for more than a century and a half.
5
Duke-Evans, Jonathan. "Fair play—the history of a phrase." In An English Tradition?, 22—C3.F1. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192859990.003.0003.
Повний текст джерелаАнотація:
Abstract The term “fair play” emerges in the late 14th century, and already has its modern meaning in the Scottish poet Robert Henryson a century later. By the 1590s “fair play” was well established in the language, with Shakespeare himself a prominent early adopter. For the next couple of centuries “fair play” had a secondary meaning of “free action”, and in some contexts it is not easy to say which was the primary meaning intended. We first find the idea that “fair play” is a particularly English, or British, trait in Daniel Defoe’s writings. This association with being British often goes hand in hand with the idea that the common people in particular live by a code of fair play (in which enjoyment of the spectacle of others fighting was usually an important component). We also first find in the early 18th century the association between fair play and schoolboy culture. After 1800 the analysis is based on the occurrence of “fair play” in periodical literature. The idea that fair play is an English or British trait rose sharply in the second half of the 19th century, but we also find the idea used in new ways: for example, that it requires justice in the way society treats women, the poor, or ethnic minorities. The note of scepticism or even ridicule also becomes more insistent: many writers asserted that a particular situation belied the English or British reputation for fair play, but an increasing number questioned whether that reputation had ever been justified.
6
Day, Gary. "F. R. Leavis: criticism and culture." In Literary Theory and Criticism, 130–39. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199291335.003.0010.
Повний текст джерелаАнотація:
Abstract Why include F. R. Leavis in a history of criticism and theory? Because he was the most influential critic of his day. It is no exaggeration to say that, in a career spanning more than forty years, from the late 1920s to the mid-1970s, Leavis changed the perception of English literature and professionalized its study. Following T. S. Eliot’s lead, he redefined English poetry in terms of the seventeenth-century metaphysical tradition of John Donne rather than the nineteenth-century Romantic one of Wordsworth. In typically robust fashion, Leavis also proposed a ‘great tradition’ of novelists—Jane Austen, George Eliot, Henry James, and Joseph Conrad—that critics have often used as evidence for their claim that Leavis was a dogmatic figure with only a limited view of literature.
7
Nyári, Tamás. "The Impact of the Thermal Project on the Thermal Spa Culture of Southern Transdanubia." In Explorations into the Social and Economic History of Hungary from the 18th to 21st Century, 204–17. Working Group of Economic and Social History Regional Committee of the Hungarian Academy of Sciences in Pécs, 2023. http://dx.doi.org/10.15170/seshst-03-16.
Повний текст джерелаАнотація:
The purpose of the study. To present what concepts existed for the utilization of the thermal resources of the Southern Transdanubian region, both at the national and county level. Next, examine the impact of the international Thermal Project, which started in the 1970s, on the spa culture of the region, primarily on the spa culture. Applied methods. Primarily a literature review in the field of economic policy and spa history. I examined the literature on socialist economic policy and incorporated the results of my research into the information found there. The literature research was followed by the study of contemporary press and legislation. At the end of the systematic investigation, useful information was provided with relevant press reports and adequate source criticism. An important part of the research was archival research, in which national and county-level party documents and council documents were processed. Outcomes. As a result of the party decree of 1957 and the ministerial decree of 1960, the pace of hydrocarbon research increased at the same time, as a result of which thermal wells were discovered one after the other, and the demand for the development of tourism appeared at the same time. Together, this resulted in the development of spa culture based on thermal wells being put on the agenda at the local, county and national levels. Starting in the 1960s, concepts appeared one after another for the use of thermal water for tourism purposes, to boost tourism and increase the country's foreign exchange earnings. The national water management framework plan was created, and county plans were created for the development of spas. By the 1970s, taking advantage of the milder political climate, the primary goal became the utilization of the country's thermal resources, and it initiated cooperation with the UN under the name Thermal Project. A joint management planning group was created, in which Hungarian and international specialists and numerous institutions of the country participated. After a lot of preparation and the creation of a schedule, the project died after the implementation of the first phase. The implementation of the big plan was thus left for the times after the regime change.
8
Russo, Daniel. "AN ALTERNATIVE SPELLING FOR ENGLISH: CONTEMPORARY APPROACHES AND SIMPLIFICATION CRITERIA." In JEZIK, KNJIŽEVNOST, ALTERNATIVE/LANGUAGE, LITERATURE, ALTERNATIVES - Jezička istraživanja, 313–28. Filozofski fakultet u Nišu, 2022. http://dx.doi.org/10.46630/jkaj.2022.19.
Повний текст джерелаАнотація:
The history of English spelling is characterised by periods of discontinuity and a slow and relentless shift from a phonemic orthography to a morphophonemic system. There have been two periods when spelling reform of the English language has attracted particular interest: the first was from the middle of the 16th to the middle of the 17th century, when a number of publications and dictionaries outlining proposals for reform were published; the second was between the 18th and early 20th centuries and linked to the development of phonetics as a science. For example, Noah Webster’s dictionary included an essay on the oddities of modern orthography and his proposals for reform (some of which would become hallmarks of American English spelling). The purpose of this study is to review proposals for English-language spelling reform since the 1950s – New Spelling, Regularised English, Spelling Reform 1, Cut Spelling, Shavian, Interspel, and the Petersonian English Alphabet – to identify their main common traits by highlighting the underlying ideas of simplification. All the models under consideration show a preference for a phonemic spelling system as an ideal in the direction of linguistic simplicity.
9
Schoenfeldt, Michael. "Impractical criticism: close reading and the contingencies of history." In Texts and readers in the Age of Marvell, 17–32. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526113894.003.0002.
Повний текст джерелаАнотація:
Over the last seventy years, the discipline of English literature has been marked by an unnecessary and largely counterproductive tension between aesthetics and history. For many politically oriented critics, aesthetics was either uninteresting or implicated in the elite practices they deliberately opposed. And for those who focused on aesthetics, history frequently seemed like a distraction from what made the work of art a special kind of utterance, separate from other modes of language. This chapter revisits some of the signal literary engagements in the latter half of the long twentieth century, in order to consider what has been accomplished, what we have left out, and where we may be going next. With reference to writers from Donne and Herbert to John Milton, the chapter suggests, finally, that our analyses have too frequently ignored the decidedly impractical pleasure that emerges from literary activity, and argues that by bringing our own pleasure out of the closet, we can begin to restore to literary criticism some of the visceral thrill that drew us to it in the first place.
10
Chesnokova, Tatiana G. "Fielding the Novelist as an Intermediary in the Development of English and French Drama in 1760–1780s." In The Multifaceted Fielding, 221–47. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0616-1-221-247.
Повний текст джерелаАнотація:
Novels by Fielding (including the best of them — The History of Tom Jones) not only accumulated and transformed the experience of the earlier development of English comedy of manners (belonging to Restoration and early Enlightenment), but in their own turn affected theatrical plays both in England and other European countries. Providing a source for many dramatic pieces on both sides of the English Channel, the famous novel kept on playing an intermediary part in the literary process and in theatrical life in the second half of the 18th century, acting as a catalyst for current tendencies both in style or genre development (particularly in drama). The multidirectional processes expressing this function are considered by the example of original plays, translations and adaptations which appeared in England and France in 1760–1780s and belonged to George Colman the Elder, Richard Cumberland, Richard Brinsley Sheridan, Mari-Jeanne Riccoboni, and Pierre Jean-Baptiste Choudard (Desforges). The author points out the special significance of Colman’s comedy The Jealous Wife which played an important role in the processes of genre adaptation of the central motifs of novels by Fielding on the ground of dramatic literature and in the interrelations of different national theatrical traditions in the 18th century.
Тези доповідей конференцій з теми "English literature History and criticism 18th century"
1
Макарьев, И. В. "Friedrich Schlegel's understanding of history in the context of the philosophy of history of the XX – early XXI centuries." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.83.19.061.
Повний текст джерелаАнотація:
в философии истории ХХ в. можно выделить двоякую тенденцию. С одной стороны, классическая философия истории подвергается радикальной критике (в немецкой философской герменевтике, французском структурализме и постструктурализме, англоязычной аналитической философии), а с другой стороны, она продолжается и развивается в различных концепциях и теориях («столкновение цивилизаций» С. Хантингтона, «конец истории» Ф. Фукуямы). Такая двойственность (критика философии истории и ее развитие) не является характеристикой только нашей современности. Выдающийся немецкий филолог и философ Фридрих Шлегель (1772–1829) в ситуации философской революции рубежа XVIII–XIX вв. постарался соединить эти две позиции в одну, что и стало предметом анализа автора статьи. in the philosophy of the history of the twentieth century, a twofold tendency can be distinguished. On the one hand, the classical philosophy of history is subjected to radical criticism (in German philosophical hermeneutics, French structuralism and poststructuralism, English-speaking analytical philosophy), and on the other hand, it continues and develops in various concepts and theories (S. Huntington's "clash of civilizations", "end of history" F. Fukuyama). Such duality (criticism of the philosophy of history and its development) is not a characteristic only of our modernity. The outstanding German philologist and philosopher Friedrich Schlegel (1772–1829), in the situation of the philosophical revolution at the turn of the 18th–19th centuries, tried to combine these two positions into one, , which became the subject of the analysis of the author of the article.