Romantic Poets Research Articles

The Effect of Daffodil Flowers on William Wordsworth’s Mood

The study highlights that nature has a significant impact on romantic poets’ moods. The significance of the study displays that nature plays a big role in changing the mood of some English romantic poets from pessimistic to optimistic. The daffodils flowers can shift a person’s gloomy condition into an optimistic one. The study shows how William Wordsworth’s poem Daffodils reflects his love of nature and how daffodils flowers were able to change his depressing condition into an optimistic one. The study used a descriptive and analytical methodology. The study concludes that nature could change the poets’ attitudes from a pessimistic one to an optimistic one, especially the daffodils flowers. Also, nature has an impact on both their literary output and their attitudes, sentiments, and way of life. Romantic writers cherished nature because it could affect their feelings and generate beautiful poetry. A person’s appreciation of nature acts as a mirror to reflect their thoughts, sentiments, and traditions, as well as their outlook on life.

Romantic Poets in Epic Form of Nordic Countries and Estonia’s Classical Dialect Poetry

The recently awakened academic interest in the multilingual character of the written culture of the Baltic region in more distant times calls for fresh attention to and reassessment of the poetry of the ethnic minorities that have inhabited the territory of Estonia. One such minority was the Estonian Swedes who dwelt in western Estonia up to 1944. This paper mainly focuses on the lifecourse, as reflected in his poems, of Estonian Swedish native skald Mats Ekman, who wrote in the late 19th and early 20th centuries. Since his work and the whole topic of Estonian Swedish culture are largely unknown in Estonia and everywhere else, except for the direct descendants of that minority, the paper offers the necessary background information, while also applying the method of close reading to a few of the author’s poems in the original Swedish dialect and in English. Parallels are drawn with the major classical authors of neighbouring Nordic countries, such as Esaias Tegnér of Sweden and Aleksis Kivi of Finland, authors who can be seen as models not only for Ekman, but also for a number of significant ethnic Estonian poets who wrote in Estonian, such as Juhan Liiv and Ernst Enno.

The “Poetic Chaos” of Gardens and Genres in Colonial Tbilisi

One summer afternoon in Tbilisi, my friends Elizbari and Malkhazi, both native Tbilisians, and I bought some beer from a local store near Malkhazi's home in the hillside residential Tbilisi neighborhood of K'rts’anisi. For various reasons I can no longer recall, it would not do for us to drink in his home, so we randomly chose a deserted spot nearby: a patch of gravel next to a decrepit building with a large fallen tree, which afforded us a place to sit. Malkhazi surveyed our abject drinking spot, raised his beer in a heroic pose, and proclaimed: “Ortach'alis baghshi mnakhe, vina var!” (In the gardens of Ortachala see me, who I am!).1 We laughed at the absurd poetic reference. It was a famous line from a Persian-style Georgian poem by the noble romantic poet Grigol Orbeliani. It was a mukhambazi, a genre of poetry emblematic of “Old Tbilisi” city poetry associated with a nostalgic Georgian mythology of the nineteenth-century colonial city, centering on the island gardens of Ortachala, the site of drunken feasting of typical Tbilisian street peddlers called kintos (Georgian k'int’o). The stanza goes as such:In the gardens of Ortachala see me, who I am,In a happy-go-lucky feast see me, who I am!A toastmaster with a drinking bowl, see me, who I am!Well in a fistfight see me, who I am!Then you will fall in love with me, say, “You are precious!”

The Un-bodied Voices in Shelley’s “To a Skylark” and Keats’s “Ode to a Nightingale”


 B. Shelley and John Keats are noted Romantic poets and their works are celebrated. In this article, Percy Bysshe Shelly’s “To a Skylark” and John Keats’s “Ode to a Nightingale” have been appreciated. The skylark and the nightingale seem to be similar birds while reading the poems simultaneously. Shelley glorifies the skylark’s song and Keats immortalizes the nightingale due to its melodious song. The article, structured in four headings- Introduction, Appreciating, The Un-bodied Voices and Conclusion, introduces the poets and their aforesaid poems. It appreciates both the poems in matter of the contrasts and commonalties between the birds, the major themes in the poems, the poets’ power of imagination and the un-bodied voices in the poems. It makes a quest for how the un-bodied voices in the poems represent idealism in contrast to the harsh reality of life. To appreciate the poems and further strengthen the ideas, the poets’ respective poems and books by various writers have been consulted. The article concludes that the songs of the skylark and the nightingale are the un-bodied voices which symbolize beauty, purity, perfection and freedom. These un-bodied voices are in contrast to the harsh reality of human life on the earth.

Irony with a Point: Alan Turing and His Intelligent Machine Utopia

Turing made strong statements about the future of machines in society. This article asks how they can be interpreted to advance our understanding of Turing’s philosophy. His irony has been largely caricatured or minimized by historians, philosophers, scientists, and others. Turing is often portrayed as an irresponsible scientist, or associated with childlike manners and polite humor. While these representations of Turing have been widely disseminated, another image suggested by one of his contemporaries, that of a nonconformist, utopian, and radically progressive thinker reminiscent of the English Romantic poet Percy B. Shelley, has remained largely underexplored. Following this image, I will reconstruct the argument underlying what Turing called (but denied being guilty of) his “Promethean irreverence” (1947–1951) as a utopian satire directed against chauvinists of all kinds, especially intellectuals who might sacrifice independent thought to maintain their power. These, Turing hoped, would eventually be rivaled and surpassed by intelligent machines and transformed into ordinary people, as work once considered “intellectual” would be transformed into non-intellectual, “mechanical” work. I study Turing’s irony in its historical context and follow the internal logic of his arguments to their limit. I suggest that Turing genuinely believed that the possibilities of the machines he envisioned were not utopian dreams, and yet he conceived them from a utopian frame of mind, aspiring to a different society. His ever-learning child machines, whose intelligence would grow out of their own individual experiences, would help distribute power.

An Overview of the Romantic Age, Romantic Poets and Romantic Poetry in English Literature: A Critical Analysis

An Overview of the Romantic Age, Romantic Poets and Romantic Poetry in English Literature: A Critical Analysis

ЗАБОРАВЉЕНИ РОМАНТИЧАРСКИ ПЈЕСНИК ДАМЈАН ПАВЛОВИЋ

The review presents a literary work and the tragic life destiny of the forgotten Serbian romantic poet Damjan Pavlović (1839-1866). His family background, education and unexpected tragic suicide were pointed out, and then his literary work was presented. First of all, we focused on poetry dominated by reflective (“Viši duh”), patriotic (“Dunavo”) and love songs (“Izbor, srce, dušo”). We also focused on Pavlović’s four short stories: “Jelka”, “Dva pobratima”, “Iz đačkog dnevnika” and “Beležnik’ova kći”, as well as on theater critics and translations (Heine, Birger). The final part of the review points out the value aspects of Pavlović’s work, as well as the place in the generation of romantic poets from the 1960s.

DANTE E LA LOMBARDIA

The essay is divided into two parts. The first deals with the presence of Lombardy in Dante Alighieri’s Divine Comedy. Some characters of Lombard origin are analyzed and also the allusions to the Lombard capital, Milan. We come to the conclusion that the characters, the cities, the Lombard principalities have a lot of prominence in Dante’s work. The author sees in this region a multiplicity of civil, cultural and political experiences far superior to other Italian regions (even if Tuscany and Florence have a more relevant presence). The second part briefly investigates the fact that the renewed interest in Dante originates in the early nineteenth century in Milan, where several editions of his works are printed and comments and studies are developed. It is also important to point out that the interpretation of Dante as the first and greatest Italian writer must be framed in the Italian culture of the first decades of the nineteenth century, when romantic poetics arrived in Italy and at the same time the ideas of the Risorgimento spread, so much so that we trace in those same decades Dantesque influences also in the creative works of writers and artists from the Lombardy area.

On Indexing: The Birth and Early Development of an Idea.

Incorporating techniques from book history into traditional intellectual history, this article traces the effective origin of indexing to the early printed editions of two lexicographical works, Lorenzo Valla's Elegantie and Niccolò Perotti's Cornu copiae, and then follows its development through the editions of the Roman poet Virgil published between 1500 and 1800. Indexing practices turn out to be tied to how books were read, with a new way of consuming books, which is labeled "transverse reading," emerging during this period.

Apophasis Approach: Drawing Similarities in Ode to a Nightingale by John Keats and To a Skylark by P.B. Shelley and Challenging the Keats’ Escapism

Apophasis is a rhetoric device aimed at serving different purposes from the relationship between the speaker and the addressee to the mysticism. The understanding of this relationship may be direct and indirect. Keats’ Ode to a Nightingale and Shelley’s To a Skylark have never been explored from apophasis approach. The established notion of negative capability known as escapism from this world to the world of the song of nightingale as a distinctive feature of Keats poetry is challenged and replaced with the pure experience in this paper. This challenge is going to initiate a debate in future research. This paper also discusses the fact that despite similarity of experience in Keats’ Ode to a Nightingale and Shelley’s To a Skylark, the researchers and critics do not associate Shelley’s To a Skylark to escapism. The apophasis approach is useful in drawing this similarity and develop an understanding of romanticism from the two song specific poems of these romantic poets.

Success and its Relativization: General Remarks on the Fate of Literary Works and their Authors (Specific Features of Czech Literature)

The author of the present paper deals with the general features of success of literary artefacts on the examples of several Czech authors. Regardless of some typical cases going back to the 19th century, among others a famous one connected with the name of possibly the only real Czech romantic Karel Hynek Mácha, probably the most significant romantic poet in the world observed from the point of view of poetics and artistic values and existential angles, there are quite a lot of interesting 20th-21st-century authors whose success on the one hand and loss of popularity on the other signalled the causes of the whole process and its markers. While the 19th-century authors and the success of their work were linked with the preparedness of the reading public, with aesthetic tastes and prevalent styles, more modern literature since modernism has been connected, besides the mentioned factors, more with political shifts of emphasis and with the whole social atmosphere; it also depends on the thematic and genre structure of literary artefacts, on the problems dealt with, on the degree of experimentalism. The examples of several Czech 20th-century authors demonstrate various aspects of the problem of the markers of succes and their association with their creative individuality.

"Ethnographic Romanticism" in N.A. Durova’s Stories "Sulfur Key" and E.A. Gans’s (Gan`s) "Utballa"

The article considers N. A. Durova's novels "The Sulphur Key" and E.A. Gan's "Utballa". A. Gan's "Utballa" as an example of romantic prose and, at the same time, the presence of ethnographic elements in the novels gives grounds to speak of "ethnographic romanticism". Romantic poetics demonstrated a strong interest in national originality of the people. This explains the presence of ethnographic elements in the novels, which describe the way of life of foreign ethnic groups (Cheremis and Kalmyks), customs, rituals, traditions and their mythology, and which function in the novels in different ways: in "Sernyi Kluch" they help create a romantic twoworld and its "peak" - the main character's character, whereas in "Utballa" ethnographic elements create an image of a diverse world full of vicissitudes, in which a real man in the guise of a woman preserves her deep spirituality to the end. The novels of Durova and Gan investigate the similarities and differences in the representation of the image of a foreign ethnic group and the archetype of national consciousness. The stories have much in common, which is due to the gender peculiarities embodied through ethnographic images. Ethnographic elements allow one to see a people and its traditions in all their identity and beauty. In the novels, ethnography is used as a leading expressive medium, providing information on the mentality of the people, their moral norms and national history. In their everyday scenes and pictures, the authors saturate the narration with folk tales that are an integral part and essential element of the characterization of the hero. The description of everyday life is given in realistic tones (rituals of religious services, weddings) and filled with rich colours and vivid details. The life of the people, legends, nature and people's characters merge, conveying the uniqueness of everyday life and a vivid picture of life. Ethnography is a marker of national culture that develops under specific conditions that define its uniqueness: long-established customs and habits, moral notions, everyday life, etc., and it reflects and explains through fiction the realities of life and the characters of its characters as typical representatives of a particular nation. Understanding the life and culture of the people is always based on the writer's life experience and fiction.

World Literature and the Rise of Sub-nationalisms in Indian Vernaculars: British Romantic Poets in Gujarati Translation

This paper focuses on how world literature played a crucial role in shaping a sub-national Gujarati identity. Narsinhrao Divatia (1859-1937) – the well-known Gujarati poet, critic and linguist presented partial or complete translations of British Romantic poets like Wordsworth, Keats, Shelley and Byron from the fourth part of F.T. Palgrave’s Golden Treasury (1861) in his seminal poetry anthology Kusummala (1887). This translation played a significant role in redefining Gujarati poetics and Gujarati identity. It also elevated the cultural status of Gujarati literature by introducing Sanskrit poetics in the Gujarati translations. However, in the Gujarati literary tradition, Divatia’s translations of the British Romantic poets are treated as ‘nakal’ (copy) and derivative of Western poetry. This paper argues that the Gujarati translations of the British Romantic poets in Kusummala (1887) cannot be dismissed as cheap copies, but have to be read as refractions, a kind of rewriting elaborated by André Lefevre. Kusummala is an example of an interliterary text where Gujarati translations of the British Romantic poets are mediated with the help of Sanskrit poetics. This paper also argues that the sub-national Gujarati identity goes beyond the dichotomy of Vishwa and Rashtra, as proposed by Vinay Dharwadker.

The Films of Laura Mulvey and Peter Wollen

Discussion| June 01 2023 The Films of Laura Mulvey and Peter Wollen: A Conversation with Laura Mulvey and Oliver Fuke Bruno Guaraná Bruno Guaraná Bruno Guaraná is Master Lecturer of Film Studies in the Department of Film & Television at Boston University. Originally from Recife, Brazil, he received his PhD in Cinema Studies from New York University and his MA in Film from Columbia University. His current research explores negotiations of cultural citizenship in contemporary Brazilian media. He currently serves as the Page Views Editor for Film Quarterly. Search for other works by this author on: This Site PubMed Google Scholar BOOK DATA Oliver Fuke, ed., The Films of Laura Mulvey and Peter Wollen: Scripts, Working Documents, Interpretation. London, New York, and Dublin: Bloomsbury Publishing, 2023. $100 cloth; $34.95 paper; $31.45 e-book. 384 pages. Film Quarterly (2023) 76 (4): 93–100. https://doi.org/10.1525/fq.2023.76.4.93 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Bruno Guaraná; The Films of Laura Mulvey and Peter Wollen: A Conversation with Laura Mulvey and Oliver Fuke. Film Quarterly 1 June 2023; 76 (4): 93–100. doi: https://doi.org/10.1525/fq.2023.76.4.93 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentFilm Quarterly Search BOOK DATA Oliver Fuke, ed., The Films of Laura Mulvey and Peter Wollen: Scripts, Working Documents, Interpretation. London, New York, and Dublin: Bloomsbury Publishing, 2023. $100 cloth; $34.95 paper; $31.45 e-book. 384 pages. The first film directed by Laura Mulvey and Peter Wollen opens with a mime staging of the German Romantic poet Heinrich von Kleist’s tragedy Penthesilea. The nearly bare stage is shot by a fixed camera in an uninterrupted take that lasts over fifteen minutes, culminating in the suicide of Penthesilea, the Amazon warrior-queen, immediately after she kills her lover, Achilles. Then, in the next of the film’s five sequences, Wollen appears on-screen to address the viewer. He speaks to a camera that continually moves in two long takes, initially in tilts and pans, and finally following him as he walks around the house he’s in. His is a curious monologue, not only because it is... You do not currently have access to this content.

Greek words in Roman comedy

Previous interpretations of the use of Greek loanwords and purely Greek expressions in Roman comedy are not supported by the ancient texts. There is no solid evidence for the hypothesis that the use of Greek was either an upper-class or a lower-class phenomenon in Plautus’ day. Furthermore, it is unlikely that the Roman poets wanted to depict a specifically South Italian Greek or a Roman slang, for the expressions that have been considered unidiomatic in the past are either modern emendations or have good parallels in classical Greek literature. Drawing from recent research on code-switching we argue that Greek expressions and loanwords are used for a variety of purposes and are central constituents of the funnily absurd and exotic fantasy world of Roman comedy.

The Imagination of Romantic Poetry under Different Regional and Cultural Backgrounds: Comparison and Analysis of Kubla Khan and Mount Skyland ascended in a Dream-A Song of Farewell

Romanticism is an important branch of the literary genre, and imagination is an important feature of it. From different historical backgrounds, Both British poets and Chinese have each profound insight into the imagination in their romantic poetry creations. Samuel Taylor Coleridge, as a pioneer of English Romantic poetry, his dream fragment Kublai Khan established an unshakable position in the poet's literary circle, while Li Bai was a well-known romantic poet in the prosperous Tang Dynasty. His representative work, Mount Skyland ascended in a Dream-A Song of Farewell, shocked the entire Chinese poetry circle as soon as it came out. This essay analyzes the poets' poetic thoughts on imagination by studying the different backgrounds of the two poets, the cultural traditions they contacted, and the philosophical thoughts they infected and meanwhile compares and analyzes the image characteristics of the two poets' representative works to explore the concrete expression of the poet's imagination in the poems. It is found that there are similarities and differences spatially and emotionally in terms of imagery. Moreover, the imagination in romantic poetry not only creates a series of illusory images and casts a phantom veil on the whole poem but also insinuates the poet's poetic thought and inner emotional appeal.

Wordsworth's View of Nature: Return to nature and Find Psychological Well-being

In modern society, people are suffering from more and more stress, which leads to various mental diseases. However, William Wordsworth, as a famous British romantic poet in the 19th century, had his own methods to release pressure and maintain mental health. His nature poetry is fresh and moving, delicate and beautiful, describing all kinds of beautiful natural scenery. By eulogizing the beauty of nature, we can feel the inspiration of nature to human beings, and express the poet's symbiosis with nature and his love for nature. This paper will mainly analyze the view of nature in Wordsworth's famous work “I Wandered Lonely As a Cloud”, and explore the practical methods to find psychological well-being for modern people.

“The Eye Altering Alters All”: Optics, Haptics, and Ecological Modernity in Alfred North Whitehead and Romanticism

Abstract In this article, it is claimed that the current climate emergency requires that we take seriously a “haptic” approach to nature as found in Alfred North Whitehead and the romantic poets (especially William Blake and William Wordsworth) in contrast to the “optic” approach that has dominated modern thinking.

Nichita Stănescu: “Chișinău is a white pearl, in so much pure green”

The article reconstructs the only visit of the Romanian poet Nichita Stănescu to Chişinău from a series of testimonies of local writers. Nichita Stănescu arrived in the capital of the Moldavian Soviet Socialist Republic in 1976, during a period of complicated Soviet-Romanian relations, which made difficult the communication between Romanian-language writers from the republics on the two banks of the Prut. The haloed poet in the Bucharest environment and recognized as an unmistakable symbol of Romanian lyricism enjoys special sympathy among the Romanian-language writers from Chișinău, so the news of his participation in the events of the Soviet Literature Week in Moldova festival provoked and attracted attention. Every gesture he made, from the barely sketched to the exaggerated expressions, became a veritable charming show that was fixed in the memory of the witnesses and generated miniature stories. The stories about Nichita Stănescu first circulated in oral form, as living folklore in the narrow circles of writers. When it became possible, a series of testimonies about the gestures of the beloved Romanian poet appeared in the press. Together, the evocations of the “gentle angel who announced the opening of the windows” created the portrait of a Nichita Stănescu of Chișinău residents. In turn, Nichita Stănescu left a particularly expressive and representative metaphor about the city of Chişinău, of which she said was “a white pearl, in so much pure green”.

Bare

This essay examines Intimacies, structured as an asymmetrical dialogue between two of the most astringent commentators of Freud and psychoanalysis: Leo Bersani and Adam Phillips. This dialogue takes place at both the intimate and extimate limits of what Bersani calls impersonal narcissism. By this Bersani asks us to move past the psychic dynamics of ego formation and their implicit violence to make way for a mode of relationality in which subjects coexist absent of any demands on one another. This approach draws from Bersani’s own eviscerating critique of the heteronormative deformation of identity to communicate what, after the Romantic poet William Wordsworth, could be called the “bare truth” of subject formation past even the need for subjects.