Gerald P. Tyson, Joseph Johnson: a Liberal Publisher
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Mary Shelley: Teaching and Learning Through Frankenstein Theresa M
Forum on Public Policy Mary Shelley: Teaching and Learning through Frankenstein Theresa M. Girard, Adjunct Professor, Central Michigan University Abstract In the writing of Frankenstein, Mary Shelley was able to change the course of women’s learning, forever. Her life started from an elite standpoint as the child of Mary Wollstonecraft and William Godwin. As such, she was destined to grow to be a major influence in the world. Mary Shelley’s formative years were spent with her father and his many learned friends. Her adult years were spent with her husband, Percy Bysshe Shelley, and their literary friends. It was on the occasion of the Shelleys’ visit to Lord Byron at his summer home that Mary Shelley was to begin her novel which changed the course of women’s ideas about safety and the home. No longer were women to view staying in the home as a means to staying safe and secure. While women always knew that men could be unreliable, Mary Shelley openly acknowledged that fact and provided a forum from which it could be discussed. Furthermore, women learned that they were vulnerable and that, in order to insure their own safety, they could not entirely depend upon men to rescue them; in fact, in some cases, women needed to save themselves from the men in their lives, often with no one to turn to except themselves and other women. There are many instances where this is shown throughout Frankenstein, such as: Justine’s prosecution and execution and Elizabeth’s murder. Mary Shelley educated women in the most fundamental of ways and continues to do so through every reading of Frankenstein. -
Romanticism and Evangelical Christianity in William Cowper's the at Sk Carol V
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1976 Romanticism and Evangelical Christianity in William Cowper's The aT sk Carol V. Johnson Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Johnson, Carol V., "Romanticism and Evangelical Christianity in William Cowper's The askT " (1976). Masters Theses. 3394. https://thekeep.eiu.edu/theses/3394 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. ROMANTICISM AND EVANGELICAL CHRISTIANITY I N WILLIAM COWPER'S THE TASK (TITLE) BY CAROL V. JOHNSON B. A., Eastern I llinois University, 1975 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE DATE PAPER CERTIFICATE #2 TO: Graduate Degree Candidates who have wr i tten formal theses. SUBJECT: Permission to reproduce theses. • The University Library is receiving a number of requests from other institutions asking permission to repr oduc e dissertations for inclusion in their library hold ings . Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a. -
The Dark Romanticism of Francisco De Goya
The University of Notre Dame Australia ResearchOnline@ND Theses 2018 The shadow in the light: The dark romanticism of Francisco de Goya Elizabeth Burns-Dans The University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Arts and Humanities Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Burns-Dans, E. (2018). The shadow in the light: The dark romanticism of Francisco de Goya (Master of Philosophy (School of Arts and Sciences)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/214 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. i DECLARATION I declare that this Research Project is my own account of my research and contains as its main content work which had not previously been submitted for a degree at any tertiary education institution. Elizabeth Burns-Dans 25 June 2018 This work is licenced under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International licence. i ii iii ACKNOWLEDGMENTS This thesis would not have been possible without the enduring support of those around me. Foremost, I would like to thank my supervisor Professor Deborah Gare for her continuous, invaluable and guiding support. -
MF-Romanticism .Pdf
Europe and America, 1800 to 1870 1 Napoleonic Europe 1800-1815 2 3 Goals • Discuss Romanticism as an artistic style. Name some of its frequently occurring subject matter as well as its stylistic qualities. • Compare and contrast Neoclassicism and Romanticism. • Examine reasons for the broad range of subject matter, from portraits and landscape to mythology and history. • Discuss initial reaction by artists and the public to the new art medium known as photography 4 30.1 From Neoclassicism to Romanticism • Understand the philosophical and stylistic differences between Neoclassicism and Romanticism. • Examine the growing interest in the exotic, the erotic, the landscape, and fictional narrative as subject matter. • Understand the mixture of classical form and Romantic themes, and the debates about the nature of art in the 19th century. • Identify artists and architects of the period and their works. 5 Neoclassicism in Napoleonic France • Understand reasons why Neoclassicism remained the preferred style during the Napoleonic period • Recall Neoclassical artists of the Napoleonic period and how they served the Empire 6 Figure 30-2 JACQUES-LOUIS DAVID, Coronation of Napoleon, 1805–1808. Oil on canvas, 20’ 4 1/2” x 32’ 1 3/4”. Louvre, Paris. 7 Figure 29-23 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 10’ 10” x 13’ 11”. Louvre, Paris. 8 Figure 30-3 PIERRE VIGNON, La Madeleine, Paris, France, 1807–1842. 9 Figure 30-4 ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, 6’ 7” long. Galleria Borghese, Rome. 10 Foreshadowing Romanticism • Notice how David’s students retained Neoclassical features in their paintings • Realize that some of David’s students began to include subject matter and stylistic features that foreshadowed Romanticism 11 Figure 30-5 ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804. -
Ecologies of Contemplation in British Romantic Poetry
City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 2-2021 The Lodge in the Wilderness: Ecologies of Contemplation in British Romantic Poetry Sean M. Nolan The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4185 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE LODGE IN THE WILDERNESS: ECOLOGIES OF CONTEMPLATION IN BRITISH ROMANTIC POETRY by SEAN NOLAN A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2021 © 2020 Sean Nolan All Rights Reserved ii The Lodge in the Wilderness: Ecologies of Contemplation in British Romantic Poetry by Sean Nolan This manuscript has been read and accepted for the Graduate Faculty in English in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy _______________________ ____________________________________ Date Nancy Yousef Chair of Examining Committee _______________________ ____________________________________ Date Kandice Chuh Executive Officer Supervisory Committee Alexander Schlutz Alan Vardy Nancy Yousef THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Lodge in the Wilderness: Ecologies of Contemplation in British Romantic Poetry by Sean Nolan Advisor: Nancy Yousef This dissertation argues that contemplation is often overlooked in studies of British Romantic poetry. By the late 1700s, changing commercial and agricultural practices, industrialism, secularization, and utilitarianism emphasizing industriousness coalesced to uproot established discourses of selfhood and leisure, and effected crises of individuation in Romantic poetry and poetics. -
Calling William Cowper: a Visit to the Cowper and Newton Museum
Calling William Cowper: A visit to the Cowper and Newton Museum Your sea of troubles you have past, And found the peaceful shore These were the words I included in the March (Cambridgeshire) Grammar School magazine at the end of my last year there. Roman House were the champions. I was their house captain. Wonderful days! Yet it was the rest of the verse which always stuck in my mind: I tempest-toss’d and wreck’d at last, Come home to port no more. (‘To the Reverend Mr. Newton on his return from Ramsgate. October 1780’) Those words made me think more about the man himself. William Cowper, whose father, John Cowper, was chaplain to George the Third, suffered most of his life from what we know now as manic depression. The actor, Stephen Fry, has publicly shared with the media his own battle with such an affliction. When Cowper died in May, 1800, the funeral service at St. Mary Woolnoth in Lombard Street, London, was conducted by the Rev. John Newton. He said that ‘He [Cowper] could give comfort, though he could not receive any himself.’(The Life of John Newton by Richard Cecil). John Newton, author of the hymn ‘Amazing Grace’, was the curate of the church of St Peter and St Paul in Olney from 1764 to 1779. He was Cowper’s firm friend and mentor. They collaborated to write the Olney Hymns. I wanted to see for myself where Cowper lived, where he wrote his poems and letters, and what he did with his time. -
William Godwin and Frankenstein: the Secularization of Calvinism in Godwin's
2.B.ç, q \ WILLIAM GODWIN AND FRANKENSTEIN: THE SECULARIZATION OF CALVINISM IN GODWIN'S PHILOSOPHY AND THE SUB-GODWINIAN GOTHIC NOVEL; WITH SOME REMARKS ON THE RELATIONSHIP OF THE GOTHIC TO ROMANTICISM. This thesis was awarded the degree of Master of Arts 1n the Department of English at the University of Adelaide. Submitted by VIVIENNE ANN BELL, B.A. (l'lons) (Ade'l . ) in January 1993. A-..u .-1,..,{ ! ,,',, I + TABLE OF CONTENTS PAGE Summary 111 Statement by Candidate Acknowl edgement vi Introducti on 1 Part One: Pol 'iti cal Justi ce Preface 4 'l 'l Chapte r One : The M i enn i um 5 Chapter Two: Sandemanianism 'l 4 Chapter Three: Other Phi losophical Influences Upon Godwin 37 Chapter Four: Po'l i ti cal Justi ce 49 Part Two: Frankenste'in Preface 93 Chapter One: The Gothic 97 Chapter Two: Calvinism 119 Chapter Three: Frankenstein as Romantic Myth 138 Chapter Four: Rousseau's Inf 'luence 153 Chapter Fi ve: Conf 'l i cti ng Phì I osophì cal V i ewpoi nts 162 Chapter Six: Godwìn's Ph'i losophy and the Monster's Development 221 Chapter Seven: Victor's Idealism and Scepticism 251 Chapter Eight: The Inversion of the Neoplatonic Journey 272 1l Chapter Nine: Romantic Paradox, the Subl ime, and Irony 296 Conc I us'i on 364 Bi bl iography 367 iii SUMMARY The subject matter of thi s thesi s 'is Wi I I i am Godwin's @i-c.e and Mary Shel ley's Frankenstei n. My central argument is that there is a secularization of Ca]vinism in both Godwin's philosophy and the sub-Godwinian Gothic novel. -
The Tradition of Theriophily in Cowper, Crabbe, and Burns
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 The rT adition of Theriophily in Cowper, Crabbe, and Burns. Rosemary Moody Canfield Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Canfield, Rosemary Moody, "The rT adition of Theriophily in Cowper, Crabbe, and Burns." (1971). LSU Historical Dissertations and Theses. 2034. https://digitalcommons.lsu.edu/gradschool_disstheses/2034 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 72-3470 CANFIELD, Rosemary Moody, 1927- THE TRADITION OF THERIOPHILY IN COWPER, CRABBE, AND BURNS. The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1971 Language and Literature, general University Microfilms, A \ERQX Company , Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED The Tradition of Theriophily in Cowper, Crabbe, and Burns A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Rosemary Moody Canfield B.A., University of Minnesota, 1949 M.A., University of Minnesota, 1952 August, 1971 PLEASE NOTE: Some Pages have indistinct print. Filmed as received. UNIVERSITY MICROFILMS TABLE OF CONTENTS PAGE TITLE P A G E .............................................. i ACKNOWLEDGEMENT........................................ ii ABSTRACT ............................................... iv I. INTRODUCTION....................................... 1 II. THERIOPHILY IN THE WORK OFWILLIAM COWPER . -
John Boydell's Shakespeare Gallery and the Promotion of a National Aesthetic
JOHN BOYDELL'S SHAKESPEARE GALLERY AND THE PROMOTION OF A NATIONAL AESTHETIC ROSEMARIE DIAS TWO VOLUMES VOLUME I PHD THE UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2003 2 TABLE OF CONTENTS Page Volume I Abstract 3 List of Illustrations 4 Introduction 11 I Creating a Space for English Art 30 II Reynolds, Boydell and Northcote: Negotiating the Ideology 85 of the English Aesthetic. III "The Shakespeare of the Canvas": Fuseli and the 154 Construction of English Artistic Genius IV "Another Hogarth is Known": Robert Smirke's Seven Ages 203 of Man and the Construction of the English School V Pall Mall and Beyond: The Reception and Consumption of 244 Boydell's Shakespeare after 1793 290 Conclusion Bibliography 293 Volume II Illustrations 3 ABSTRACT This thesis offers a new analysis of John Boydell's Shakespeare Gallery, an exhibition venture operating in London between 1789 and 1805. It explores a number of trajectories embarked upon by Boydell and his artists in their collective attempt to promote an English aesthetic. It broadly argues that the Shakespeare Gallery offered an antidote to a variety of perceived problems which had emerged at the Royal Academy over the previous twenty years, defining itself against Academic theory and practice. Identifying and examining the cluster of spatial, ideological and aesthetic concerns which characterised the Shakespeare Gallery, my research suggests that the Gallery promoted a vision for a national art form which corresponded to contemporary senses of English cultural and political identity, and takes issue with current art-historical perceptions about the 'failure' of Boydell's scheme. The introduction maps out some of the existing scholarship in this area and exposes the gaps which art historians have previously left in our understanding of the Shakespeare Gallery. -
ABSTRACT Genius, Heredity, and Family Dynamics. Samuel Taylor Coleridge and His Children: a Literary Biography Yolanda J. Gonz
ABSTRACT Genius, Heredity, and Family Dynamics. Samuel Taylor Coleridge and his Children: A Literary Biography Yolanda J. Gonzalez, Ph.D. Chairperson: Stephen Prickett, Ph.D. The children of Samuel Taylor Coleridge, Hartley, Derwent, and Sara, have received limited scholarly attention, though all were important nineteenth century figures. Lack of scholarly attention on them can be blamed on their father, who has so overshadowed his children that their value has been relegated to what they can reveal about him, the literary genius. Scholars who have studied the children for these purposes all assume familial ties justify their basic premise, that Coleridge can be understood by examining the children he raised. But in this case, the assumption is false; Coleridge had little interaction with his children overall, and the task of raising them was left to their mother, Sara, her sister Edith, and Edith’s husband, Robert Southey. While studies of S. T. C.’s children that seek to provide information about him are fruitless, more productive scholarly work can be done examining the lives and contributions of Hartley, Derwent, and Sara to their age. This dissertation is a starting point for reinvestigating Coleridge’s children and analyzes their life and work. Taken out from under the shadow of Samuel Taylor Coleridge, we find that Hartley was not doomed to be a “child of romanticism” as a result of his father’s experimental approach to his education; rather, he chose this persona for himself. Conversely, Derwent is the black sheep of the family and consciously chooses not to undertake the family profession, writing poetry. -
Henry Fuseli's the Nightmare." Gazette Des Beaux Arts 126, No
HENRY FUSELI’S THE NIGHTMARE: AN EXAMINATION OF THE RECENT SCHOLARSHIP by MELANIE DAVISON (Under the Direction of Alisa Luxenberg) ABSTRACT During his lifetime, Henry Fuseli gained great fame for his painting The Nightmare; however, his art fell largely into obscurity during the nineteenth century. It wasn’t until the twentieth century when some critics perceived a kinship between Surrealist ideas and goals and Fuseli’s work that the artist reemerged into artistic discourse. From this point, artists and art historians examined Fuseli’s masterwork, The Nightmare, in order to understand how the artist and his painting fit with practices and perspectives of his contemporaries and what made him stand apart. This paper will examine the scholarship about Fuseli’s painting and how it has affected our interpretation of the work of art while also allowing us to see the perspectives and interests of the scholars themselves. INDEX WORDS: Henry Fuseli, The Nightmare, Scholarship, Review, Reception HENRY FUSELI’S THE NIGHTMARE: AN EXAMINATION OF THE RECENT SCHOLARSHIP by MELANIE DAVISON Bachelor of Arts, Southwestern University, Georgetown, TX, 2007 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2016 © 2016 Melanie Davison All Rights Reserved HENRY FUSELI’S THE NIGHTMARE: AN EXAMINATION OF THE RECENT SCHOLARSHIP by MELANIE DAVISON Major Professor: Alisa Luxenberg Committee: Janice Simon Nell Andrew Electronic Version Approval: Suzanne Barbour Dean of the Graduate School The University of Georgia May 2016 TABLE OF CONTENTS CHAPTER PAGE 1 An Introduction to Fuseli’s Legacy……………………………. -
The Second Edition of Cowper's Homer
Widmer, M. (2019) The second edition of Cowper's Homer. Translation and Literature, 28(2-3), pp. 151-199. (doi:10.3366/tal.2019.0384) There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/199006/ Deposited on: 28 October 2019 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk 1 The Second Edition of Cowper’s Homer Matthias Widmer William Cowper’s 1791 translation of the Iliad and Odyssey is rarely read today even among academics. While it adds to the advances in the medium of blank verse that the poet had made with The Task, its literary significance pales by comparison with that of the monumental Pope translation it sought to replace, and as an attempt at rendering Homer it is marred by the unwholesome influence of Milton – or so the general consensus seems to be. As early as 1905, one editor pronounced the translation ‘dead’.1 Cowper’s efforts to revise the text, which continued until the end of his life, are even less well known; the second edition, published posthumously in 1802 by his kinsman John Johnson, has received almost no attention at all. When critics do discuss Cowper’s Homer, it is to the first edition that they refer. Matthew Arnold, although aware of the 1802 edition and Cowper’s dissatisfaction with his earlier work expressed in the preface to that volume, nevertheless quotes the original 1791 version to illustrate what he perceives as the translator’s ‘elaborate Miltonic manner, entirely alien to the flowing rapidity of Homer’:2 So num’rous seem’d those fires the bank between Of Xanthus, blazing, and the fleet of Greece, In prospect all of Troy3 In Arnold’s opinion, ‘the inversion and pregnant conciseness of Milton’ that Cowper imitates in this passage ‘are the very opposites of the directness and flowingness of Homer’ (p.