Heroes-Literary Overview

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The Literary Overview The Epic hero The Byronic (Romantic) hero The epic hero is a man who typically embodies This heroic character is often attirbuted to the the great est characteristics of a certain culture. famous Romantic poet Lord Byron. The first He is not an ordinary man, but a man with out- version of Byron’s hero appears in the opening standing quality and greatness about him. His stanzas of Childe Harold’s Pilgrimage, canto 1, traits may include... written in 1812 when the author was 21. At this stage, the Byronic hero is rather crudely • bravery depicted as a young man, prematurely sated by • knowledge or wisdom sin, who wanders about in an attempt to escape • strength society and his own memories. The Byronic • descended/blessed by the gods hero’s attributes may include... • meets a challenge/quest • moody & introspective Famous examples would include... • loner, rejected by society • King Arthur • distaste for tradition & social norms • Harry Potter • being an exile, an outcast, or an outlaw • Superman • lack of respect for rank and privilege • Beowulf • troubled past • El Cid • cynical, demanding, arrogant • Odysseus • self-destructive • Robin Hood Famous examples would include... • Lucifer in Paradise Lost The Tragic hero • Childe Harold (Byron) The tragic hero is a man of noble stature. He is • Manfred (Byron) not an ordinary man, but a man with outstanding • Don Juan (Byron) quality and greatness about him. His traits may • Faust (Goethe) include... The Anti-hero • noble birth • hamartia (tragic flaw-sin) An anti-hero is a protagonist who lacks the • hubris (overarching pride) traditional heroic attributes and qualities. • peripeteia (reversal of fortune) Instead, this character is riddled with • doomed by fate weaknesses and confusion. His lack of courage, • tragic downfall honesty, or social grace reflects “modern man’s ambivalence toward traditional moral and social Famous examples would virtues.” include... • Macbeth Famous examples would include... • Hamlet • Scooby Doo • Oedipus • Inspector Clouseau • Joe Keller in All My • Chance Gardner in Being There Sons • Yossarian in Catch 22 • Othello • Don Quixote by Cervantes.

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Kierkegaard and Byron: Disability, Irony, and the Undead
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2015 Kierkegaard And Byron: Disability, Irony, And The Undead Troy Wellington Smith University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the Comparative Literature Commons Recommended Citation Smith, Troy Wellington, "Kierkegaard And Byron: Disability, Irony, And The Undead" (2015). Electronic Theses and Dissertations. 540. https://egrove.olemiss.edu/etd/540 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. KIERKEGAARD AND BYRON: DISABILITY, IRONY, AND THE UNDEAD A Thesis presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of English The University of Mississippi by TROY WELLINGTON SMITH May 2015 Copyright © 2015 by Troy Wellington Smith ALL RIGHTS RESERVED ABSTRACT After enumerating the implicit and explicit references to Lord Byron in the corpus of Søren Kierkegaard, chapter 1, “Kierkegaard and Byron,” provides a historical backdrop by surveying the influence of Byron and Byronism on the literary circles of Golden Age Copenhagen. Chapter 2, “Disability,” theorizes that Kierkegaard later spurned Byron as a hedonistic “cripple” because of the metonymy between him and his (i.e., Kierkegaard’s) enemy Peder Ludvig Møller. Møller was an editor at The Corsair, the disreputable satirical newspaper that mocked Kierkegaard’s disability in a series of caricatures. As a poet, critic, and eroticist, Møller was eminently Byronic, and both he and Byron had served as models for the titular character of Kierkegaard’s “The Seducer’s Diary.” Chapter 3, “Irony,” claims that Kierkegaard felt a Bloomian anxiety of Byron’s influence.
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2-Łamanie (11).Indd
Yearbook of Conrad Studies (Poland) Vol. 11 2016, pp. 75–86 doi: 10.4467/20843941YC.16.005.6851 ROMEO AND JULIET: A NEW CONTEXT FOR VICTORY? Nic Panagopoulos National & Kapodistrian University of Athens Abstract: The contention of the present comparative study is that the closest Shakespearean work to Conrad’s Victory is not The Tempest, as has previously been thought, but Romeo and Juliet. Besides various thematic links between these two texts, also noted by Adam Gillon (1976), I argue that Victory and Romeo and Juliet are connected on the level of genre, plot, and characterization, with whole scenes in Conrad’s novel mirroring those in Shakespeare’s play. In conclusion I suggest that the striking similarities between the two works can either be explained by a conscious desire on Conrad’s part to imitate Shakespeare’s art, or by a kind of involuntary emulation, whereby the nov- elist had so far assimilated the Bard’s work as to follow it unconsciously while composing his own novel. Keywords: Conrad and Shakespeare, tragedy/comedy, mirroring, Victory, Romeo and Juliet, com- parative study, cryptomnesia In his famous extended essay “Joseph Conrad and Shakespeare,” the late Adam Gillon does a remarkable job of tracing the many textual and thematic parallels between Conrad’s major works and virtually the whole Shakespearean canon. He be- gins by pointing out that Conrad could have read The Two Gentlemen of Verona at the age of eight as his father was translating many of the Bard’s works into Polish around 1856. As is often the case, Shakespeare must have been one the ﬁ rst writers that the young and impressionable Conrad was exposed to, and certainly one of the ﬁ rst English writers in that category.
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AP English Literature Required Reading
Kerr High School AP English Literature Summer Reading 2019 Welcome to AP Literature! I’m fairly certain you are parched and thirsty for some juicy reading after a year of analyzing speeches and arguments, so let us jump right in. After months of deliberation and careful consideration, I have chosen several pieces from as far back as 429 BC Athens, to 1200 AD Scotland, venturing on to Africa 1800s, and finishing up in 20th century Chicago. Grab your literary passport and join me as we meet various tragic heroes and discover their tragic flaws and tragic mistakes. You will learn the difference between an Aristotelian tragic hero and a Shakespearean tragic hero, not to mention gain a whole bunch of insight into the human condition and learn some ancient Greek in the process. I made sure each piece is available in PDF online. If you choose to use the online documents, be certain you are able to annotate and have quick access to the annotated text for class discussions. The only AP 4 summer writing you will do is five reading record cards. Four of your reading record cards could include all of the required summer reading pieces. It is my expectation that you earnestly read, annotate, and ponder each of the required pieces and be ready to launch into discussion after your summer reading exam. Heavily annotated notes on the four attached tragic hero articles and your handwritten reading record cards will count as one major grade and are due Thursday, August 15, by 3:00 pm. Instructions for the reading record cards are attached.
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Edward Rochester: a New Byronic Hero Marybeth Forina
Undergraduate Review Volume 10 Article 19 2014 Edward Rochester: A New Byronic Hero Marybeth Forina Follow this and additional works at: http://vc.bridgew.edu/undergrad_rev Part of the Literature in English, British Isles Commons Recommended Citation Forina, Marybeth (2014). Edward Rochester: A New Byronic Hero. Undergraduate Review, 10, 85-88. Available at: http://vc.bridgew.edu/undergrad_rev/vol10/iss1/19 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Copyright © 2014 Marybeth Forina Edward Rochester: A New Byronic Hero MARYBETH FORINA Marybeth Forina is a n her novel Jane Eyre, Charlotte Brontë established several elements that are senior who is double still components of many modern novels, including a working, plain female hero, a depiction of the hero’s childhood, and a new awareness of sexuality. majoring in Elementary Alongside these new elements, Brontë also engineered a new type of male hero Education and English Iin Edward Rochester. As Jane is written as a plain female hero with average looks, with a minor in Rochester is her plain male hero counterpart. Although Brontë depicts Rochester as a severe, yet appealing hero, embodying the characteristics associated with Byron’s Mathematics. This essay began as a heroes, she nevertheless slightly alters those characteristics. Brontë characterizes research paper in her senior seminar, Rochester as a Byronic hero, but alters his characterization through repentance to The Changing Female Hero, with Dr. create a new type of character: the repentant Byronic hero. Evelyn Pezzulich (English), and was The Byronic Hero, a character type based on Lord Byron’s own characters, is later revised under the mentorship of typically identified by unflattering albeit alluring features and an arrogant al- Dr.
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Byronic Heroism Byronic Heroism Refers to a Radical and Revolutionary
Byronic Heroism Byronic heroism refers to a radical and revolutionary brand of heroics explored throughout a number of later English Romantic and Victorian works of literature, particularly in the epic narrative poems of the English Romantic poet Lord Byron, including Manfred, Don Juan, Childe Harold’s Pilgrimage, the Giaour, and The Corsair. The figure of the Byronic hero was among the most potent and popular character archetypes developed during the late English Romantic period. While traditional literary heroes are usually marked by their valor, intrinsic goodness, commitment to righteous political and social causes, honesty, courage, propriety, and utter selflessness, Byronic heroes are defined by rather different character traits, many of which are partially or even entirely opposed to standard definitions of heroism. Unlike most traditional heroic figures, Byronic heroes are often deeply psychologically tortured and reluctant to identify themselves, in any sense, as heroic. Byronic heroes tend to exhibit many of the following personality traits: cynicism, arrogance, absolute disrespect for authority, psychological depth, emotional moodiness, past trauma, intelligence, nihilism, dark humor, self-destructive impulses, mysteriousness, sexual attractiveness, world- weariness, hyper-sensitivity, social and intellectual sophistication, and a sense of being exiled or outcast both physically and emotionally from the larger social world. Byronic heroes can be understood as being rather akin, then, to anti-heroes (unlike Byronic heroes, though, anti-heroes tend to be rather reluctant or helpless heroes). Byronic heroes are often committed not to action on behalf of typically noble causes of “good,” but, instead, to the cause of their own self-interest, or to combatting prevailing and oppressive social and political establishments, or to particular problems or injustices in which they take a particular and often personal interest.
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David Copperfield: Victorian Hero
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Deal Simultaneously with Literary Forms. with the Chronological
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Kierkegaard and Byron: Disability, Irony, and the Undead
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Romantic Hero, Language Arts: 5113.92. INSTITUTION Dade County Public Schools, Miami, Fla
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