The Ancient Mariner and Parody
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Lyrical Ballads
LYRICAL BALLADS Also available from Routledge: A SHORT HISTORY OF ENGLISH LITERATURE Second Edition Harry Blamires ELEVEN BRITISH POETS* An Anthology Edited by Michael Schmidt WILLIAM WORDSWORTH Selected Poetry and Prose Edited by Jennifer Breen SHELLEY Selected Poetry and Prose Edited by Alasdair Macrae * Not available from Routledge in the USA Lyrical Ballads WORDSWORTH AND COLERIDGE The text of the 1798 edition with the additional 1800 poems and the Prefaces edited with introduction, notes and appendices by R.L.BRETT and A.R.JONES LONDON and NEW YORK First published as a University Paperback 1968 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Second edition published 1991 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Introduction and Notes © 1963, 1991 R.L.Brett and A.R.Jones All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data Wordsworth, William 1770–1850 Lyrical ballads: the text of the 1978 edition with the additional 1800 poems and the prefaces. -
Artist's Statement
Decline And Fall Mark Bernstein Eastgate Systems, Inc. 134 Main Street Watertown MA 02472 USA +1 617 924 9044 [email protected] Potboilers and page-turners may not, indeed, have been the 1. ABSTRACT most pressing concern of literary hypertext, but a generation has now passed. The summer is over, and we Decline and Fall is a new Storyspace hypertext fiction, a school story based loosely on The Trojan Women. It sets out to be an cannot say with great confidence that we know how to exciting hypertext, a potboiler: a hypertext in which things write an exciting hypertext that is not a game. Games are happen, while remaining within the tradition of literary hypertext. fine things, but their excitement substantially stems from the reader’s agency (however problematized) and the CCS Concepts promise (however symbolic) that one might win. Decline and Fall is not a game, at least not beyond the extent to ➝ • Software and its engineering Software creation and which any storyteller and any self-aware reader can be said management ➝ Designing Software • Applied Computing ➝ Computers in other domains. to be playing a game [11]. The plot (that is, the way the underlying story is told) is likely to be different in each Keywords reading, but we begin roughly where The Trojan Women begins, after the fall of Troy1. The reader has no agency in Storyspace, hypertext, hypermedia, literature, fiction, education, design, implementation, support, history of the story world. No man and no god could prevent that fall, computing, maps, links. nor can all your piety and wit cheer up Cassandra or rescue Polyxena, soon to be the bride of dead Achilles. -
Walter Scott and the Twentieth-Century Scottish Renaissance Movement
Studies in Scottish Literature Volume 35 | Issue 1 Article 5 2007 "A very curious emptiness": Walter Scott nda the Twentieth-Century Scottish Renaissance Movement Margery Palmer McCulloch University of Glasgow Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation McCulloch, Margery Palmer (2007) ""A very curious emptiness": Walter Scott nda the Twentieth-Century Scottish Renaissance Movement," Studies in Scottish Literature: Vol. 35: Iss. 1, 44–56. Available at: https://scholarcommons.sc.edu/ssl/vol35/iss1/5 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Margery Palmer McCulloch "A very curious emptiness": Walter Scott and the Twentieth-Century Scottish Renaissance Movement Edwin Muir's characterization in Scott and Scotland (1936) of "a very cu rious emptiness .... behind the wealth of his [Scott's] imagination'" and his re lated discussion of what he perceived as the post-Reformation and post-Union split between thought and feeling in Scottish writing have become fixed points in Scottish criticism despite attempts to dislodge them by those convinced of Muir's wrong-headedness.2 In this essay I want to take up more generally the question of twentieth-century interwar views of Walter Scott through a repre sentative selection of writers of the period, including Muir, and to suggest pos sible reasons for what was often a negative and almost always a perplexed re sponse to one of the giants of past Scottish literature. -
1 No- G COMEDY and the EARLY NOVELS of IRIS MURDOCH Larry
no- G 1 COMEDY AND THE EARLY NOVELS OF IRIS MURDOCH Larry/Rockefeller A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 1968 Approved by Doctoral Committee _Adviser Department of English I a Larry Jean Rockefeller 1969 ALL RIGHTS RESERVED PREFACE Why has Iris Murdoch failed in her attempt to resur rect the novel of characters? That is the question which has perplexed so many readers who find in her novels sig nificant statements about the human condition rendered by a talent equalled only by a handful of other writers of our time, and it is the question which the pages follow ing try to answer. In general, the implicit argument under lying those pages is tripartite: (1) only comedy of a kind which resembles closely Murdoch's conception of love will allow a novelist to detach himself enough from his charac ters to give them a tolerant scope within which to humanly exist; (2) Murdoch has succeeded in maintaining that balanced synthesis between acceptance and judgement only in her earli est work and only with complete success in The Bell; and (3) the increasingly bitter tone of her satire — not to mention just the mere fact of her use of satire as a mode for character creation — has, in her most recent work, blighted the vitality of her characters by too strictly limiting them to usually negative meanings. Close analysis has been made, hence, of the ways in which comic devices affect us as readers in our perception of Murdoch's per sons. -
(Surname in Parentheses) = Bride's Maiden Name * = Colored LI = Date
LAST FIRST Current AGE POB LAST FIRST Current AGE POB Date of NAME NAME Residence NAME NAME Residence Marriage BRIDE BRIDE GROOM GROOM Aaron Mildred Irvington, NJ 26 PA Calabrese Edward Newark, NJ 25 NJ 20 May 1940 Elizabeth Abel Catherine Triangle, VA 18 VA Allen James Triangle, VA 23 VA 16 Dec 1939 Virginia Monroe Abel Dorothy Quantico, VA 18 VA Gass Edward Quantico, VA 28 MA 2 Sep 1939 Louise Abrams Miriam Ventnor City, 21 NJ Fertick Albert Philadelphia, 22 PA 29 Jul 1940 Frances NJ Abraham PA Abramson Sylvia Flushing, LI, 34 NY Tush Joseph Flushing, LI, 32 NY 23 Feb 1940 NY Sanford NY Accardi Anna Queens Village, 26 NY DiMaria Frank Brooklyn, NY 36 ITA 10 Oct 1940 (Aloi) NY Acha Myrtle Pontiac, MI 24 MI Ferguson John Nesbit Detroit, MI 35 PA 8 Apr 1939 Violet Rita Achter Sylvia Philadelphia, 21 NY Cohen Albert Philadelphia, 24 PA 29 Jul 1940 Beatrice PA PA Acker Edna Mae Philadelphia, 22 PA Tranausky Edward Philadelphia, 23 PA 11 May 1940 PA Martin PA Ackoff Anne Nancy Philadelphia, 22 PA Wallen Albert David Philadelphia, 35 PA 30 Jul 1940 PA PA Acty Sarah Washington, 21 VA Jones Bernard Glendale, MD 23 MD *5 Jul 1940 Elizabeth DC Summerfield POB = Place of Birth (Surname in parentheses) = Bride’s Maiden Name * = Colored LI = Date License Issued LAST FIRST Current AGE POB LAST FIRST Current AGE POB Date of NAME NAME Residence NAME NAME Residence Marriage BRIDE BRIDE GROOM GROOM Adair Mildred Jacksonville, 24 LA Hanlon Jack Harrisville, PA 24 PA 6 Jul 1939 FL Adair Margaret Washington, 42 DC Lane Franklin Washington, 44 CA 14 Oct 1939 -
The Routledge Dictionary of Literary Terms
The Routledge Dictionary of Literary Terms The Routledge Dictionary of Literary Terms is a twenty-first century update of Roger Fowler’s seminal Dictionary of Modern Critical Terms. Bringing together original entries written by such celebrated theorists as Terry Eagleton and Malcolm Bradbury with new definitions of current terms and controversies, this is the essential reference book for students of literature at all levels. This book includes: ● New definitions of contemporary critical issues such as ‘Cybercriticism’ and ‘Globalization’. ● An exhaustive range of entries, covering numerous aspects to such topics as genre, form, cultural theory and literary technique. ● Complete coverage of traditional and radical approaches to the study and production of literature. ● Thorough accounts of critical terminology and analyses of key academic debates. ● Full cross-referencing throughout and suggestions for further reading. Peter Childs is Professor of Modern English Literature at the University of Gloucestershire. His recent publications include Modernism (Routledge, 2000) and Contemporary Novelists: British Fiction Since 1970 (Palgrave, 2004). Roger Fowler (1939–99), the distinguished and long-serving Professor of English and Linguistics at the University of East Anglia, was the editor of the original Dictionary of Modern Critical Terms (Routledge, 1973, 1987). Also available from Routledge Poetry: The Basics Who’s Who in Contemporary Jeffrey Wainwright Women’s Writing 0–415–28764–2 Edited by Jane Eldridge Miller Shakespeare: The Basics 0–415–15981–4 -
The Problem of Digestive Interpretation in Pope, Swift, And
Wits, Shits, and Crits: The Problem of Digestive Interpretation in Pope, Swift, and Fielding A dissertation submitted for a Ph.D. in English literature Cornell University Christina Susanna Black August 2018 C.S. Black Wits, Shits, Crits 1 © 2018 Christina Susanna Black C.S. Black Wits, Shits, Crits 2 WITS, SHITS, AND CRITS: THE PROBLEM OF DIGESTIVE INTERPRETATION IN POPE, SWIFT, AND FIELDING Christina Susanna Black, Ph.D. Cornell University 2018 My readings of the abundant ingestion and excretion themes in literary works by Fielding, Swift, Montagu, and Pope propose that we can understand these topics as sustained metaphors for the bipartite issues of readers' consumption and writers' incorporation of a literary heritage into these texts. These issues were particularly salient in early eighteenth-century Britain, as printed texts become more broadly available and affordable, and readers could no longer be relied upon to have a top education and sophisticated tools of analysis. Authors like Fielding and Swift also were experimenting in new forms like the novel that had no standards for analysis. These authors were interested in and concerned about how their work and that of their contemporaries would stand up to future scrutiny. How did the changing economic incentives for writing, from courting wealthy patrons to selling in mass volume to unknown readers, affect literature’s claim to everlasting value? Pope was the first English author to earn a sustainable living from his writings, but that new economic viability also spawned Grub Street hack writing, not to mention unsavory publishing practices. In this historical context, sustained metaphors of eating and digesting were a playfully denigrating way for these writers to investigate what it meant to write for consumers, even as the metaphors also revivified older literary traditions and genres by incorporating them into modern contexts. -
Misreading Skepticism in the Long Eighteenth Century: Studies in the Rhetoric of Assent
Misreading Skepticism in the Long Eighteenth Century: Studies in the Rhetoric of Assent By Adam Sneed A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2018 Doctoral Committee: Professor Marjorie Levinson, Chair Professor Gregg Crane Associate Professor Sean Silver Professor Silke Maria-Weineck Adam Sneed [email protected] ORCID iD: 0000-0002-9205-1715 ACKNOWLEDGEMENTS My first thanks must be to the University of Michigan for the opportunity and privilege to pursue the life of the mind. I am deeply grateful for the tremendous and constant support provided by faculty and staff of the UM English Department. I am indebted to the Rackham School of Graduate Studies for two timely dissertation fellowships and to the U-M LSA International Institute for the opportunity to pursue archival research in Scotland. I thank the members of my dissertation committee: Sean Silver for providing a constant model of passionate, creative scholarship; Gregg Crane for first dislodging me from a neo-Kantian, Skeptical perspective; Silke Maria-Weineck for cheering on the polemic; and my wonderful chair, Marjorie Levinson, for supporting and encouraging me at every stage of the dissertation process and for bearing with me as the project evolved over time. I would like to thank my dear friends Samuel Heidepriem, Emily Waples, Logan Scherer, Kristin Fraser Geisler, Ryan Hampstead, Joe Chapman, Anthony Losapio, Sarah Mass, Alice Tsay, Lizzy Mathie, and Amrita Dhar for their love and support through the years in Ann Arbor. Special thanks to my dear friends Kathryne Bevilacqua, John Paul Hampstead, and Julia Hansen, who read and commented on drafts in the final stages. -
Examples of Bathos in Literature
Examples Of Bathos In Literature Clitic Shane heathenise, his conflagrations enwombs yawps motionlessly. Is Hasheem extroversive when Ervin achieving prevalently? Oxblood Remus loping or inosculates some skins interdentally, however polytheistic Clemens excused indignantly or cross-referred. The DMV desk clerk. Kruppe and Iskaral Pust. Pope uses the heroic couplet to emphasis this idea. The car or literature of examples bathos in write and thrown into an email address. To say or write something that suggests and implies but never says it directly or clearly. Ship when it is round and forrow because of full length of wind. They learn from the challenges that they face throughout the pages of the book. The interplay of rhythm, theme, and metaphor, for example, create unity. Graphemes include alphabet letters, typographic ligatures, Chinese characters, numerical digits, punctuation marks, and other individual symbols of writing systems. Definition of Bathos by Oxford Dictionary on Lexico. Most main characters are dynamic. Many of the winning lines of this contest, now over three decades in existence, are examples of bathos. Can you dye your hair with dragon fruit? Ensure that your arguments make sense and that your claims and evidence are not implausible. This could be a poem, play, story, or film that devloves from poetic langauge to mundane. It was time to go home. It sets the tone right off the bat: in the previous film, Rey has gone through Hell and back to find Luke, and the movie ends with a triumphant orbital shot of her holding out his lightsaber to him. This is pretentious, exaggeratedly learned language. -
The Comic Counterfactual: Laughter, Affect, and Civic Alternatives
City University of New York (CUNY) CUNY Academic Works Publications and Research Baruch College 2018 The Comic Counterfactual: Laughter, Affect, and Civic Alternatives Don Waisanen Baruch College, CUNY How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/bb_pubs/1144 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 Comic Counterfactual: Laughter, Affect, and Civic Alternatives Don Waisanen Baruch College, City University of New York Don J. Waisanen, Ph.D. (Communication, University of Southern California), Associate Professor, Baruch College, City University of New York, Marxe School of Public and International Affairs. The manuscript is written in Chicago style, and is 38 pages and 11,763 words. Correspondence concerning this article should be addressed to Don Waisanen, Baruch College, City University of New York, Marxe School of Public and International Affairs, One Bernard Baruch Way, Box D901, New York, NY, 10010; phone: 646-660-6825; e-mail: [email protected] 1 Abstract This project contributes the comic counterfactual to the critical lexicon of rhetorical studies. Using a range of examples from political comedy, this paper offers six distinguishing features and several temporal functions of this concept. I argue that the comic counterfactual invites audiences to critically reflect upon the political, social, and performative consequences of historical events by bringing affective, sensory weight to alternative visions, moving unaccountable private interests into public culture, targeting the subtle determinisms that can easily creep into communication, and creating plausible ways to reworld the status quo. -
I the DECADENT VAMPIRE by JUSTINE J. SPATOLA a Thesis Submitted to the Graduate School-Camden Rutgers, the State University of N
THE DECADENT VAMPIRE by JUSTINE J. SPATOLA A thesis submitted to the Graduate School-Camden Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in English written under the direction of Dr. Ellen Malenas Ledoux and approved by ___________________________________ Dr. Ellen Malenas Ledoux ___________________________________ Dr. Timothy Martin ___________________________________ Dr. Carol Singley Camden, New Jersey October 2012 i ABSTRACT OF THE THESIS The Decadent Vampire By JUSTINE J. SPATOLA Thesis Director: Dr. Ellen Malenas Ledoux John William Polidori published "The Vampyre" in 1819, and, as the first person to author a work of English vampire fiction, he ultimately established the modern image of the aristocratic vampire, which writers such as Bram Stoker later borrowed. The literary vampire, exemplified by Lord Ruthven, reveals the influence of Burkean aesthetics; however, the vampire's portrayal as a degenerate nobleman and his immense popularity with readers also ensured that he would have a tremendous impact on nineteenth century culture. "The Vampyre" foreshadows the more socially-aware Gothic literature of the Victorian period, but the story's glorification of the perverse vampire also presents a challenge to traditional morality. This essay explores the influence of the literary vampire not just on broader aspects of nineteenth century culture but also its influence on the Decadent Movement (focusing on the works of writers such as Charles Baudelaire, Théophile Gautier, and Oscar Wilde) in order to show how it reflects the decadent abnormal. In doing so, however, this essay also questions whether decadence ought to be understood as a nineteenth century European phenomenon, as opposed to a ii movement that was confined to the late Victorian period; the beliefs shared by decadent writers often originated in Romanticism, and the Romantics' fascination with the supernatural suggests that they were perhaps as interested in perverse themes as the Decadents. -
Definitions-Flash-Cards/ (Password: Billy251)
Find all of this to study from at https://quizlet.com/364816173/english-251-definitions-flash-cards/ (Password: billy251) Definitions Sonic Effects Alliterations: the occurrence of the same letter or sound at the beginning of adjacent or closely connected words Assonance: in poetry, the repetition of the sound of a vowel or diphthong in nonrhyming stressed syllables near enough to each other for the echo to be discernible (e.g., penitence, reticence ). "the use of assonance throughout the poem creates the sound of despair" Cacophany: a harsh discordant mixture of sounds. Consonance: agreement or compatibility between opinions or actions. Euphony: the quality of being pleasing to the ear, especially through a harmonious combination of words. Onomatopoeia: the quality of being pleasing to the ear, especially through a harmonious combination of words. Rhyme (prosody): correspondence of sound between words or the endings of words, especially when these are used at the ends of lines of poetry. Rhythm (ditto): a strong, regular, repeated pattern of movement or sound. the systematic arrangement of musical sounds, principally according to duration and periodic stress. Rhetorical elements and strategies “Pathetic fallacy”: the attribution of human feelings and responses to inanimate things or animals, especially in art and literature. Pathos: a quality that evokes pity or sadness; focuses on emotion in writing (ethos pathos logos) Personification: the attribution of a personal nature or human characteristics to something nonhuman, or the representation of an abstract quality in human form. Simile: a figure of speech involving the comparison of one thing with another thing of a different kind, used to make a description more emphatic or vivid (e.g., as brave as a lion, crazy like a fox).