544 research outputs found
Les gens du Domesday Book : K.S.B. Keats-Rohan, Domesday People. A Prosopography of Persons Occuring in English Documents 1066-1166, t. 1, Domesday Book
No full textGazeau Véronique. Les gens du Domesday Book : K.S.B. Keats-Rohan, Domesday People. A Prosopography of Persons Occuring in English Documents 1066-1166, t. 1, Domesday Book. In: Annales de Normandie, 51ᵉ année, n°2, 2001. pp. 175-177
Paradoxical solitude in the life, letters, and poetry of John Keats, 1814-1818
No full textThis thesis proposes two distinct but connected ideas: that John Keats’s idiom of friendship was haunted by “sequestered” longings and that he ultimately valued specific, one-on-one partnerships as a basis for his poetical character. The Introduction places the thesis within its critical context and outlines “paradoxical solitude,” a concept the poet expressed by joining a “kindred spirit” in a wilderness retreat in “O, Solitude.”
I begin by examining the evolving role of solitude in Keats’s literary predecessors (Chapter I). I then trace the development of ideas of creativity and solitude from his 1814-1815 verse, including his first association with a coterie and the influence of Wordsworth (Chapter II). Building on these findings, I explore the poet’s introduction to the Hunt circle in 1816, assessing his relationships with its members and their overstated roles in the production of Poems (Chapter III). I then discuss how Keats regarded the composition of Endymion in 1817 as a poetic “test,” specifically tailored to reinforce his identity as a solitary poet (Chapter IV).
I contend that Keats engaged in a dialogue of independence with Reynolds, adapted the theories of Hazlitt, and restlessly travelled throughout England as a means of rejecting the highly social periods of 1818 (Chapter V). I then consider the creative gains of his northern expedition with Brown in the summer of 1818. I argue that Keats exaggerated his development into a “post-Wordsworthian” poet, positioning himself outside both the coterie’s sphere and the reach of Blackwood’s criticism, and inspiring the theme of Hyperion (Chapter VI).
In closing, I analyze Keats’s advice to Shelley to be a selfish creator of his poetic identity. Only through paradoxical solitude, I argue, was Keats able to construct the poetic identity that led him to compose the poems on which his fame rests in the 1820 volume
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Counting the clergy: the CCEd and the limitations of a prosopographical tool
No full text‘He Sang the Story’ Narrative and Poetic Identity in Keats’s Work
No full textStory-telling is a mode central to the practice and achievement of John Keats. In ‘Sleep and Poetry’, he refers to life as ‘The reading of an ever-changing tale’. This line suggests his sense of the centrality of narrative to human experiences. Yet the Keatsian narrative is as a medium for Keats to investigate the nature and development of his poetic identity. His idea of poetry and of the poet, and his narrative figuring of himself as a poet are my subject, as they are his, when in the phrase the thesis takes for its title Keats writes of a poet in Endymion, ‘He sang the story up into the air’ (II, 838).
Recent scholarship has interpreted Keats’s narrative techniques in different ways. Critical approaches have modified the Bloomian concept of the anxiety of influence by using a reader response approach, or have taken on board or swerved from a McGannian New Historicist perspective. In the process Keats’s formal achievement, once celebrated by critics such as Walter Jackson Bate and Helen Vendler, has received comparatively little attention. This thesis, adopting ideas and approaches associated with narratology (including its application to lyric poetry), analyses Keats’s poetic career, focusing on the poetry’s narrative techniques and its treatment of the narrator’s role. My approach might be described as aiming to accomplish a ‘poetics of attention’.
This thesis consists of eight chapters. Chapter one discusses ‘I stood tip-toe upon a little hill’ and ‘Sleep and Poetry’, poems that are crucial in understanding Keats’s use of narrative to explore his poetic identity. In chapter two, concentrating on Endymion’s enactment of imaginative struggle, I attempt to show the purposeful function of the poem’s ‘wandering’ and complex narrative structure, which allows Keats space to develop and examine his beliefs about mythology, beauty, and visionary quest. Chapters three and four examine narrative techniques and the narrator’s role in ‘Isabella; or, The Pot of Basil’ and ‘The Eve of St. Agnes’ as Keats questions the nature and function of ‘old Romance’, even as he employs it, thus bringing a modern self-consciousness to bear on his task. Chapters five and six are devoted to the narrativity shown in the odes. Such an exploration of the ‘lyric narrative’ seeks to shed new light on our understanding of Keats’s odes. Chapter seven considers the ambivalence that Keats creates in ‘Lamia’. Lamia’s enigmatic identity as a woman and a serpent makes the narrative complex and the narrator perplexed. Chapter eight analyses ‘Hyperion: A Fragment’ and ‘The Fall of Hyperion: A Dream’, arguing that Keats uses these two poems as narratives to explore his idea of poetry and of the poet.
In his short creative life, Keats demonstrates different and various narrative skills. These narrative skills shape his ideas and ideals of poetry as well as of the poet. Via his use of narrative, we are able to see the evolution of his poetic identity. He presents himself as what he recommended a poet should be, a shape-changing figure, who might be best described as a ‘camelion Poet’
Jean-Luc Bonnaud, Un État en Provence. Les officiers locaux du comte de Provence au XIVe siècle (1309-1382)
No full textLa prosopographie constitue l’une des tendances lourdes de la recherche actuelle, et pas seulement en histoire médiévale comme le montre la récente parution d’un ouvrage faisant le tour des questions soulevées par cette méthode historique et dirigé par Katarine Keats-Rohan (Prosopography Approaches and Applications A Handbook, K.S.B. Keats-Rohan éd., Prosopographica et Genealogica 13, Oxford, 2007), laquelle se demande fort justement dans son introduction si la prosopographie n’est pas un cam..
In Defence of "the Lesser Cousin of History": An Interview with Rohan Wilson
No full textFew branches of postcolonial literature are as contested \ud
as the historical fiction of settler societies. This interview with the Australian historical novelist Rohan Wilson, author of The Roving Party (2011) and To Name Those Lost (2014), explores the intersections between truth, accuracy, and existential authenticity in his fictional accounts of nineteenth-century Tasmania. Wilson offers \ud
a nuanced yet robust defence of fiction’s role in narrating colonial history. He explains his intentions in writing two linked yet distinctive novels of the frontier—one that focuses on the “Black War” of the 1820s and 1830s, and another that explores how racial violence is refracted by capitalism in subsequent decades
John Keats' poetry in Russia of the 21st century
No full textThe paper is devoted to the analysis of the reproductive reception of John Keats' works in Russia during the 21st century. Based on the study of user queries in the most used, according to the Seo-auditor, search engines on the Internet – Yandex and Google – and groups devoted to the author in the most popular social networks – VKontakte, Odnoklassniki, and Facebook, it has been concluded that due to the lack of promotion of the English poet-romanticist in Russia, J. Keats has a low popularity among ordinary readers. Compared to the popularity of A.S. Pushkin, G.G. Byron, and W. Shakespeare in the Russian Internet, the popularity of J. Keats can be estimated as very low. Translations and publications of sonnets, odes, and creations of other genres, especially epic poems, by J. Keats in the Russian language caused a surge of research interest to the author, his creativity, his literary method, biography, and artistic ideas. The analysis of dissertations and articles on J. Keats written during the last decades has revealed a shift of interest of researchers from the genre features of his works towards the aesthetic concept of authorship, which distinguished J. Keats from other English romantic poets of the 19th century and influenced many followers of J. Keats, such as W. Morris and O. Wilde
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