1,124 research outputs found
Cum ... Samuel Strykius ... in transitu Academiam Witebergensem salutaret Mens. August. D. Anno MDCXXCVII. Votiva hac Ode Dominum, ac Patromam suum maxime colendum excipere voluerunt, ac debuerunt Convinctores Kirchmaieriani
No full textCUM ... SAMUEL STRYKIUS ... IN TRANSITU ACADEMIAM WITEBERGENSEM SALUTARET MENS. AUGUST. D. ANNO MDCXXCVII. VOTIVA HAC ODE DOMINUM, AC PATROMAM SUUM MAXIME COLENDUM EXCIPERE VOLUERUNT, AC DEBUERUNT CONVINCTORES KIRCHMAIERIANI
Cum ... Samuel Strykius ... in transitu Academiam Witebergensem salutaret Mens. August. D. Anno MDCXXCVII. Votiva hac Ode Dominum, ac Patromam suum maxime colendum excipere voluerunt, ac debuerunt Convinctores Kirchmaieriani ([1])
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Phantastes Chapter 9: Dejection: An Ode
No full textFrom Samuel Taylor Coleridge\u27s Dejection: An Ode (lines 47-49 and 53-58). Coleridge published the poem in 1802
[Four-line poem by Samuel Wesley: ''Our grandfathers were papists all,'' 1827 November 5]
No full text[Samuel Wesley (1766-1837), four-line poem, autographed] Horatii Carminum Liber III. Ode VI. Sub Finem Aetas parentum pejor avis tulit Nos nequiores, mox daturos Progeniem vitiosiorem Our grandfathers were papists all: Our fathers Oliverians: We are all Whigs, both great and small: Begetting Presbyterians. S Wesley [Obliterated with ink] Street November 5, 1827Humorous poem by Samuel Wesley, inspired by the last three lines of Horace's Odes, Book 3, Ode 6
Ode on His Majesty's recovery: by the author of Sympathy and humanity.
No full text[4],7,[1]p. ; 4⁰.Author of Sympathy and humanity = Samuel Jackson Pratt.With a half-title.Reproduction of original from the British Library.English Short Title Catalog, ESTCT85345.Electronic data. Farmington Hills, Mich. : Thomson Gale, 2003. Page image (PNG). Digitized image of the microfilm version produced in Woodbridge, CT by Research Publications, 1982-2002 (later known as Primary Source Microfilm, an imprint of the Gale Group)
Silence and the crisis of self - legitimation in English romanticism
No full textMy thesis depicts the crisis of self-legitimation that has accompanied the onset of modern hermeneutics, with its historicised and organicised version of the Enlightenment's 'universal perspective.' In this it follows the lead of the contemporary hermeneuticist Hans- Georg Gadamer in resuscitating the notion of prejudice, but contrasts it with Hannah Arendt's discussion of the human condition. She implicitly locates the problem in modern hermeneutics, the aporia, in the very philosophy of life that Gadamer embraces as its solution. Gadamer confuses the task of the humanities as a search for truth with what it ought to be, a search for meaning. I begin with his depiction of Kant's attack on the sensus communis; I conclude with an examination of the consequences of this attack on the orientation and interpretative practices of current schools of literary criticism with specific reference to Keats's Ode on a Grecian Urn. In the central chapter, I focus upon Coleridge's attack on Wordsworth's Preface to Lyrical Ballads (1802) in the Bioeraphia Literaria, reading it as a fundamental defence of prejudice based on the very fact that man has been made in imago Dei. The consequent logocentricity of humanity that Coleridge insists upon opposes Wordsworth's emphasis upon a transcendental idea of 'feeling.' This fundamental notion forms the basis of Coleridge's definition of the primary imagination. I argue the distinctiveness of his definition from that of the other Romantics and maintain its necessity to escape the aporia. This point is proved negatively by Shelley's Mont Blanc, which seizes upon the radical consequences of Wordsworth's poetics, presenting both heresy and obscurity in the poem. The word 'crisis' thus reflects the urgency with which I advocate the need to re-adopt Coleridge's emphases in contemporary literary criticism
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Some rhetorical strategies in later nineteenth-century laboring-class poetry
No full text“Keḥi kinnor” by Samuel Archivolti (d. 1611): A Wedding Ode with Hidden Messages
No full textMost research has a preliminary story embedded in earlier writings, which raise questions and spawn new inquiries conducive to new findings. The present study was born of other circumstances: I was asked by the directors of the early music group Ensemble Lucidarium if, for purposes of performance, I knew of a translation of Samuel Archivolti's Hebrew wedding ode “Keḥi kinnor” (Take a lyre). I had run across the ode in various listings, but was unfamiliar with any translation, so I suggested doing my own. That is where the problems began. To establish a clean reading for the poem, I consulted its manuscript and printed sources; to confront its verbal obscurities, and pinpoint its meanings, I traced its references to biblical and rabbinical literature; and to satisfy my own curiosity about how it was sung, I looked into the few recorded examples of its melodies. It follows that in this article, I shall be concerned mainly with semantics and music. Yet, to begin, I shall present some information about the author, sources, and prosody of the poem; and, to conclude, I shall compare it with other wedding odes of his and his contemporaries, and, in an epilogue, appraise its singularity.</jats:p
A congratulatory ode to Admiral Keppell. [electronic resource] : By the author of the Ode to the warlike genius of Great Britain.
No full textThe author of the Ode to the warlike genius of Great Britain = William Tasker.Electronic reproduction.English Short Title Catalog,Reproduction of original from British Library
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Traces of Beckett : gestures of emptiness and impotence in the theater of Koltès, Kane, de la Parra and Durang
No full texttextThis dissertation examines Samuel Beckett's powerful legacy and influence on contemporary theater (on plays written and produced since 1980), and it defines this influence in both text and performance as gestures of emptiness and impotence. The plays selected for analysis here have been categorized at times as belonging to a tradition and legacy of the so-called "Theater of the Absurd," but, finding this category to be at once too restrictive and too loose, their relationship to the absurd is defined by their explicit use of and inspiration taken from Beckett's theater. Beckett's intentional and innovative use of emptiness and impotence, both spatially and textually, is decisively paradoxical: while emphasizing blank spaces and powerlessness, his plays find meaning in emptiness and unexpected control in what he called the "exploitation of impotence." In each of the plays analyzed in this dissertation, (Dans la solitude des champs de coton, Koltès; La secreta obscenidad de cada día, de la Parra; Blasted, Kane; and Laughing Wild, Durang), the explicit use of both emptiness and powerlessness are examined, and at the same time, I define what it is about each of these gestures that renders them particularly Beckettian as they relate to these works. In all of the plays examined here, gestures of emptiness and impotence become their opposites: significance and power. Four of Samuel Beckett's plays (Fragment de théâtre I, En attendant Godot, Fin de partie, and Happy Days) are compared and contrasted with the work of Koltès, de la Parra, Kane and Durang respectively. The parallels revealed, made both intentionally and unintentionally by their playwrights, demonstrate not only the certainty of Beckett's continued influence, but also reflect his persistent, widespread impact. What is shown, with broader implications for future study, is that Beckett's use of emptiness and impotence as theatrical, literary and artistic gestures have led to a new kind of hopefulness, and a new kind of artistic inspiration that is unique to our time.Comparative Literatur
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