Lord Byron Research Papers - Academia.edu (original) (raw)

In 1850, after five years of planning, Liszt began composing music for his Italian opera, _Sardanapalo_, after Byron. It was central to his ambition to attain status as a European composer, but he abandoned the project halfway through. La... more

In 1850, after five years of planning, Liszt began composing music for his Italian opera, _Sardanapalo_, after Byron. It was central to his ambition to attain status as a European composer, but he abandoned the project halfway through. La Mara (1911), Humphrey Searle (1954) and others declared the manuscript fragmentary and partially illegible, but in 2016 this verdict was categorically overturned when work began on an edition of what Liszt notated: almost the entirety of Act 1. This article draws on an array of sources – published and unpublished – significantly to update our knowledge of the circumstances surrounding Liszt’s composition and abandonment of _Sardanapalo_. In light of his inconsistently Italianate music and idiosyncratic treatment of the libretto, it also reinterprets Liszt’s mid-century aesthetic orientation, as a confidant of Wagner and would-be pillar of Franz Brendel’s future neudeutsche Schule. By contextualizing key aspects of the uncovered musical score and libretto within Liszt’s mid-century writings on aesthetics, it posits character, declamatory melody and the visuality of the stage as (initially) critical criteria in the communication of a literary narrative, and suggests that Liszt’s impulse towards symphonic poetry may first have been kindled within the aesthetic potential of opera.

Las traducciones en verso de Byron y Heine durante el siglo xix juegan un papel importante en la configuración de lo cursi como categoría estética, en paralelo con el desarrollo en Alemania de otra categoría relacionada, el kitsch. Los... more

Las traducciones en verso de Byron y Heine durante el siglo xix juegan un papel importante en la configuración de lo cursi como categoría estética, en paralelo con el desarrollo en Alemania de otra categoría relacionada, el kitsch. Los poemas calificables de cursis son a menudo pastiches –mezcla del orientalismo como tema, la métrica tradicional aconsonantada y el vocabulario artificioso o ripioso, cuando no sensiblero– que reconfiguran, al tiempo que desfiguran, la composición retórica y métrica de los textos originales, tal como se comprueba al compararlos con las versiones en prosa, a veces anónimas, que predominan en Francia y que suelen hacer de intermediarias. Por supuesto, todo ello es inseparable del contexto en el que surge y se afianza la cursilería como amaneramiento social y literario con pretensiones fallidas de nivelación entre clases y mérito.

The most unusual part of Byron’s European travels in 1809–10 was probably his visit to Albania, where he roughed it for a bit and then lived and travelled luxuriously as the guest of Ali Pasha. He wrote about his Albanian travels in his... more

The most unusual part of Byron’s European travels in 1809–10 was probably his visit to Albania, where he roughed it for a bit and then lived and travelled luxuriously as the guest of Ali Pasha. He wrote about his Albanian travels in his letters and more famously in Childe Harold’s Pilgrimage, whose few stanzas on Albania along with their elaborate footnotes have had an extraordinary fall-out. Historians, travellers and at least one army
officer have used Byron’s letters, poems and footnotes to understand the land and its people. Though Byron made Albania seem Romantic, remote, wild and exciting, few followed him into Albania. Those who did, however, tended to write about it with a verve reminiscent of Byron. This essay is about three Byron-inflected British travellers of the earlier twentieth century, Peter Quennell (1905–93), who visited Albania in the 1920s, Patrick Leigh Fermor (1915–), who walked through the Balkans in the 1930s, and the mountaineer Harold W. Tilman (1898–1977), who volunteered for duty in Albania during World War II because it was reputed to be a mountainous country.

In May 1997, Peter Cochran wrote to ask whether I had information on translations of Byron into Indian languages after 1974. The earlier Cambridge Bibliography of English Literature had no entries from the sub-continent, and he had heard... more

In May 1997, Peter Cochran wrote to ask whether I had information on translations of Byron into Indian languages after 1974. The earlier Cambridge Bibliography of English Literature had no entries from the sub-continent, and he had heard (but not believed) that this was because there were no translations. Convinced that the information was available, I blithely promised to get it for him. My quest led me to all sorts of grails, some of which I discussed in this paper presented at the 26th International Byron conference, Nottingham University, 2000. The short answer to Peter Cochran's question was, No, but I may be wrong and I have not looked into this matter since then. However, Byron had a lively existence among Indian writers from the 19C until at least 1947.

British Romantic Literature and the Emerging Modern Greek Nation makes an original contribution to the field of British Romantic Hellenism (and Romanticism more broadly) by emphasizing the diversity of Romantic-era writers’ attitudes... more

British Romantic Literature and the Emerging Modern Greek Nation makes an original contribution to the field of British Romantic Hellenism (and Romanticism more broadly) by emphasizing the diversity of Romantic-era writers’ attitudes towards, and portrayals of, Modern Greece. Whereas, traditionally, studies of British Romantic Hellenism have predominantly focused on Europe’s preoccupation with an idealized Ancient Greece, this study emphasizes the nuanced and complex nature of British Romantic writers’ engagements with Modern Greece. Specifically, the book emphasizes the ways that early nineteenth-century British literature about contemporary Greece helped to strengthen British-Greek intercultural relations and, ultimately, to situate Greece within a European sphere of influence.

Para esta antologia mínima, são apresentados 10 dos poemas favoritos dos tradutores, selecionados a partir dos mais famosos de Byron (desconsiderando-se os épicos). As traduções são todas métricas, procurando emular o desenho rítmico do... more

Para esta antologia mínima, são apresentados 10 dos poemas favoritos dos tradutores,
selecionados a partir dos mais famosos de Byron (desconsiderando-se os épicos). As traduções são
todas métricas, procurando emular o desenho rítmico do texto de partida, mas frequentemente
adotando versos um pouco mais longos. Foram mantidos os padrões de rimas e o número de
versos dos textos de partida. Toda a obra de Lord Byron está em domínio público.

This book examines literary representations of human and non-human animality in British Romanticism, a period in which scientific, political, and industrial revolutions radically transformed the status of the human and redefined the... more

[The English Grand Tour in Pisa (17th-18th Centuries)]. This essay was published as part of the proceedings of the conference on The residences of Pisa. The art of living in the palaces of an ancient Maritime Republic from the Middle Ages... more

[The English Grand Tour in Pisa (17th-18th Centuries)]. This essay was published as part of the proceedings of the conference on The residences of Pisa. The art of living in the palaces of an ancient Maritime Republic from the Middle Ages to the Unification of Italy, held in Pisa in October 2009. The essay reconstructs the history of the Grand Tour in Tuscany, and Pisa in particular. After discussing the image of Pisa that emerges from the accounts of early travelers in the sixteenth and seventeenth centuries, Villani describes the British presence in the city in the eighteenth and early nineteenth century. The 1820s mark the years in which the residence of Shelley and Byron in Pisa would make the city “a little nest of singing birds.” The stay in Pisa of the Shelleys, Byron and their friends made it a something of a cult place in subsequent years.

The first complete edition of the book which gave birth to the 'ghost story contest' at Villa Diodati, June 1816.

The Romantic Period in England can be considered as indicative of 'an age of crises' because the era witnessed several political affairs, ideologies and strategies such as slaver trade, colonialism, American and French Revolutions. These... more

The Romantic Period in England can be considered as indicative of 'an age of crises' because the era witnessed several political affairs, ideologies and strategies such as slaver trade, colonialism, American and French Revolutions. These political and social changes all signalled 'chaos' which would dominate European political, cultural, and literary life for the next quarter of a century. Therefore, it was inevitable that Romantic writers were influenced by the political and social events in Europe. They were considerably aware of British expansionism. It would not be incorrect to claim that there is a direct correlation between socio-political revolution and the literary revolution in Britain. No matter what their ideological stance was, some Romantic poets of the era, like S. T. Coleridge, William Cowper, William Blake and Robert Southey, reflected their observations of the colonialist activities in their works. Some other poets of the era, however, like Percy Bysshe Shelley and Lord Byron, tried to especially avoid subjects concerning European colonialism in their writings. They were concerned with escape from day-today reality, with images and narratives remarkable for their historical or geographical exoticism. This paper will analyse these two reactions of the English Romantic poets; those who directly dealt with colonialism and those who principally presented orientalist and exotic elements in their poems.

In their earliest works, Horace Walpole (Fugitive Pieces in Verse and Prose, 1758) and Lord Byron (Fugitive Pieces, 1806) built a queer temporality of fugitive time out of the occasional pieces and sporadic readers that Samuel Johnson... more

In their earliest works, Horace Walpole (Fugitive Pieces in Verse and Prose, 1758) and Lord Byron (Fugitive Pieces, 1806) built a queer temporality of fugitive time out of the occasional pieces and sporadic readers that Samuel Johnson first theorized in The Harleian Miscellany. These juvenile poets aligned several forms of fugitive print—loose scraps, detached fragments, burned books, and encoded secrets—and fugitive figures—political exiles, queer aristocrats, runaway slaves, and amateur poets (often themselves). Walpole and Byron redeem both carefree and imperiled fugitive lives by engaging two antithetical discourses of disappearance: languid, idle ease, and sudden, active flight. This discontinuous eighteenth-century poetics becomes increasingly racially coded as it crosses the Atlantic in the nineteenth century. Fugitive pieces linked Old World flights of fancy and New World runaway slave advertisements, collected works and secure colonial property, and literary selections and sugar cane extracts. In their surprising affirmations of an intermittent, occasional time that allies irregular idlers, miscellaneous fugitives, asylums for poetic pieces, and abolitionist accounts of disabled bodies, juvenile poets moved beyond their era’s straight narrative of imperial progress.

Scholars have found that Joyce had a hero in Byron, some writers such as Hermione de Almeida have traced these two writers through Homer, this paper provides some insights

Composition history and Byron's intentions, characteristics and nature of the Byronic hero (with examples from 19th century literature and 20th century pop culture, as well as pre-Byron predecessors), and the parallels and differences... more

Composition history and Byron's intentions, characteristics and nature of the Byronic hero (with examples from 19th century literature and 20th century pop culture, as well as pre-Byron predecessors), and the parallels and differences between Manfred and Nietzsche's superman.

The Bengali literary reception of Lord Byron in the nineteenth century is characterised by opposing tendencies-fascination with his poetic corpus and personal heroics on the one hand and indignation at his amoral and nihilistic stance on... more

The Bengali literary reception of Lord Byron in the nineteenth century is characterised by opposing tendencies-fascination with his poetic corpus and personal heroics on the one hand and indignation at his amoral and nihilistic stance on the other. Byron's liber-tinism and melancholy are censoriously registered in several Bengali essays in the late nineteenth century, but a sizeable body of Bengali poetry produced around the same time seeks to appropriate Byron through quotation and adaptation. Byron's celebrated cosmopolitanism as well as his satire does not figure conspicuously on the agenda for his Bengali appropriations, because his precedents are deployed predominantly for imagining a nation. Poets such as Hemchandra Bandyopadhyay and Nabinchandra Sen rework the Byronic text into a lament for a lost national (specifically Hindu) glory. At the same time, Biharilal Chakraborty and Akshaychandra Sarkar echo Byron's meditation on Nature but divest it of his characteristic malaise or misanthropy. The poetic appropriations of Byron in Bengali, this essay argues, presuppose a public morality and political function , and hence consciously eschew Byron's irony and self-dramatisation. 1