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This essay revisits Mary Shelleyʼs Greek studies and her interaction with classical literacy.1 Focusing on the Pisan period, it argues that despite Percy Shelleyʼs indisputable influence, Mary Shelley developed an independent interest in the ancient language and literature. By examining cases of language switching and foreignisms in her letters and journals as well as her education in the language through a variety of study methods she used (alone or with a tutor), it is claimed that Mary Shelleyʼs efforts to master Greek reveal important things about her literary, political and gender sensibility. [ABSTRACT FROM AUTHOR]

The article focuses on the essay "Rhodian Genius" by Alexander von Humboldt, originally published in 1795 the German periodical "Die Horen" (The Horae), a journal founded by German literary figure Friedrich Schiller which embraced classicism or neohumanism in German culture. The allegorical essay was later published in Humboldt's 1826 essay collection "Ansichten der Natur (Views of nature)." This article considers the essay by considering social and cultural aspects of the period during which it was written and the historiography of science.

In this paper, we examine the various approaches toward literary classicism among contemporary Chinese poets. If "poetry of the establishment" features ideological conservatism and aesthetic populism, then its opposite is the online scene of classicist poetry which represents an innovative continuation of the poetic tradition. Here such innovations are discussed in terms of theme, language, and form. Thematic innovations include further that of ideology, worldview, and urbanity. In particular, we argue that a major distinction between contemporary online classicist poets and their premodern predecessors is in their cultural identity. Unlike a traditional literatus who is a poet, scholar, and bureaucrat, contemporary poets often endure economic, intellectual, or political marginalization; or at the very least, writing in the marginalized genre of classicist poetry is a skill that can no longer be readily translated into career success. This new type of poetic identity, in addition to their modern education, has given rise to fresh interpretations of our living world unseen in premodern poetry. Despite their broad spectrum of intellectual persuasions and aesthetic preferences, most of the poets have demonstrated an audacity to experiment, which, coupled with full versatility and virtuosity in the classical poetry tradition, creates outstanding poems. The highly original works of a few leading classicist poets like Lizilizilizi (Zeng Shaoli), Xutang (Duan Xiaosong), and Dugu Shiroushou (Zeng Zheng) will be examined in depth. [ABSTRACT FROM AUTHOR]

Ştefan Augustin Doinaş is not only a great poet but also a theorist of the poetic act, a theorist of poetry. In his endeavor to build a poetic concept, he starts from the ancient philosophy, particularly Plato and reaches, through German philosophy and French poetics to defining poetry as an act of language. In a first stage corresponding to ballad, genre that he uses, he relates to the canon of the classicism of Greek Magna. Starting from Plato's philosophy, the poet posits the structure of the poem, starting from a logos asimilated to universe as cosmos. The poet also stops to the equation logosmelos, commenting on the relationship between the two acts in the terms of the French poet H. Meschonnic. In defining poetry, the poet performs a synchrony in diachronie. They are discussed Heidegger's famous theories about language as the house of Being. In his poetry of Doinaş there are at least three masks: the first would be marked by the poems of his youth when the vision ballad-expressionist is passed through the filter of poetics / poietics of classicism, followed by a second stage in which the self is related to the Universe in a romantic projection (cf.Holderling-Valery so.) and the third stage, that of a creative modern- post-modern self, an I anguished revealed in the texts of Psalms meditating on the fractal dimension of life, in its flow compared to divinity where it is built in poetic language, in its dual continuity daimonică-panteistă and christian in a biblical way. [ABSTRACT FROM AUTHOR]

The paper presents the travails of critics and the labour pain of creative writers, limitations of criticism and creative writings, Plato's views on the abuse of poetry, poetic inspiration, the emotional appeal of poetry, and function of poetry and its non-moral character. It places before the reader Aristotle's views on the origin and development of poetry, the nature of poetry, imitation, the objects of imitation, the manner of imitation, difference between poetry and history, the function of poetry, the emotional appeal of poetry and catharsis, critical objections against poetry and their solutions. It traces Renaissance and its impact, medieval literary theory, the origin of English criticism, an age of the seed time for the germination of literature of higher order, the development of English drama, the spirit of renaissance in the Elizabethan and Jacobean age, and the noteworthy contribution of the early neoclassicists. It highlights Ben Jonson's neoclassicism, the influence of the classical writers, the drawback in English literature and Jonson's wish. It brings out the praiseworthy contribution of the neoclassicists, their liberal approach to classicism, deviation from classicism, vacillation of criticism between a blind application of rules and judgment by sheer taste, focuses on reason as test of literary values, and the sure test of literary judgment which rests on surer foundations. [ABSTRACT FROM AUTHOR]

This article provides one of the first studies of two late works by George Chapman, “Pro Vere” (1622) and “A iustification of a strange action of Nero” (1629). Through a close examination of these works, and through situating Chapman’s texts alongside other neglected works of the 1620s that voiced opposition to the Stuart court and kings, the article examines the critical and subversive role that classical history and gendered language played in forging ideological conflict in England during the Stuart period. More broadly, the article seeks to demonstrate the importance of studying imaginative writings for understanding Stuart political culture. [ABSTRACT FROM AUTHOR]

The objective of this paper is to present before the readers the relative merits of epic and tragedy that are handed down the timeline and enable the readers to establish the superiority of epic over tragedy. In order to render justice to the objective aimed at, the paper traces and presents to the readers a critical survey of the variegated critical aspects of the critics such as Plato (427-347 BCE), Aristotle (384-322 BCE), John Dryden(1631-1700), Joseph Addison (1672-1719), and Dr. Samuel Johnson (1709-1784). [ABSTRACT FROM AUTHOR]

In the following pages, a brief, personal outline of the history of translation is sketched, so as to determine the whys and wherefores of the form/content dichotomy that seems to be plaguing translators and translation theorists incessantly. From the outset, in Classical times, sense rules supreme. In the late middle ages with the advent of Bible translation in Europe, the word - being the word of God - assumes new-found importance, especially as any deviation from it implies heresy. With Neo-Classicism and the Age of Enlightenment, the original tenets of antiquity unsurprisingly make their comeback, though somewhat short-lived this time. With the Romantics and post-Romantics, foreign lands and cultures gain ever greater interest, as indeed do their various forms of expressions. In contemporary Europe, over the last hundred years or so, with its preoccupation for markets and product diversification, the two schools of thought seem to co-habit quite comfortably, notwithstanding modern linguistic theory that renders form and content into indivisible components of language, thus making the dichotomy fatuous. [ABSTRACT FROM AUTHOR]

The authority of Goethe as a German national poet and classic was perceived by German and Czech writing intellectuals in Bohemia in a variety of ways. This article focuses on selected examples of the perception of the role of Goethe as a classic in Bohemia in late 19th and early 20th century – e.g. Gustav Karl Laube, Alfred Klaar, August Sauer, Karel Adámek, Arnošt V. Kraus. or F. X. Šalda – and shows partially surprisingly similar motivations for very different assessments of Goethe. [ABSTRACT FROM AUTHOR]

This essay considers rumor and gossip in the making of Weimar Classicism (1786-1805). By linking rumor and gossip to Weimar's built environment around 1800, I demonstrate how the ideal of cultural capital arose from Weimar's urban limitations: they aided the circulation of gossip and gave rise to persistent rumors that helped negotiate differences between court and town, Weimar and the outside world. As rumor and gossip helped elevate Weimar above material restrictions and into the realm of national significance, they proved to be instrumental, not adversarial, to the emergence of Classical Weimar's iconic status in German cultural history. [ABSTRACT FROM AUTHOR]

The article discusses how the dialectical philosophy of history of German social theorist Theodor W. Adorno is reflected in Adorno's essay "Zum Klassizimus von Goethes Iphigenie," originally published in the journal "Neue Rundschau" in 1967. Topics considered include Adorno's understanding of classicism in literature, particularly in the works of German author Johann Wolfgang von Goethe, his ideas about myth in literature, and the figure of Orestes in Goethe's play "Iphigenie auf Tauris."

An essay is presented on the studies regarding romanticism and classicism in European translation. It states that Czech literature and language had experienced radical decline after the defeat of the Bohemian estates at the Battle of White Mountain in 1620. The author mentions the impossibility of understanding the subsequent progress of Czech translation methods without initially elucidating the basic contrast between romantic and classicist translation aesthetics.

Goethe's attitude to the classical past after 1803 is best described not as classicism but as cryptoclassicism. It is doubtful whether any period of his writing deserves to be called 'classical'. However, in the later part of his life, as his notes to Diderot's Le Neveu de Rameau show, he believed both that he had to live and write in his own time, accepting its defects, and that classical antiquity provided the standard by which modernity should be judged. Hence the ambiguous light in which he presents Faust in Faust. Part Two. Faust's final speech is an expression of the modern spirit, but is intended to contrast with other speeches in the play indicating the superiority of the classical harmony of humanity and nature. [ABSTRACT FROM AUTHOR]

The article discusses German philosopher Theodor Adorno and his 1960s essay "On the Classicism of Goethe's 'Iphigenie'." The author suggests that Adorno criticized German classicism and post-World War II literary criticism. Other topics include Adorno's essays "On the Crisis of Literary Criticism" and "On Tradition," Adorno's thoughts on the relevance of literature, the use of literary history in National Socialism, and scholars Emil Staiger and Arthur Henkel on author Johann Wolfgang von Goethe.

The debate on the responsibility of the writer was, in France as in the USA, an attack against literary and artistic modernism. From Charles Maurras to Irving Babbit, the reaction against modernism presented itself as a defense of classicism and of tradition against romanticism. Far from being politically neutral, this attack identified romanticism with revolution and the destruction of the social order. The opposition between responsibility and freedom structured the debate from the end of the nineteenth century until World War II. The war entailed a loss of autonomy of the literary field which fostered, like during World War I, the imposition of national moralism. In both countries, a debate arose on the question of the responsibility of the writer, but it took a different form. Whereas the opposition between art for art’s sake and responsibility continued to structure it in the USA, the notion of responsibility was appropriated in France by the literary Resistance and redefined by Sartre at the Liberation. [ABSTRACT FROM AUTHOR]

The article focuses on the view of Rene Descartes on French Classicism which humans regarded nonhuman animals as soulless creatures by God for their use, entertainment and consumption in the seventeenth-century in France. It notes that the early modern France was far from Cartesian views on nonhuman animals as it held beliefs over species boundaries between human and nonhuman animals. It addresses the manifestations of these apprehensions in philosophy, law and prescriptions concerning food.

This essay considers Rainer Maria Rilke's use of classicism as a response to the uncanny and fragmenting industrial city. While the twentieth-century revival of classicism has typically been seen as part of the reactionary "call to order," I argue that Rilke's work represents a radically different modernist classicism - one that celebrates the fluidity and contingency of urban life. While his early work evinces a flight from the chaos of the modern city to a lost antique wholeness, after his engagement with Rodin's disarticulated sculpture, Rilke radically reimagines classicism as the ideal form for a Baudelairean modernity defined by "the ephemeral, the fugitive, the contingent." [ABSTRACT FROM AUTHOR]

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In this essay I show that the pleasure provided by the poem as an imaginary landscape, as evidenced in rhetorical theory (Quintilian's analysis of varietas in Virgil's Georgics), and in exemplary poems by Du Bellay (‘Romae descriptio’) and Ronsard (‘Elegie à Louis Des Masures’), can be identified as that of unconstrained movement. Aristotle's definition of pleasure as unimpeded activity of our natural faculties in the Nicomachean Ethics captures the aesthetic attraction yielded by descriptive variety and links it to the ethical. Poussin's heroic landscape painting is an avatar of this neo-classical, humanist pleasure. [ABSTRACT FROM PUBLISHER]

This essay situates “The Roman Carnival,” a short narrative in Goethe’s fictional travelogue, Italian Journey, within the debate about Goethe’s relationship to classicism. I argue that this narrative evokes the structure of a Greek tragedy, but reverses retardation and catastrophe, thus creating an anti-climactic effect at the end. Therefore, this text simultaneously affirms as well as undermines its classical model. Introducing an elusive narrator, stock characters and scenes from the commedia dell’arte, Goethe continues to break classical rules and adds an undercurrent of Romantic irony to the process of signification. This unconventional textual weave of discursively juxtaposed traditions, namely narrative with drama, classical tragedy with popular comedy, and classical with Romantic elements, transforms set categories into a progressive meta-text. This meta-text transcends established formal and philosophical/theoretical paradigms by eliminating their hierarchical and historical order within the new open and multi-directional organization of the narrative. [ABSTRACT FROM AUTHOR]

The ancient Greek cult of the body became the focus of a classical revival in France during the last quarter of the nineteenth century. Classical civilisation, whose gravitational centre was perceived, during the 1880s, as the perfection of the body in a Mediterranean climate, was re-claimed in France as a French "golden age", an inheritance from Greek ancestors. This ethno-classicism which called for national regeneration through return to the "authentic" French self and its Mediterranean home, was combined with a Catholic revival under conditions of military defeat. The essay sets the work of Cézanne and Renoir in the context of the two revivals, classical and Catholic, and shows the ways in which their "classicism" gave Impressionism order and solidity and re-moulded the modern body into a strong, healthy, and, at the same time, pious body. [ABSTRACT FROM AUTHOR]

The article presents the author's views on the development of the canonization trends in West-European classics. He examines the claims of Paola Venturi in her article on the position of literary classics and underlines her premises on the concept. He emphasizes that a systematic redefinition of literature and literary style can be realized through the language of dubbing and subtitling. He suggests that dropping the conventions of literary style can lead to artistic innovations in literature.

Macaulay's Lays of Ancient Rome embody the classicism that Ruskin's aesthetics rejected, yet at the same time they demonstrate that even a declared admirer of the legacy of Greece and Rome such as Macaulay was influenced by new ideas about oral culture and folk tradition. Whereas Ruskin's ideal of Italy was Venice, Macaulay's was Rome; Rome becomes, however, the imagined space of the founding years of the Roman Republic preserved in oral history rather than Rome at the height of its empire as written by historians. Macaulay's education had caused him to admire Rome all his life, but his visit to Rome in 1838 helped him solidify his ideas about history and thus it contributed not merely to the conception of the Lays but also to how he would approach his History of England. [ABSTRACT FROM AUTHOR]

The article examines Greek historian Herodotus' interest in the Samos Island. It notes that several scholars believe that his interest in Samos lies in the details of his biography. However, the author argues that any biolographical connection to the island only strengthens unstated reasons for going on long about Samos. It stresses that Samos is very special to Herodotus. Moreover, it explores the Samians erga in the layer 15th century context and the extent to which the Samian revolt has formed Herodotus' narrative. The author mentions that she will compare details of Herodotus narrative over other sources to evaluate what contribution Herodotus' version may established in the details of the Samian revolt.

This essay intends to show why, at the end of 18th century, Shakespearean plays were so useful to the German romantic literary criticism, which was opposed to French classicism as a hegemonic regime of taste and rule of art. This cultural dispute must also be understood as a literary expression of social criticism against the German nobility's values and its regime of social distinction. From this cultural dispute arose a new conception of Shakespeare's works that is the object of my critical review. [ABSTRACT FROM AUTHOR]

A literary criticism of the book "Daniel Deronda" by George Eliot is presented. The article explores the separation of morality from practices of exclusion characteristic of ideology in Eliot's work. The author suggests that Eliot arrives at her critique of ideology through anthropomorphistic theology and the impartiality of scientific observation. Other topics include critical realism, Weimar classicism, the author Benedictus de Spinoza, and point of view.

The article examines the three periods in Lin shu's national classicism. It traces the changes in the roles of editors and compilers from the late Ming to the late Qing and it also examines the Zhongxue guowen duben series. Its stage of the article also discusses anthologies, textbooks, and other educational materials that focuses to polemics in the late Qing and early Republic about how national language and literature should shape both a state-defined national audience of students and self-selecting groups of readers. After the time when Lin Shu withdrew from the literary scene, other famous figures and institutions continued working in textbooks and educational materials, especially correspondence courses.