Este trabalho de tradução e sobre tradução de Don Juan de lorde Byron pode ser dividido em duas partes: a primeira cuida das especificidades de autor, sua vida, obra, fortuna crítica, assim como o tratamento do mito de Don Juan na obra byroniana, além de um estudo descritivo das traduções de Don Juan de lorde Byron publicadas no Brasil. A segunda, compõe-se de comentários à guisa de introdução à tradução de Don Juan, e da tradução dos Cantos I, II, III e IV para a língua portuguesa, feita em versos, na mesma estrutura estrófica do original, abalizada por uma pletora de notas a respeito do texto e dos vieses tradutórios. / This work of the translation and on the translation of Lord Byrons Don Juan can be divided into two parts: the first examines Byron\'s characteristics, life, work, literary criticism, as well as Byron\'s treatment of the myth of Don Juan, besides making a descriptive study of the translations of Don Juan of Lord Byron published in Brazil. The second part contains comments on the translation of Don Juan, the translations of Cantos I, II, III and IV, done in verse, in the same formal structure as the original, supplemented by a large number of notes on the text and background.

Este trabalho de tradução e sobre tradução de Don Juan de lorde Byron pode ser dividido em duas partes: a primeira cuida das especificidades de autor, sua vida, obra, fortuna crítica, assim como o tratamento do mito de Don Juan na obra byroniana, além de um estudo descritivo das traduções de Don Juan de lorde Byron publicadas no Brasil. A segunda, compõe-se de comentários à guisa de introdução à tradução de Don Juan, e da tradução dos Cantos I, II, III e IV para a língua portuguesa, feita em versos, na mesma estrutura estrófica do original, abalizada por uma pletora de notas a respeito do texto e dos vieses tradutórios. / This work of the translation and on the translation of Lord Byrons Don Juan can be divided into two parts: the first examines Byron\'s characteristics, life, work, literary criticism, as well as Byron\'s treatment of the myth of Don Juan, besides making a descriptive study of the translations of Don Juan of Lord Byron published in Brazil. The second part contains comments on the translation of Don Juan, the translations of Cantos I, II, III and IV, done in verse, in the same formal structure as the original, supplemented by a large number of notes on the text and background.

Denne mastergraden er en intertekstuell og fortelleteknisk analyse av J. M. Coetzees Disgrace. Romanen forholder seg nært til et Sør-Afrika kort tid etter oppløsningen av apartheid. Den har blitt lest realistisk, og har blitt kraftig kritisert for å fremstille en pågående rasisme i Sør-Afrika. Denne avhandlingen leser romanen som en postmoderne tekst og bruker Gerrard Genette sine teorier om transtekstualitet for å vise hvor omfattende leken med litteratur er i Disgrace.

L’Albanie est demeurée longtemps l’un des pays européens les plus méconnus. Ce pays qui depuis la fin du XVe siècle était resté pendant presque cinq cents ans sous la domination ottomane était un mystérieux avant-poste de l’Islam au cœur de l’Europe. Ce fut seulement au tout début des années 1800 qu’on commença à l’inclure parmi les destinations du « Grand Tour ». Cette recherche a visé à dégager les typologies de la représentation par lesquelles les écrivains et les artistes européens donnèrent les « images » par lesquelles l’Albanie fut conçue par les étrangers. Les sources abordées vont du début du XIXe siècle aux années 1940. À partir d’un corpus primaire comprenant les Souvenirs de la Haute-Albanie du consul français Alexandre Degrand, L’Albania de l’écrivain-journaliste italien Ugo Ojetti, et High Albania de l’Anglaise Mary Edith Durham, le champ d’observation s’est élargi à inclure un large éventail de textes allant des journaux de voyage aux œuvres fictionnelles aux articles de presse. Une attention particulière a été portée au côté proprement figuratif des œuvres littéraires, consistant en des gravures, des croquis et d’autres formes de la visualisation ; leur observation a constitué un outil complémentaire aux fins de l’identification du réseau historico-conceptuel où prit forme l’image de l’Albanie. Enfin, une étude à part entière a été consacrée à des ouvrages se déroulant dans de pays fictionnels inspirés de l’Albanie ; rédigés entre la fin du XIXe et nos jours, ils montrent une concentration de clichés et de stéréotypes, constituant ainsi un test réactif pour détecter certaines des sources de l’image de l’Albanie dans le courant dominant contemporain. / Albania has long been one of the less known European countries. This country which had remained for nearly five hundred years under Ottoman rule was a mysterious outpost of Islam in the heart of Europe. It was only in the early 1800s which it began to be considered worthwhile to include among the Grand Tour destinations. This research has been aimed at detecting and identifying representation patterns through which writers and European artists shaped the « images » by which Albania was conceived by foreigners. The sources range from early XIXth to the 1940s. Starting from a primary corpus consisting of Souvenirs de la Haute-Albanie by the French consul Alexandre Degrand, L’Albania by the Italian writer Ugo Ojetti, and High Albania by the English Mary Edith Durham, our observation field widened to include a broader survey of works ranging from travel diaries and fictional novels to newspaper articles. A prominent place belongs to the iconological corpus, namely to the engravings, sketches and other representational forms through which European literature illustrated Albanian subjects. Observing them has been a complementary tool for identifying the historical and conceptual framework in which the image of Albania took shape. Finally, a specific study has been devoted to works taking place in fictional countries inspired by Albania. Written from the late XIXth century to the present day, they show a rather high concentration of clichés and stereotypes scattered throughout European literature, thus acting as a reactive test to detect some of the sources of the current image of Albania. / Pur essendo nel cuore del Mediterraneo, l’Albania è stata a lungo uno dei Paesi europei meno conosciuti. Agli occhi del resto d’Europa, questo Paese rimasto per quasi 500 anni sotto la dominazione ottomana rappresentava un misterioso avamposto dell’Islam di fronte alle coste italiane; fu soltanto agli inizi del 1800 che cominciò a essere considerato una meta da inserire fra le tappe del Grand Tour.Questa ricerca ha mirato a identificare i modelli di rappresentazione attraverso cui viaggiatori, scrittori e artisti europei hanno visto l’Albania, le sue tradizioni e il suo popolo, dando così origine a quelle che sarebbero diventate le sue «immagini» nella percezione collettiva. Le fonti vanno dai primi del XIX secolo, quando il Paese entrò nel pantheon della letteratura internazionale grazie al "Childe Harold" di Lord Byron, al 1940.Il corpus originario, costituito dai "Souvenirs de la Haute-Albanie" del console francese Alexandre Degrand, da "L’Albania" dello scrittore-giornalista italiano Ugo Ojetti, e da "High Albania" dell’inglese Mary Edith Durham, cui è stata dedicata un’attenzione particolare per la sua complessa e innovativa opera etno-antropologica, si è ampliato fino a comprendere un campo d’indagine che va dai diari di viaggio ai resoconti diplomatici, dalla narrativa alla stampa periodica.Inoltre, nella convinzione che nella creazione dell’immagine dell’Altro un posto rilevante spetta alla rappresentazione visuale in se stessa, è stata dedicata particolare attenzione al campo figurativo, consistente in dipinti, schizzi e altre forme della visualizzazione attraverso cui l’arte e la letteratura europea hanno rappresentato temi e motivi albanesi. La loro osservazione ha fornito ulteriori strumenti di analisi del quadro storico e concettuale in cui ha preso forma l’immagine dell’Albania. Infine, uno studio specifico è stato dedicato a una tipologia di rappresentazione alquanto particolare, fatta di testi narrativi ambientati in paesi immaginari ispirati all’Albania. Scritti tra la fine del XIX secolo e i giorni nostri, essi offrono un’elevata concentrazione di cliché e stereotipi sparsi nella letteratura di viaggio, fornendo un repertorio utile a individuare alcune delle fonti dei più diffusi modelli di rappresentazione dell’Albania.

Through the works of Lord Byron and Gustavo Adolfo Bécquer, I explored the function of the themes of darkness and obscurity in Romanticism. There was a clear connection between the inclusion of these themes and the rejection of the Enlightenment period, which is what I focused on in this thesis. I discovered that the Romantics found inspiration and beauty in the darker, stranger aspects of the natural world, while rejecting the logical and rational beliefs of the Enlightenment.

Thesis (Ph. D.)--Miami University, Dept. of English, 2003. / Title from second page of PDF document. Includes bibliographical references (p. 212-224).

Scholars studying memory, literary tourism, and Byron all note the cooperation between author and audience at work in memorials--be it in terms of speech and response, hospitality and reception, or memory and forgetting. None, however, address the environment at Newstead as an agentic being involved with Byron's memorial legacy. Byron acknowledged multispecies beings as important actors in his eventual legacy. Through some of his early poems, we see the land under and around Newstead Abbey, as well as its nonhuman life, exercising agency and affecting Byron's memory. I limit my analysis to Byron's early poetry partly to trace how a younger, more earnest Byron relied on Romantic memory-building culture and partly to focus on the effects that Newstead had on Byron's legacy. My primary objects of study are the following poems: "On Leaving Newstead Abbey" (composed 1803), "To an Oak in the Garden of Newstead Abbey" (1807), "Elegy on Newstead Abbey" (1807), and "Inscription on the Monument of a Newfoundland Dog" (1808). Each of these addresses the Byrons' ancestral estate as an ecology which Byron imbued with poetic purpose, and the core location of his youthful legacy-building project. I address the poems in chronological order to show how Byron recruits and unites different voices to support his legacy. Focusing on Newstead in this sense sheds light on any number of related phenomena pertaining to Byronism, especially monuments, Byron's home, and other aspects of material culture that honored Byron's posthumous legacy. Given that, within years of writing these four poems, Byron would become known worldwide as the quintessential Romantic poet, his ancestral home, like other things and spaces that came to stand in for him, offers a highly useful and arguably paradigmatic case study. That it is not just a monument, but a composite being acting in and made up of literal and memorial ecosystems, suggests a kind of memorial agency or voice emerging from Newstead. This influence supports what Byron poetically speaks about and into Newstead and expands our notion of what effective memorials entail, effectively advocating for more and better study of environmental actors within reception studies.

The following is a case study in contemporary cancel culture through three cases of it in the nineteenth century. Lord Byron, Lady Caroline Lamb, and Harriet Beecher Stowe serve as three prominent cases of cancel culture in their time period that are all closely linked to one another. Cancel culture changes the way that we study these figures and their writing in the modern day. This shows that although we believe that cancel culture is a new phenomenon with the rise of social media that is not the case. Cancel culture has been happening through time as a way for the public to enact social justice without getting the court involved. Cancel culture is a lesson in the public court of opinion. / Master of Arts / The following is a case study in contemporary cancel culture through three cases of it in the nineteenth century. Writers, Lord Byron, Lady Caroline Lamb, and Harriet Beecher Stowe serve as three prominent cases of cancel culture in their time period that are all closely linked to one another. Cancel culture changes the way that we study these figures and their writing in the modern day. It highlights how cancel culture is not as black and white as people initially believe while also showing an unbiased explanation of what transpires when a person is canceled. This shows that although we believe that cancel culture is a new phenomenon with the rise of social media that is not the case. Cancel culture has been happening through time as a way for the public to enact social justice without getting the court involved. Cancel culture is a lesson in the public court of opinion.

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This thesis examines the major works of two outstanding European poets, Lord Byron and Alexander Pushkin, with a view to estimating the extent of their literary and personal affinity. The study begins with a survey of biographical highlights which are relevant to the interpretation of the works of the two poets. Next, the thesis demonstrates that Byron's "Oriental Tales" and Pushkin's "Southern Poems," as well as their major works, play a prominent role in the comparison of their poetic characterizations. In the examination of style, attention is limited to Byron's Don Juan and Pushkin's Evgeny Onegin, since they are regarded as the masterpieces of their respective authors. An appraisal of the continuing fame of both poets closes the study.