English Romanticism

This paper examines Lord Byron's apocalyptic poem "Darkness" (1816) through affective ecology, exploring how metaphors express the emotional and psychological impact of environmental collapse. Composed after Mount Tambora's eruption, which caused global climatic anomalies and "The Year Without a Summer," the poem captures the atmospheric and emotional fallout. Drawing on Glenn Albrecht, Lawrence Buell, and Sara Ahmed, this study approaches affect not as an emotion but as an ecological condition shaped by environmental instability. Through close textual analysis, the paper investigates how the poem engages five core affective-ecological concepts: biophilia, naturalist intelligence, fascination, affiliation, and emotional bonds. It argues that "Darkness" provides poetic form to solastalgia, disorientation, and ecological despair. Employing a qualitative, interdisciplinary approach combining affect theory, ecocriticism, and Romantic studies, the study contends that Byron's poem functions as a creative response to ecological trauma and an archive of emotional distress rooted in environmental crisis. Rather than reading "Darkness" solely as an apocalyptic Romantic vision, the study reinterprets it as an early literary record of emotional collapse in response to climate change. The findings highlight Byron's relevance to contemporary eco-anxiety and illustrate how Romantic poetry can be re-evaluated as a conduit for ecological and emotional witness in the Anthropocene. Contribution/ Originality: This study contributes to the existing scholarship on Romantic studies by demonstrating how metaphors in Byron's "Darkness" express ecological trauma and emotional collapse following the Tambora eruption. It integrates affect theory and ecocriticism to interpret the poem as an early archive of climateinduced anxiety and a precursor to eco-anxiety discourse.

Romanticism was particularly concerned to understand life and the vital powers involved, which govern mankind and culture. The Romantics sought to go beyond the understanding of inert nature into vital nature. This lead to a focus on medicine and also to a duality in the living power between a substantive and a generative power, the latter going beyond sexual reproduction to the creative imagination and evolution of mind and consciousness.

It appears that vast parts of this diverse and complex work of W. Blake are related to questions about the origin and essence of evil. Moreover, the philosophy of contraries and the exalted status of imagination are prominent characteristics of this work. Thus, it seems that studying and analyzing this may provide another perspective in addressing the issues referred to in an earlier essay as the dialectics of good and evil. However, the objection to the viability of such a project based on the incompatibility, or even asymmetry, of the overall frameworks is quite strong. Nevertheless, there were many points of contact, and thus it looks that such a project would be worth pursuing, and not at all barren, even if this asymmetry sets some constraints.
This text is a fragment of a work, still in progress, titled On the appearance, essence and origin of evil,  which have a broader scope.

The advent of the Anthropocene, the era of human impact on climate and the environment being the prevailing factor, has led to the establishment of a new cultural and literary awareness in a state of apprehension, fear, and existential sorrow. This article explores how contemporary expressions of "Anthropocene horror"-a genre characterized by ecological fear and the uncanny return of nature as

Метою статті є дослідження жанрової специфіки роману Дж. М. Кутзее "Безчестя" (1999). Незважаючи на те, що роман не одноразово ставав об'єктом широкого наукового вивчення, передусім у його історичному, політичному та постколоніальному вимірах, всебічний аналіз його жанрової специфіки залишився поза його межами. У цій статті застосовано типологічний, герменевтичний та інтермедіальний методи аналізу, які дозволять визначити жанрову приналежність роману "Безчестя". Спираючись на теорії літературознавців М. Бахтіна, Р. Серет, Н. Бочкарьової, наше дослідження виявляє очевидну схожість роману з таким жанровим різновидом, як роман про митця, зокрема, з таким його інваріантом, як роман про музиканта. Головний герой роману Дж. М. Кутзее -Девідзображується як митець протягом усієї оповіді, який переходить від початкового прагнення написати оперу про лорда Байрона та його коханку до процесу cтворення самої музики. Особливу увагу приділено тричастинній сюжетно-композиційній структурі роману "Безчестя" -життєпису героя-митця, творчого процесу та роздумів про мистецтво, що віддзеркалює традиційну структуру роману про митця. Шлях Девіда до написання музичного твору стає символічною репрезентацією його особистісної трансформації та претензії на безсмертя. Крім цього, нами було виокремлено п'ять рівнів тексту (сюжетно-тематичний, метафоричний, композиційно-наративний, словесно-образний та рівень музичної цитати), на яких можна виявити "присутність" музики в романі. Це підкреслює строкату інтермедіальність твору, демонструючи, як музика пронизує кожний прошарок тексту, від сюжету й тематики до тональності оповіді та музичних цитат. Музика в романі стає єдиним можливим медіатором комунікації, оскільки її універсальна мова робить її доступною для сприйняття людьми різного походження та соціального статусу, а головному герою дає можливість бути почутим. Окремо розглядаються всі елементи змістової структури роману (конфлікт, хронотоп, образ героя-митця, лейтмотив, сюжетно-композиційну побудову), аналіз і специфіка яких також доводить той факт, що "Безчестя" є таким інваріантом роману про митця, як роману про музиканта.

Concordia discors (discordant concord), also known as discordia concors (concordant discord) may seem a scholarly matter laid to rest long ago. This principle of harmony-through-opposition in the cosmos and in the successful work of art might sound like the relic of a long-dead world. Indeed, according to mid-twentieth-century scholarship, the Greco-Roman ideal of cosmic and aesthetic harmony, having flourished through Western Christendom during the Middle Ages and Renaissance, dies with Pope's An Essay on Man (1733-34). Its demise was attributed to the new science and Enlightenment secularization. The scholarship that established this questionable story is nonetheless among the best produced by the nascent fields of history of ideas, comparative literature, and iconology, including major works by Leo Spitzer (1887-1960), Edgar Wind (1900-1971), and Earl Wasserman (1913-1973). 1 The dense, multilingual work of these scholars deserves revisiting; recent work on concordia discors neglects them at the cost of redundancy. 2 But their story needs refinement. My argument Modern Philology, volume 123, number 1, August 2025.

This story is set in a north country border town. Much of the dialogue is with  Scottish accent and idiom. Probably derived from Eliza’s grand mother who was Scottish with the maiden of Sutherland. Lizzie Lee fell in love when young and had plighted troth which was not honoured in her youth. Spurned by her lover years later and with  aged parents to care for her eventual demise was a bitter relief.

Although silence constitutes a recognizable phenomenon, scholarly traditions have typically conceptualized it as mere absence, a deficit of communication rather than examining its multifaceted communicative potential. An investigation into silence’s varied manifestations within William Wordsworth’s poetry illuminates the complex dimensions of its rhetorical capacity. The intricate and frequently ambiguous interrelationship between vocal expression and silence reveals how literary works give voice to previously unnarrated experiences.

This collection of essays offers an image of Byron not only as a poet – for which he is best known – but as a translator of foreign literature and culture. To recover this underexplored element of Byron’s work, the contributors examine his translated pieces in both textual and extra-textual contexts, including analysis of manuscripts, composition history, publishing history, and other literary and historical factors. They explore the motives behind Byron’s choice to translate in the first place, as well as reconstructing the translational methods he applied, and his ideas on translation and the role of the translator in general.

The book focuses too on Byron’s ‘geographical mobility’, which also involved the act of translation, though in a metaphorical sense. The cosmopolitan poet mediated and interpreted all the time: foreign cultures, behaviours, modes of living, customs and habits. In this sense, translation becomes for the poet a dynamic ‘movement’ between languages, across texts and around various contexts, offering Byron a vital space for the articulation of his ideas. Byron’s translation work reminds us how Romantic writers and readers sought to learn about and engage with the wider world and its various languages.

This paper explores the intricate relationship between beauty and aesthetic experience in poetry, centring on R.W. Emerson's The Rhodora. It argues that poetry is an act of metamorphosis, through which the poet returns to and becomes part of Nature, a dynamic process of becoming, a dramatization of the soul that animates it. The poet, attuned to this movement, places themselves within Nature's stream of wisdom and power, allowing beauty to emerge through poetic expression. Therefore, poetry is not merely composed and read; it is recited, sung, and proclaimed as a reaffirmation of life itself. The poet's task is to bridge the sensual and the ineffable, expressing the infinite through symbols. Poetry combats intellect's tendency toward abstraction, restoring the unity of experience by revealing that every end in Nature is a new beginning. In this way, poetry, like Nature, enlivens the intellect and unveils truth. It neither detaches nor aggregates but instead operates with a vigilant integrity, mirroring the wholeness of Nature itself. Ultimately, poetry speaks of beauty, awakening the mind through its transformative power.

This comprehensive and authoritative collection of all 1,775 poems by Emily Dickinson is an essential volume for all lovers of American literature.

Only eleven of Emily Dickinson's poems were published prior to her death in 1886; the startling originality of her work doomed it to obscurity in her lifetime.

Early posthumous published collections — some of them featuring liberally "edited" versions of the poems — did not fully and accurately represent Dickinson's bold experiments in prosody, her tragic vision, and the range of her intellectual and emotional explorations.

Not until the 1955 publication of The Complete Poems of Emily Dickinson, a three-volume critical edition compiled by Thomas H. Johnson, were readers able for the first time to assess, understand, and appreciate the whole of Dickinson's extraordinary poetic genius.

This book, a distillation of the three-volume Complete Poems, brings together the original texts of all 1,775 poems that Emily Dickinson wrote.



"With its chronological arrangement of the poems, this volume becomes more than just a collection; it is at the same time a poetic biography of the thoughts and feelings of a woman whose beauty was deep and lasting."
—San Francisco Chronicle

It is the purpose of this discussion to widen the understanding and appreciation of Dorothy L. Sayers’ early poetry by considering closely the subject, structure, and symbolism of one poem within Catholic Tales and Christian Songs, titled, “The Triumph of Christ.” (1918:9). The poetry of Dorothy L. Sayers is also considered in light of twentieth century women's poetry in England.

This essay first considers two well-known incidents in the history of the London stage – the creation of a patent theatre system by King Charles II, and Prime Minister Robert Walpole’s Licensing Act of 1737 – in order to reflect on how even small acts of theatrical regulation can have considerable and unforeseen consequences. Seeking to address immediate issues, neither Charles nor Walpole could have imagined the effects of their actions, which eventually included ever-larger theatres and the invention of the host of dramatic genres (burletta, pantomime, extravaganza, re-enactment, trick-riding, ballet of action, and others) that dominated eighteenth-
and nineteenth-century stages. Within this context, the essay then turns to melodrama, which first achieved popularity during the period of world conflict sometimes called the Napoleonic Wars. In looking to melodrama emergence in England, I ask two questions: why did a genre so
strongly associated with the Parisian popular stage find its way onto English soil via London’s prestigious Theatre Royals? And why did its introduction happen during the fourteen-month Peace of Amiens?

Our forum piece on the Romantic Melodrama Project describes how the digitization of playbill data can open up new avenues of understanding the history of the stage by foregrounding the relationships between key performance factors. In tracking melodrama-a cluster of performance modes appearing under a single rubric-our project seeks to ask specific questions about the genre (its growth and dissemination, its pricing, its practices and attractions) but also about the theatrical culture of Britain itself.

The thesis sets out to examine Ezra Pound's attitudes to the English Romantic tradition from its inception to his own time, with a view to discovering whether or not he looks upon it as a healthy or decrepit tradition. His attitudes are contrasted with those of his contemporaries in a study of three pairs of writers; two Romantics, Keats and Byron; two Victorians, Tennyson and Browning; and two Moderns, Eliot and Lawrence. By charting the changes in his outlook over his lifetime, a clear split becomes noticeable between the early apprentice poet and the later mature poet-critic interested in disseminating the knowledge and insights he has collected. The considerable deviance of his opinion from the accepted attitudes of the day demonstrates the consistency and independence of his own concepts. The conclusion of the thesis is that, in finding the English tradition to be decrepit, Pound does not find the cause to lie in Romanticism. Rather, it is caused by a desertion, or ignoranc...

Abstract
This article attempts to study the influence of the Romantic poet John Keats on the twentieth￾century Vernacular poet Jibanananda Das with particular focus on the Keatsian conception of
negative capability and its echoes in Jibanananda’s poetry. While the influence of Keats on
Jibanananda is well-known and extends to various aspects such as the perception of Nature,
historicity, and thematic resemblances in representing pain, death and Beauty, the concept of
negative capability finds its own, albeit indeliberate, way with Jibanananda and lends his
poetry a unique dimension which complements the modernist sensibility. Beginning with a
short introduction to Jibanananda and Keats and a note on the Romantic note in the former’s
poetry, the article will move on to discuss Keats’s concept of negative capability and its
manifestation in his own poetic works. The last part of the article shall cover Jibanananda’s
own display of negative capability in his poems and its complementation of modernism as a
consequence of Jibanananda’s unique assimilation of influence.
Keywords: John Keats, Negative capability, Jibanananda Das, Reception, Influence

In his Bengali treatise on poetry named Kobitar Kotha/Why I Write there is evidence of
vernacular poet Jibanananda (1899-1954). Jibanananda was familiar with the poetic cannons
of European poetry. He emphasizes, in his treatise on poetry, on “experience” along with
“imagination” as intrinsic to the creative process of poetry. The affinity of English Romantic
poet William Wordsworth’s (deliberation on nature of Poetry and the definition of a Poet in
Preface to The Lyrical Ballads and Jibanananda’s two articles on the same subject-Kobitar
Kotha/The Story of Poetry and Keno Likhi/Why I Write is remarkable. This paper seeks to
identify some areas of commonality in this sphere.
Keywords- Imagination, Poetic Diction, Tranquillity Kobitar Kotha/About Poetry, Keno
Likhi/Why I Write

In my review of Joseph Viscomi’s William Blake’s Printed Paintings (Yale University Press, 2021), I situate the book within long-standing debates in Blake studies, particularly regarding the artist-poet’s production methods, material experimentation, and evolving relation to modernist art-historical discourse.

While I acknowledge the book’s remarkable contributions—particularly its reconstruction of Blake’s monoprinting techniques and lavish visual documentation—my critique centers upon Viscomi’s problematic privileging of Blake's solitary genius over the social and class-based conditions of artistic production.

Drawing from the work of Rosalind Krauss, T.J. Clark, and Jerome McGann, I argue for a more dialectical, critically historicized approach to Blake’s art that resists the gravitational pull of Romantic ideologies of originality and sovereign authorship.

Fragmentation, in the contemporary sense of the term, points to the alienation of the self and the degradation of the environment, occurring simultaneously. The fragmentation of the self, experienced as alienation, manifests at different levels, including the psycho-spiritual domain. Tracing a history of fragmentation in the modern world locates its origins in Enlightenment

This article explores a comparative exploration of the poetic visions from the Romantic to the Victorian era and examines a meticulous exploration of the stylistic progression from Romantic to Victorian poetic expression, employing a critical framework that examines both aesthetic form and socio-cultural context. The romantic periods flourishing in the late 18th and early 19th century are marked by prominence on emotion, imagination, and the beauty of nature. In contrast the Victorian period introduced a more complex irresolute poetic vision shaped by industrialization, scientific advancement, conflict and dilemma between religion and science. The famous Romantic poets such as William Wordsworth, Samuel Coleridge, Percy Bysshe Shelley celebrate the beauty of nature, the power of imagination on the other contrary, Victorian poets like Alfred Lord Tennyson, Robert Browning, Matthew Arnold countered to the complexities of their time engaging with conflict, dilemma, faith, social justice and etc. This article also inquires into how romantic idealism of personal privilege and natural beauty adapts into the Victorian engagement with progress, responsibility. By exploring this comparative study this article reveals how poetic expression unrolls from the romantic celebration of idealism and nature to the Victorian focus on intellectual struggle and moral complexity.

Abstract.         
Il giornale The Liberal. Verse and Prose from the South, ideato tra Pisa e Genova da Shelley, Byron e Hunt e pubblicato a Londra tra il 1822 e il 1823, fu censurato e ostacolato per le posizioni politiche e religiose dei suoi autori e marginalizzato nella storia letteraria e politica. Le valutazioni sono state nel tempo contrastanti: se inizialmente con la chiusura al quarto numero fu visto come un fallimento editoriale, studi recenti ne evidenziano il valore intellettuale e politico e il ruolo nella diffusione del termine liberale nell'Europa del XIX secolo. Il contributo analizza la presenza di un raro esemplare dei primi due numeri del Liberal conservato all’interno della Biblioteca della Scuola Normale Superiore di Pisa, proveniente dalla collezione libraria di Delio Cantimori, storico degli eretici e degli utopisti e riformatori, dalla complessa storia intellettuale e politica. La sua biblioteca personale riflette gli interessi per la cultura europea e per le correnti intellettuali eterodosse e il suo metodo di ricerca, che privilegiava testi rari e censurati. Sebbene prevalentemente dedicata alla storia e alla filosofia, la biblioteca dello storico rivela una straordinaria ampiezza di interessi, con una vasta presenza di opere di letteratura inglese, francese e tedesca, compreso un buon numero di edizioni di Shelley e Byron, che attestano una familiarità con il Romanticismo europeo e con le sue implicazioni politiche e sociali. La presenza di The Liberal nella libreria di Cantimori appare quindi particolarmente significativa, in quanto si inserisce in un contesto di studi dedicato alle correnti di pensiero alternative e alle figure di intellettuali perseguitati o marginalizzati e apre nuove prospettive di ricerca sulla fortuna del Liberal e sul suo impatto nel contesto intellettuale europeo. L’esemplare pisano, al momento unico identificato in Italia, presenta varianti di stato che arricchiscono la storia editoriale della pubblicazione e che suggeriscono un'ulteriore analisi sulla storia della sua pubblicazione e circolazione.
Keywords.       
The Liberal, Delio Cantimori, Percy Bysshe Shelley, George Gordon Byron, censura.

Who is it that can tell me who I am?"-William Shakespeare, King Lear (I.4) The journey from respected playwright to prophetic genius, from man to myth, was neither linear nor inevitable. It was shaped by seismic shifts in cultural sensibility: first by the rise of sentimentalism, which reoriented aesthetics toward feeling, authenticity, and moral immediacy; and then by the surge of Romanticism, which elevated individual imagination, nature, and the sublime as vehicles of transcendence. In this intellectual and emotional climate, Shakespeare was rediscovered-not as a relic of the Elizabethan stage, but as a visionary ahead of his time. This paper traces how Shakespeare's reputation was transformed in the second half of the 18th century and the early 19th, as writers, critics, philosophers, and artists reinterpreted his works through the lenses of emerging cultural ideals. Far from being static, the Shakespeare we know today is the product of powerful cultural reimaginings-shaped by the needs and desires of the ages that appropriated him. The goal here is not merely to recount the growing reverence for Shakespeare, but to understand how aesthetic sensibility, philosophical longing, and national identity converged in the creation of a literary cult. Shakespeare, in this context, was not only read-he was believed in. And that belief, more than any individual reading, is what transformed a playwright into a monument.

This paper analyzes John Keats’s “Ode to a Nightingale” and “Ode on a Grecian Urn” as contrasting explorations of mortality, transcendence, and the human desire for permanence. While both poems grapple with the tension between the fleeting nature of life and the allure of eternity, they do so through different imagery, tone, and symbolic strategies. “Ode on a Grecian Urn” celebrates the frozen, eternal beauty of art, using objective descriptions and emphasizing permanence with phrases like “for ever,” while “Ode to a Nightingale” evokes the emotional turmoil of mortal life and the desperate longing to escape it through poetry’s imaginative power. This analysis focuses on selected stanzas to highlight Keats’s use of repeated words, sound devices, and punctuation—especially the long dash—to create dramatic contrasts and emotional complexity. Ultimately, the paper argues that Keats uses these formal techniques to explore the paradox of beauty and truth, revealing both the promise and limitations of art as a refuge from mortality.

Calisma, Shaw’in Silahlar ve Adamlar adli oyunundaki duzmece vatanseverligi ve karakterlerin aptalca davranislarini ele almaktadir.  Onur, idealizm, kahramanlik, sosyal adalet, cinsiyet esitligi, ikiyuzluluk ve sosyal hayatla ilgili daha bircok konu ve degerler Shaw’in oyunlarinin ana temasini olusturmaktadir. Silahlar ve Adamlar oyunu da benzer konulari deginmektedir. Evliligin romantizmi ve vatanseverligi olusturan degisik unsurlar ele alinmistir. Savasin korkunclugu, sevgi, umut, inanc,  insanlarin yanlis ve sahte idealizmini degistirmek icin Shaw’in cabasi ve elestirisi verilmistir.  Bu oyunda savas, Balkanlarla sinirli olmasina ragmen, Shaw, savasi yikim, kan dokme ve yoksulluk olarak gordugu icin acimasizca elestirmektedir. Shaw’in toplumsal ve ahlaki sorunlara karsi duyarliligi, toplumdaki basmakalip davranisi ve sahte idealizmi ve duzmece vatanseverligi degistirme arzusu da ele alinmistir.

This research explores the concept of anti-heroism and its relation to the evolving meaning of the American Dream through the lens of Deadpool 2 (2018). As a satirical superhero film, Deadpool 2 subverts traditional heroic narratives and portrays a protagonist who operates outside moral and societal norms. The study applies a qualitative descriptive method to examine the duality within Deadpool's character-his shift between self-interest and selfsacrifice-and how this reflects a critique of the classic American Dream. The film reimagines success, freedom, and legacy, not as a linear rise to wealth or status, but as a chaotic path driven by loss, pain, and reluctant redemption. By analyzing key scenes, character dynamics, and thematic contrasts, the research uncovers how Deadpool 2 deconstructs the idealized image of the American Dream and replaces it with a more fragmented, ironic version. Through the anti-hero's lens, the pursuit of happiness is portrayed as inconsistent, flawed, and often brutal-requiring not perfection, but emotional truth and personal growth. Ultimately, the film suggests that the American Dream is no longer about perfection or conformity, but about reclaiming agency and meaning in an imperfect world.

This research explores the concept of anti-heroism and its relation to the evolving meaning of the American Dream through the lens of Deadpool 2 (2018). As a satirical superhero film, Deadpool 2 subverts traditional heroic narratives and portrays a protagonist who operates outside moral and societal norms. The study applies a qualitative descriptive method to examine the duality within Deadpool's character-his shift between self-interest and selfsacrifice-and how this reflects a critique of the classic American Dream. The film reimagines success, freedom, and legacy, not as a linear rise to wealth or status, but as a chaotic path driven by loss, pain, and reluctant redemption. By analyzing key scenes, character dynamics, and thematic contrasts, the research uncovers how Deadpool 2 deconstructs the idealized image of the American Dream and replaces it with a more fragmented, ironic version. Through the anti-hero's lens, the pursuit of happiness is portrayed as inconsistent, flawed, and often brutal-requiring not perfection, but emotional truth and personal growth. Ultimately, the film suggests that the American Dream is no longer about perfection or conformity, but about reclaiming agency and meaning in an imperfect world.

This research review explores the transformative role of education in shaping the Indian middle class during British colonial rule. The introduction of Western-style education, particularly after the Charter Act of 1813 and Macaulay’s Minute of 1835, led to the emergence of a new socio-economic class that was distinct in its values, aspirations, and functions. The British colonial government promoted English education to create a class of intermediaries loyal to the empire, but the unintended consequence was the rise of a critical and politically conscious middle class. This emerging class comprised primarily educated Indians—teachers, clerks, lawyers, journalists and professionals, who played a vital role in the development of nationalist ideologies and socio-religious reform movements. Education became a tool of both empowerment and negotiation, enabling Indians to access modern professions while also confronting the contradictions of colonial dominance. The review highlights the dual nature of colonial education as both a means of cultural control and a catalyst for socio-political awakening. Drawing from historical sources and scholarly analyses, this study underscores how education contributed to reshaping caste dynamics, expanding urban consciousness, and redefining Indian identity. It also examines the gendered aspects of education, especially the limited but significant entry of women into the public sphere through schooling. Ultimately, this review reveals that colonial education was a complex and contested space that played a crucial role in the formation and articulation of the modern Indian middle class—a group that would become instrumental in the struggle for independence and postcolonial nation-building.

This paper coins *Silicon Gothic* as a new literary mode that reconfigures Mary Shelley's *Frankenstein* (1818) for the digital age. Whereas Shelley's Gothic warned of individual overreach, Silicon Gothic exposes *systemic* creation myths in technocapitalism, where AI labs and genetic engineering startups collectively reenact Victor Frankenstein's hubris without his accountability. Drawing from posthumanist theory (Braidotti, Hayles) and Nietzsche's death of God, I argue that 21stcentury "creation" (of AI, cloned organisms, digital selves) replicates the Creature's abandonment-but at scale. Close readings of *Frankenstein*'s 1818 and 1831 editions are juxtaposed with case studies from AI ethics (Bostrom, Crawford) and biotech (Doudna), revealing how Silicon Gothic reframes Shelley's "parental neglect" as institutionalized disavowal. The paper concludes with a call to weaponize Shelley's ethics against "innovation at all costs" paradigms. **Keywords:** Silicon Gothic, Posthumanism, Frankenstein, AI Ethics, Technocapitalism **1. Introduction: From Workshop to Server Farm** *"I beheld the wretch-the miserable monster whom I had created"* (Shelley, 1818). Victor Frankenstein's horror mirrors contemporary recoil from AI "hallucinations" and CRISPR babies-but with a critical difference: today's creators hide behind corporate liability shields. **Thesis Intervention:** While scholarship has read *Frankenstein* as a critique of Romantic individualism (Mellor, 1988) or patriarchal science (Moers, 1976), this paper argues that the novel's *structural* dimensions-systems that enable and disown creation-prefigure Silicon Valley's "fail fast" ethos. **Theoretical Framework:**-**Posthumanist abandonement**: Braidotti's (2013) "necro-subjectivity" applied to AI training data.-**Nietzschean techné**: Post-God creation myths in *The Gay Science* (1882).-**Silicon Gothic**: A new subgenre where tech's "move fast" rhetoric masks systemic violence.

This research article explores the thematic, philosophical, and stylistic parallels between the Sufi poetic tradition of the East and the English Romantic movement of the West. Drawing upon key poets such as Jalaluddin Rumi, Bulleh Shah, and Khwaja Ghulam Farid in the Sufi tradition, and William Wordsworth, Samuel Taylor Coleridge, and Percy Bysshe Shelley in Romanticism, this study examines how both traditions converge on the themes of divine love, nature, individualism, and mysticism. Through comparative literary analysis, the paper reveals a shared spiritual aesthetic and a rebellion against materialism and rigid orthodoxy in both traditions.

This research article explores the thematic, philosophical, and stylistic parallels between the Sufi poetic tradition of the East and the English Romantic movement of the West. Drawing upon key poets such as Jalaluddin Rumi, Bulleh Shah, and Khwaja Ghulam Farid in the Sufi tradition, and William Wordsworth, Samuel Taylor Coleridge, and Percy Bysshe Shelley in Romanticism, this study examines how both traditions converge on the themes of divine love, nature, individualism, and mysticism. Through comparative literary analysis, the paper reveals a shared spiritual aesthetic and a rebellion against materialism and rigid orthodoxy in both traditions.

William Wordsworth's poem has been deeply associated with landscape, especially the English Lake District, where he lived and found inspiration. He observed its profound impact on the beauty and human spirit and spirituality of nature, often used vivid details to express his experiences in the natural world. Wordsworth also advocated the protection of nature, arguing that it was a moral claim on all people, not only on landlords. The way of representing the landscape of Wordsworth was powerful affected by the illustrated conferences. Although he claims to overthrow his young manhood, which is a habit of looking, justice and describing, he never left his vocabulary. However, he served it to his attitude of a nature, whose powers could not be implicated by landscape painting conferences or were ordered by the political imperatives of the picturesque. In addition, although he sometimes refers to the natural world from one point of view that is culturally privileged, politically strong, physically elevated, or all three, such as ting lines, such as a few miles above titan Ebey, are well above the boundaries of beauty satisfaction to identify human victims, and they are suffering from the limits, and they are suffering. Thus, Wordsworth funds the conferences of the landscape fundamentally to rebuild both the power of nature and the music of humanity in his poem.

Gagasan tradisional tentang kedaulatan terdiri dari gagasan tentang kekuasaan absolut dan tak terpisahkan yang dimiliki oleh negara yang memungkinkannya mengatur urusannya sendiri, mencapai tujuan yang menjadi dasar pembentukannya, dan menjaga integritasnya sendiri. Namun, saat ini, kemenangan globalisasi ekonomi dan independensi produksi dan pertukaran kapitalis dari kendali politik telah berkontribusi pada apa yang dianggap sebagai kemunduran negarabangsa. Pertanyaannya ialah: "Bagaimana mungkin kita dapat sampai pada tatanan kosmopolitan, yaitu sebuah tatanan di mana ada damai dan persekutuan antar bangsa?" Menggunakan penelitian kepustakaan dengan metode deskriptif, tulisan ini bertujuan membahas konsep kedaulatan sebagaimana yang dijalankan oleh negara-bangsa. Tulisan menjelaskan bahwa kekerasan merupakan elemen konstitutif penting dari kedaulatan.

The traditional notion of sovereignty consists of the idea of an absolute, indivisible power possessed by the state enabling it to regulate its own affairs, achieve the purposes for which it was created and to safeguard its own integrity. Today, however, the triumph of economic globalization and the independence of capitalist production and exchange from political control have contributed to what is perceived as the decline of the
nation-state. The question is: “How would it still be possible to arrive at a cosmopolitan order, i.e., an order. where there is peace and unity among nations?” Using a literature study with a descriptive method, this paper aims to describe the concept of sovereignty as it is exercised by nation-states. This paper argues that violence is an essential constitutive element of sovereignty.

I cannot be sure whether this story is fiction or a true account of a visit by Eliza. It has detail which is consistent with an actual visit but such a visit would have been time consuming and costly for a woman with children to look after. It is also interesting to speculate on Eliza's interest in Byron's early life and his affection for  Mary and her rejection of him.

Abstract
I contend that the collective output of Romanticism, its Gothic offshoots, and feminist reinterpretations constitutes a labyrinthine inquiry into the fractured human condition—bridging trauma, memory, power, myth, and revolt. I assert that this literary constellation, spanning Coleridge's spectral ballads, the Brontës' psychological wilderness, Borges’ infinite mirrors, and Woolf’s rooms of one’s own, resists categorization because it was never merely about text. It was always about voice. I claim that these voices—repressed, raving, resurrected—did not seek resolution, but recognition. They speak from attics and oceans, from revolutions external and internal, inviting no judgment, but endless construction of meaning.
📜 Refined Abstract
I contend that the evolution of English literature—traced from the oral brawn of the Beowulf poet to the internal storms of Romanticism—reflects not a linear progression of taste, but a deepening excavation of the human psyche. I assert that the Heroic Age, with its war-hardened scops and epic elegies, laid the mythic scaffolding upon which later writers constructed increasingly introspective ruins. Chaucer’s laughter, emerging in the Middle Ages, was not mere levity but structural irony—a tool to frame social satire in a world still shadowed by faith and feudalism.
I claim that the Renaissance cracked open this world with theatrical daring. Marlowe’s Faustus burned for cosmic knowledge, while Shakespeare folded tragedy and comedy into a single human breath. These were not just plays—they were ontological experiments dressed in velvet. Romanticism followed, not as a gentle retreat but as a storm: Coleridge, Dickinson, and the Brontës pursued the unsayable where reason could not follow. And when women’s voices were barred from the center, they returned through ballads, locked attics, and Gothic groans—writing what patriarchy could not pronounce.
This continuum of literature does not teach the past. It performs the timeless ritual of asking: What does it mean to be human when you are powerless, visionary, or simply unheard?
Let me know if you'd like a matching epigraph, title, or visual metaphor to accompany it—this tapestry still has threads to pull.
I contend that the liberation of South America was not a series of isolated uprisings, but a continental vision forged by a handful of extraordinary individuals—many of them Argentine. I assert that General José de San Martín, who led the audacious Crossing of the Andes in 1817, did not merely free Argentina, Chile, and Peru—he redefined the geography of freedom itself.
I claim that the Army of the Andes, composed of Argentine soldiers and Chilean exiles, achieved one of the greatest military feats in history: navigating 3,000-meter peaks over 21 days to defeat Spanish royalist forces and liberate Chile. This was not conquest—it was continental emancipation.
Yet, the currency of many South American nations still bears the faces of colonial administrators, European monarchs, or local elites. I contend that this is a missed opportunity to honor the shared liberators who bled across borders. San Martín, Belgrano, Güemes, and Saavedra are not just Argentine heroes—they are continental architects. Their legacy belongs on every bill, every monument, every civic square from Santiago to Quito.
I assert that all countries  should place the  faces of our heroes  on their currency is not nationalism—it is historical justice. It is a reminder that the Andes were not a wall, but a bridge. That the dream of independence was not provincial, but pan-American.
And never forget that they all died for thee, South American countries howls Argentina.Review questions and games for Literature I' students and professors with answers and some not with answers

Besides characterizing the themes of supernatural or imaginative elements, grandeur in natural beauty, and witnessing the beginnings of the sustained British imperial expansion, the Romantic period (1798-1850) also witnessed slavery and racial dominance. The criticism of the slave trade at this age was at its most intense state, finally leading to the formal abolition of the trade in 1807. Between 1680 and 1783, more than two million African slaves were transported to the British colonies alone. Many prominent writers and poets, and several lesser-known authors, expressed opposition to the slave trade through their works. Particularly, poetry became a tool to strengthen abolitionist beliefs and a method to agitate political values. Poets like William Blake, William Wordsworth, John Keats, and Samuel Coleridge used their literature to fuel abolition. Abolition of slavery was accomplished through the literature of these multiple English writers who took the responsibility and duty of voicing the slaves of their time. This paper examines the relationship between the poetry of William Blake and the notions of slavery in the Romantic era. The poems "The Little Black Boy" (1789) and "The Visions of the Daughters of Albion" (1793) express sympathy with this movement, depicting racial prejudice and oppression in severe ways. However, other aspects of the poems threaten to undercut this message, such as the equation of corruption with black imagery and purity with white imagery. This is a sign of Blake's limited scientific and theological understanding of race, which leads to an inadequate portrayal of the enslaved.

Type de publication: Article de revue Revue: Revue Nerval 2018, n° 2. varia Auteur: Hetzel (Aurélia) Résumé: Fasciné par l'Orient, Gérard de Nerval est pourtant, selon Edward Saïd, le moins orientaliste des écrivains de son siècle. Le narrateur exalté du Voyage en Orient tente de prendre une place en harmonie avec ses lectures et ses aspirations spirituelles. Il rêve de vivre ses Mille et Une Nuits , comparant ses aventures à celles des contes arabes. Il idéalise l'origine des manifestations religieuses qu'il découvre. C'est à un islam romantique que le mènent ses désirs de communion et de fraternité.

When the universe was created, the Word attached to its creation, since the word could serve as a tool that builds, coordinates, interprets, or destroys, confuses and disrupts any contact between people, events or a combination of the two. Every individual or event needs the word to bring about these processes or specifically to communicate. Communication is like a "galaxy" of endless "constellation" chain-linked, which creates around it a muddled "vortex", which in turn reels up all the "stars" in a magnetic bewitching breast. Thus, galaxies would be the world composed of people of different cultures (Pleiades) within which human knowledge develops (Vortex), which in turn reels up in its breast as if by magic all the communicative ways and norms between people (stars) . It is as beautiful process as it is complicated of individuals who share ideas, messaging etc. - whether expressed through voice or in writing. In fact, we recognize oral, wri...

William Wordsworth (1770-1850) once said, “Wisdom is oftentimes nearer when we stoop than when we soar.” How much a man saying this retains his own wisdom remains to be seen. Wordsworth, as one of the founders of the Romanticism Movement, is one of the most well-respected and revered poets in British history; even in his own time, he was England’s poet laureate in 1843 1 . Though we know of his work, much remains unknown about the man himself — his selfishness, his cruelty and, most importantly, his abuse of the two people who shaped his life and career.

Revisione del testo a cura di Vintura Edizioni Vintura Edizioni tiene molto all'aspetto redazionale dei libri che pubblica. I testi presenti nella collana le lapidi vengono revisionati dalla redazione affinché le opere possano essere presentate ai lettori nella miglior forma possibile. In copertina: Da inserire ISBN: Da inserire Finito di stampare nel mese di ottobre 2024 presso Rotomail S.p.A. (Vignate, MI) per conto di Vintura Edizioni ©Vintura Edizioni, 2024 Via Giulio Adimari, 15 Cosenza, 87100 Tutti i diritti sono riservati. Nessuna parte di questa pubblicazione può essere fotocopiata, riprodotta, archiviata, memorizzata o trasmessa in qualsiasi forma o mezzo -elettronico, meccanico, reprografico, digitale -se non nei termini della legge che tutela il Diritto d'Autore.

This study explores the manifestation of eco-anxiety in the poetic works of Lord Byron and Percy Bysshe Shelley, two eminent figures of the Romantic movement, whose literary expressions encapsulate profound ecological concerns. Romanticism, as a literary and philosophical movement, emphasized the sublime beauty of nature while simultaneously expressing apprehensions about its destruction due to human intervention. This paper employs an eco-critical framework to analyze how Byron and Shelley engage with themes of environmental degradation, the consequences of industrialization, and the fragility of the natural world. Through a comparative textual analysis of Darkness by Byron and Ode to the West Wind by Shelley, the study examines the poets' prescient environmental sensibilities and their reflections on ecological decline. Byron's apocalyptic vision in Darkness portrays an uninhabitable world, mirroring fears of climate catastrophe, while Shelley's Ode to the West Wind embodies both the destructive and regenerative power of nature, highlighting an intrinsic ecological awareness. The analysis underscores how both poets critique the anthropocentric worldview and foreshadow contemporary eco-critical concerns, positioning their works as early literary articulations of eco-anxiety. The findings suggest that their poetry, though rooted in the Romantic era, remains highly relevant in contemporary environmental discourse, offering insight into the emotional and philosophical dimensions of ecological crisis. This study thus contributes to the intersection of Romantic literary studies and environmental humanities, demonstrating the enduring significance of