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Seminar paper from the year 2003 in the subject English Language and Literature Studies - Literature, grade: 1,0 (A), Free University of Berlin (Institute for English Philology), course: The Pre-Raphaelites in Art and Literature, 19 entries in the bibliography, language: English, abstract: In 1848, at the peak of British industrialism and urbanization, a group of artists founded the Pre-Raphaelite Brotherhood, a movement which revolted against contemporary academic art. Searching for new themes of a higher truth and purity, the group did not only turn to artistic and literary sources of the Medieval Ages, the Renaissance and Romanticism but also to the poetic work of the contemporary Victorian Alfred Lord Tennyson. The Pre-Raphaelite Brotherhood and the poet laureate shared a poetic affinity with medieval literature and culture. The Middle Ages provided an ideal counter world of romance, chivalry, simple order, and religious faith. In an era of modern science, Darwinism, and religious scepticism, Tennyson found his sources of inspiration in Arthurian legends and Shakespearian drama. Between the mid 19th century and the end of World War I, Pre-Raphaelite artists produced a great number of paintings and illustrations, ie. the illustrated Moxon Edition of Poems (1857), based on the work of Alfred Tennyson. Significant thematic fascination was directed towards early romantic maiden poems, i.e. "Mariana" and "The Lady of Shalott", both published in 1832 and revised in 1842. This research paper will examine the structure, atmosphere, and symbolism of these Tennysonian ballads and analyze the corresponding paintings of John Everett Millais, William Holman Hunt, and John William Waterhouse.
A provocative interdisciplinary study of the Victorian novel and Pre-Raphaelite art, this book offers a new understanding of Victorian novels through Pre-Raphaelite paintings. Concentrating on Elizabeth Gaskell, Wilkie Collins, George Eliot, and Thomas Hardy and aligning each novelist with specific painters, this work interprets narrative redrawings of Pre-Raphaelite paintings within a range of cultural contexts as well as alongside recent theoretical work on gender. Letters, reviews, and journals convincingly reinforce the contentions about the novels and their connection with paintings. Featuring color reproductions of Pre-Raphaelite paintings, this book reveals the great achievement of Pre-Raphaelite art and its impact on the Victorian novel. Arguing for the direct relationship between Pre-Raphaelite painting and the Victorian novel, this book fills a gap in the currently available literature devoted to the Victorian novel, the Pre-Raphaelites, and the connection of Pre-Raphaelite art to Victorian poetry. Visual readings of the Victorian novel channel the twenty-first-century readers' desire for the visual into the exploration of Pre-Raphaelite art in the Victorian novel, in the process offering fresh insights into the representation of gender in Victorian culture. Through a textual and a visual journey, this work reveals a new approach to the Victorian novel and Pre-Raphaelite art with profound implications for the study of both.
Defining Pre-Raphaelite Poetics offers a range of Pre-Raphaelite literary scholarship, provoking innovative discussions into the poetic form, gender dynamics, political engagement, and networked communities of Pre-Raphaelitism. The authors in this collection position Pre-Raphaelite poetics broadly in the sense of poiesis, or acts of making, aiming to identify and explore the Pre-Raphaelites’ diverse forms of making: social, aesthetic, gendered, and sacred. Each chapter examines how Pre-Raphaelitism takes up and explores modes of making and re-making identity, relationality, moral transformations, and even, time and space. Essays explore themes of formalist or prosodic approaches, expanded networks of literary and artistic influence within Pre-Raphaelitism, and critical legacies and responses to Pre-Raphaelite poetry and arts, codifying the methods, forms, and commonalties that constitute literary Pre-Raphaelitism.
This catalog was "published by the Fine Arts Museums of San Francisco and DelMonico Books (Prestel) on the occasion of the exhibition of the same name at the Legion of Honor, San Francisco, from June 30 to September 30, 2018."
Alfred Lord Tennyson (1809-1892) has often been considered a particularly British writer in part as his official post as Poet Laureate inevitably committed him to a certain amount of patriotic writing. This volume focuses on his impact on the continent, presenting a major scholarly analysis of Tennyson's wider reception in different areas of Europe. It considers reader and critical responses and explores the effect of his poetry upon his contemporaries and later writers, as well as his influence upon illustrators, painters and musicians. The leading international contributors raise questions of translation and publication and of the choices made for this purpose along with the way in which his ideas and style influenced European writing and culture. Tennyson's reputation in Anglophone countries is now assured, following a decline in the years after his death. This volume enables us to chart the changes in Tennyson's European reputation during the later 19th, 20th and 21st centuries.
This unique collection demonstrates the profoundly interdisciplinary nature of Pre-Raphaelitism, and contains contains whole texts and key extracts from key Pre-Raphaelite figures such as William Morris, and from less well-known figures.
A narrative poem about the death of Elaine, "the lily maid of Astolat".
Poetry of Dante Gabriel Rossetti crowns this outstanding collection: highlights include "The Blessed Damozel," "My Sister's Sleep," and selections from The House of Life. Also includes Christina Rossetti's "Remember," "Cousin Kate," and "Song," plus Swinburne, and more