Keyword [Keats]
Result: 61 - 77 | Page: 4 of 4 |
| 61. | The negatively capable reader: Performative language in Keat's Odes of 1819 |
| 62. | Refiguring the Fall: Shame and intertextuality in Wordsworth, Mary Shelley, and Keats (William Wordsworth, John Keats) |
| 63. | Boundaries broken: Fairies and the possibility of spiritual unity in Keats's poems, and, L. E. L.'s beautiful monster: Revising the female supernatural |
| 64. | 'Towards the temple of fame': Class, the classics, and the struggle for distinction in the poetry of John Keats |
| 65. | Negative capabilities: Keatsian thresholds from 'King Lear' to 'Vampyr' |
| 66. | The feud 'twixt nothing and creation: Eschatological politics in John Keats' early verse |
| 67. | Seductive writers, curious readers: Literary celebrity in British Romantic poetry (Lord Byron, John Keats, Percy Bysshe Shelley, Elizabeth Barrett Browning) |
| 68. | Literature and impersonality: Keats, Flaubert, and the crisis of the author (John Keats, Gustave Flaubert, France) |
| 69. | The 'serpents' whine': Derrida's pharmakon and differance in the works of John Keats |
| 70. | Love at last sight: Figures of apprehension in Keats and Becquer (Spain, John Keats) |
| 71. | Authorizing romanticism: The grounding of poetic authority in the poetry of Wordsworth and Keats (William Wordsworth, John Keats) |
| 72. | The poetry of indifference from the Romantics to the 'Rubaiyat' (John Keats, Lord Byron, Alfred, Lord Tennyson, Edward FitzGerald, Omar Khayyam, Robert Browning) |
| 73. | The greater lyrical form: An inclusive formalist study (Schelling, Coleridge, Beethoven, Chopin, Wordsworth, Shelley, Schubert, Keats, Tennyson, Lutoslawski, Aiken, Bishop) |
| 74. | Narrative theory and Romantic poetry (Charlotte Turner Smith, William Wordsworth, John Keats, Lord Byron) |
| 75. | Bodily accommodations: Topography in the poetry of John Keats |
| 76. | TOWARDS READING FREUD: MOMENTS OF SELF-REPRESENTATION IN MILTON, WORDSWORTH, KEATS, EMERSON, WHITMAN AND SIGMUND FREUD |
| 77. | On Plants Writing In Keats' Endymion |
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