2012, ISBN: 9783656311416

Kartoniert, 28 Seiten, 210mm x 148mm x 3mm, Sprache(n): eng Seminar paper from the year 2012 in the subject Didactics for the subject English - Literature, Works, grade: 1, 0, Humboldt-Un… Mehr…

Kartoniert, 28 Seiten, 210mm x 148mm x 3mm, Sprache(n): eng Seminar paper from the year 2012 in the subject Didactics for the subject English - Literature, Works, grade: 1, 0, Humboldt-University of Berlin (Institut für Anglistik / Amerikanistik), language: English, abstract: John Keats and Peter Doherty are seen as great poets of their time, and outstanding British romantics. While one's time is in fact the "rise of romanticism" (Bate 1967:73) during the late eighteenth and early nineteenth century, where poetry and criticism are established and acknowledged career pursuits (cf. 82, 224), the other's is today, the post-modern globalised age of entertainment, where art solely concerned with poetry has become scarce. Doherty therefore expresses himself through music, one of today's most popular arts, aiming for "success as a popstar [and] performance poet" (Doherty 2009:9). Keats dies at 25 believing himself to be a failure (cf. Bright Star 1:49:24) after a life of confronting harsh criticism, "incredible project[s]" (Bate 1967:193) and the burden of "what the great art of the past has achieved" (Bate 1967:viii) and it is only after his death that he becomes acknowledged as one of the major romantic poets ¿ whereas Doherty is already during his lifetime being considered a genius, praised for his "elegant lyricism" (Doherty 2009:126) and has become "a part of celebrity culture [ ¿ as well as] part of a hospital waiting list" (222), leading "a rather 'unsavoury' yet romantic existence" (132). Despite the two men's many differences, they both share various elements that deeply mark their lives and works, such as death and escape to and from it, the commitment to poetry & strive for perfection, a love story that never seems to work out, criticism gnawing at them from the outside, a love for ekphrasis, revery, rootlessness ¿ but most of all the dream of a separate world, which they create through their poetry and use to deal with the reality they live in. Bearing in mind Bate's words "that poetry and indeed all the arts have seemed to become increasingly specialized or restricted throughout the last two hundred and fifty years [and that we] face even more directly the problem that was widely discussed [...] throughout [Keats'] lifetime: where are [...] the 'greater genres' [...] or at least reasonable equivalents?" (Bate 1967:viii), this paper will compare the two poets and their works in two different ages of predecessor pressure, making use of the extraordinary amount of "available knowledge" (viii) we today have access to about the great romantic and the tabloid rockstar, and aim to answer the question: How do they cope with themselves, with the world of their time and their own?Marc Backhaus was born 1990 in Cologne to Peter and Carola Backhaus. Moving houses repeatedly during his childhood, he grew up in Schleswig-Holstein and Marham, England. Finding a love for poetry, theatre, literature and languages he moved to Berlin in 2010 to study English and Media Science at Humboldt University. He is currently completing his BA degree and aspiring to become an author and musician. Versandkostenfreie Lieferung Irland, Vereinigtes Königreich, Großbritannien<

2012, ISBN: 3656311412

[EAN: 9783656311416], Neubuch, [SC: 0.0], [PU: GRIN Verlag], Druck auf Anfrage Neuware - Printed after ordering - Seminar paper from the year 2012 in the subject Didactics - English - Lit… Mehr…

[EAN: 9783656311416], Neubuch, [SC: 0.0], [PU: GRIN Verlag], Druck auf Anfrage Neuware - Printed after ordering - Seminar paper from the year 2012 in the subject Didactics - English - Literature, Works, grade: 1,0, Humboldt-University of Berlin (Institut für Anglistik / Amerikanistik), language: English, abstract: John Keats and Peter Doherty are seen as great poets of their time, and outstanding British romantics. While one's time is in fact the 'rise of romanticism' (Bate 1967:73) during the late eighteenth and early nineteenth century, where poetry and criticism are established and acknowledged career pursuits (cf. 82, 224), the other's is today, the post-modern globalised age of entertainment, where art solely concerned with poetry has become scarce. Doherty therefore expresses himself through music, one of today's most popular arts, aiming for 'success as a popstar [and] performance poet' (Doherty 2009:9). Keats dies at 25 believing himself to be a failure (cf. Bright Star 1:49:24) after a life of confronting harsh criticism, 'incredible project[s]' (Bate 1967:193) and the burden of 'what the great art of the past has achieved' (Bate 1967:viii) and it is only after his death that he becomes acknowledged as one of the major romantic poets - whereas Doherty is already during his lifetime being considered a genius, praised for his 'elegant lyricism' (Doherty 2009:126) and has become 'a part of celebrity culture [ - as well as] part of a hospital waiting list' (222), leading 'a rather 'unsavoury' yet romantic existence' (132).Despite the two men's many differences, they both share various elements that deeply mark their lives and works, such as death and escape to and from it, the commitment to poetry & strive for perfection, a love story that never seems to work out, criticism gnawing at them from the outside, a love for ekphrasis, revery, rootlessness - but most of all the dream of a separate world, which they create through their poetry and use to deal with the reality they live in.Bearing in mind Bate's words 'that poetry and indeed all the arts have seemed to become increasingly specialized or restricted throughout the last two hundred and fifty years [and that we] face even more directly the problem that was widely discussed [.] throughout [Keats'] lifetime: where are [.] the 'greater genres' [.] or at least reasonable equivalents ' (Bate 1967:viii), this paper will compare the two poets and their works in two different ages of predecessor pressure, making use of the extraordinary amount of 'available knowledge' (viii) we today have access to about the great romantic and the tabloid rockstar, and aim to answer the question: How do they cope with themselves, with the world of their time and their own, Books<

2012, ISBN: 9783656311416

[ED: Taschenbuch], [PU: GRIN Verlag], Neuware - Seminar paper from the year 2012 in the subject Didactics for the subject English - Literature, Works, grade: 1,0, Humboldt-University of B… Mehr…

[ED: Taschenbuch], [PU: GRIN Verlag], Neuware - Seminar paper from the year 2012 in the subject Didactics for the subject English - Literature, Works, grade: 1,0, Humboldt-University of Berlin (Institut für Anglistik / Amerikanistik), language: English, abstract: John Keats and Peter Doherty are seen as great poets of their time, and outstanding British romantics. While one's time is in fact the 'rise of romanticism' (Bate 1967:73) during the late eighteenth and early nineteenth century, where poetry and criticism are established and acknowledged career pursuits (cf. 82, 224), the other's is today, the post-modern globalised age of entertainment, where art solely concerned with poetry has become scarce. Doherty therefore expresses himself through music, one of today's most popular arts, aiming for 'success as a popstar [and] performance poet' (Doherty 2009:9). Keats dies at 25 believing himself to be a failure (cf. Bright Star 1:49:24) after a life of confronting harsh criticism, 'incredible project[s]' (Bate 1967:193) and the burden of 'what the great art of the past has achieved' (Bate 1967:viii) and it is only after his death that he becomes acknowledged as one of the major romantic poets - whereas Doherty is already during his lifetime being considered a genius, praised for his 'elegant lyricism' (Doherty 2009:126) and has become 'a part of celebrity culture [ - as well as] part of a hospital waiting list' (222), leading 'a rather 'unsavoury' yet romantic existence' (132).Despite the two men's many differences, they both share various elements that deeply mark their lives and works, such as death and escape to and from it, the commitment to poetry & strive for perfection, a love story that never seems to work out, criticism gnawing at them from the outside, a love for ekphrasis, revery, rootlessness - but most of all the dream of a separate world, which they create through their poetry and use to deal with the reality they live in.Bearing in mind Bate's words 'that poetry and indeed all the arts have seemed to become increasingly specialized or restricted throughout the last two hundred and fifty years [and that we] face even more directly the problem that was widely discussed [...] throughout [Keats'] lifetime: where are [...] the 'greater genres' [...] or at least reasonable equivalents ' (Bate 1967:viii), this paper will compare the two poets and their works in two different ages of predecessor pressure, making use of the extraordinary amount of 'available knowledge' (viii) we today have access to about the great romantic and the tabloid rockstar, and aim to answer the question: How do they cope with themselves, with the world of their time and their own, DE, [SC: 1.99], Neuware, gewerbliches Angebot, 210x148x3 mm, 28, [GW: 56g], Banküberweisung, PayPal, Klarna-Sofortüberweisung, Internationaler Versand<

2012, ISBN: 3656311412

[EAN: 9783656311416], Neubuch, [PU: GRIN Verlag Nov 2012], This item is printed on demand - it takes 3-4 days longer - Neuware -Seminar paper from the year 2012 in the subject Didactics -… Mehr…

[EAN: 9783656311416], Neubuch, [PU: GRIN Verlag Nov 2012], This item is printed on demand - it takes 3-4 days longer - Neuware -Seminar paper from the year 2012 in the subject Didactics - English - Literature, Works, grade: 1,0, Humboldt-University of Berlin (Institut für Anglistik / Amerikanistik), language: English, abstract: John Keats and Peter Doherty are seen as great poets of their time, and outstanding British romantics. While one's time is in fact the 'rise of romanticism' (Bate 1967:73) during the late eighteenth and early nineteenth century, where poetry and criticism are established and acknowledged career pursuits (cf. 82, 224), the other's is today, the post-modern globalised age of entertainment, where art solely concerned with poetry has become scarce. Doherty therefore expresses himself through music, one of today's most popular arts, aiming for 'success as a popstar [and] performance poet' (Doherty 2009:9). Keats dies at 25 believing himself to be a failure (cf. Bright Star 1:49:24) after a life of confronting harsh criticism, 'incredible project[s]' (Bate 1967:193) and the burden of 'what the great art of the past has achieved' (Bate 1967:viii) and it is only after his death that he becomes acknowledged as one of the major romantic poets - whereas Doherty is already during his lifetime being considered a genius, praised for his 'elegant lyricism' (Doherty 2009:126) and has become 'a part of celebrity culture [ - as well as] part of a hospital waiting list' (222), leading 'a rather 'unsavoury' yet romantic existence' (132).Despite the two men's many differences, they both share various elements that deeply mark their lives and works, such as death and escape to and from it, the commitment to poetry & strive for perfection, a love story that never seems to work out, criticism gnawing at them from the outside, a love for ekphrasis, revery, rootlessness - but most of all the dream of a separate world, which they create through their poetry and use to deal with the reality they live in.Bearing in mind Bate's words 'that poetry and indeed all the arts have seemed to become increasingly specialized or restricted throughout the last two hundred and fifty years [and that we] face even more directly the problem that was widely discussed [.] throughout [Keats'] lifetime: where are [.] the 'greater genres' [.] or at least reasonable equivalents ' (Bate 1967:viii), this paper will compare the two poets and their works in two different ages of predecessor pressure, making use of the extraordinary amount of 'available knowledge' (viii) we today have access to about the great romantic and the tabloid rockstar, and aim to answer the question: How do they cope with themselves, with the world of their time and their own 28 pp. Englisch, Books<

2012, ISBN: 3656311412

[EAN: 9783656311416], Neubuch, [PU: GRIN Verlag Nov 2012], This item is printed on demand - it takes 3-4 days longer - Neuware -Seminar paper from the year 2012 in the subject Didactics -… Mehr…

[EAN: 9783656311416], Neubuch, [PU: GRIN Verlag Nov 2012], This item is printed on demand - it takes 3-4 days longer - Neuware -Seminar paper from the year 2012 in the subject Didactics - English - Literature, Works, grade: 1,0, Humboldt-University of Berlin (Institut für Anglistik / Amerikanistik), language: English, abstract: John Keats and Peter Doherty are seen as great poets of their time, and outstanding British romantics. While one's time is in fact the 'rise of romanticism' (Bate 1967:73) during the late eighteenth and early nineteenth century, where poetry and criticism are established and acknowledged career pursuits (cf. 82, 224), the other's is today, the post-modern globalised age of entertainment, where art solely concerned with poetry has become scarce. Doherty therefore expresses himself through music, one of today's most popular arts, aiming for 'success as a popstar [and] performance poet' (Doherty 2009:9). Keats dies at 25 believing himself to be a failure (cf. Bright Star 1:49:24) after a life of confronting harsh criticism, 'incredible project[s]' (Bate 1967:193) and the burden of 'what the great art of the past has achieved' (Bate 1967:viii) and it is only after his death that he becomes acknowledged as one of the major romantic poets - whereas Doherty is already during his lifetime being considered a genius, praised for his 'elegant lyricism' (Doherty 2009:126) and has become 'a part of celebrity culture [ - as well as] part of a hospital waiting list' (222), leading 'a rather 'unsavoury' yet romantic existence' (132).Despite the two men's many differences, they both share various elements that deeply mark their lives and works, such as death and escape to and from it, the commitment to poetry & strive for perfection, a love story that never seems to work out, criticism gnawing at them from the outside, a love for ekphrasis, revery, rootlessness - but most of all the dream of a separate world, which they create through their poetry and use to deal with the reality they live in.Bearing in mind Bate's words 'that poetry and indeed all the arts have seemed to become increasingly specialized or restricted throughout the last two hundred and fifty years [and that we] face even more directly the problem that was widely discussed [.] throughout [Keats'] lifetime: where are [.] the 'greater genres' [.] or at least reasonable equivalents ' (Bate 1967:viii), this paper will compare the two poets and their works in two different ages of predecessor pressure, making use of the extraordinary amount of 'available knowledge' (viii) we today have access to about the great romantic and the tabloid rockstar, and aim to answer the question: How do they cope with themselves, with the world of their time and their own 28 pp. Englisch, Books<