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About 10,000 papers for “Classics”

LibGuides: Classics: Classics

Zoe Mayhook · 2020

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Gothic Classics: Graphic Classics

Ruth A. Clements · The Edgar Allan Poe Review · 2007

Book Review| October 01 2007 Gothic Classics: Graphic Classics Gothic Classics: Graphic Classics, Volume 14Pomplun, Tom Ruth Clements Ruth Clements Search for other works by this author on: This Site Google The Edgar Allan Poe Review (2007) 8 (2): 86–89. https://doi.org/10.2307/41506267 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Ruth Clements; Gothic Classics: Graphic Classics. The Edgar Allan Poe Review 1 October 2007; 8 (2): 86–89. doi: https://doi.org/10.2307/41506267 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectivePenn State University PressThe Edgar Allan Poe Review Search Advanced Search The text of this article is only available as a PDF. Copyright © 2007 by The Pennsylvania State University. All rights reserved.2007The Pennsylvania State University Article PDF first page preview Close Modal You do not currently have access to this content.

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Research Guides: Classics: Classics

Cal Murgu · 2011

A research guide to help you find relevant books and articles in the field of Classics Library resources for Classical Languages, Ancient Art & Archaeology, Classical Studies, and Classical Civilization

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Classics Faculty Publications Classics

H. Paul Brown, H. Paul Brown · 2014

Share feedback about the accessibility of this item. This is the author&apos;s version of the work. This publication appears in Gettysburg College&apos;s institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link:

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LibGuides: Classics: German classics

Suzannah Hawtin · 2016

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Practical classics incorporating popular classics

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LibGuides: Classics: Journals in Classics

Robert Thomas · 2010

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Classics outside the Classics Department

Marian Demos · Transactions of the American Philological Association (1974-) · 1995

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Subject Guides: Classics: Classics Databases

Melissa Becher · 2009

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Classics

Sullivan, H · Oxford University Research Archive (ORA) (University of Oxford) · 2012

T. S. Eliot made repeated, polemical, and idiosyncratic use of the word ‘classic’ and its cognates ‘classical’ and ‘classicism’ in his prose writings. In the earlier part of his career, he tended to use the term not to refer to writing in Latin and Greek (the Classics) or even to canonical texts in a wider range of languages, but as a call to arms. In his critical lexicon of the 1910s and 1920s, ‘classicism’ meant writing that was intelligently organised, mature, well proportioned and impersonal rather than gushingly emotional, personal or vague; and the opposite of ‘classicism’ was ‘romanticism’. Both terms are to be understood primarily as formal and stylistic rather than temporal distinctions. Andrew Marvell is a ‘classic in a sense which [Thomas] Gray and [William] Collins are not’ because of his sense of argumentative and aesthetic ‘equipoise, a balance and proportion of tones’ (SE, 302). Charles Baudelaire's poetry may superficially appear classical, but a subtle ‘inner disorder’ means that it has ‘the external but not the internal form of classic art’ (SE, 423–4).\n<br>\nIn an essay on John Milton – the most classically educated and classicising of English poets – Eliot again withholds the label: his style is baroque, ‘peculiar’, and too divorced from common speech, ‘it is a style of a language still in formation’ (OPP, 58). The 1923 essay ‘Ulysses, Order, and Myth’ may ostensibly be about James Joyce's use of Homeric myth to structure the chaos of modern life, but it is also a personal intervention in literary politics: ‘I think that Mr Aldington and I are more or less agreed as to what we want in principle, and agreed to call it classicism’ (SP, 176).

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Classics

Leonard, M · UCL Discovery (University College London) · 2004

In this wide-ranging guide to twentieth-century French thought, leading scholars offer an authoritative multi-disciplinary analysis of one of the most ...

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Classics

Butterick Company · University of North Texas Digital Library (University of North Texas) · 1980

Butterick Classics Pattern #4799 to make a misses' dress with collar variations, back zipper closure, bias skirt, and side pockets, including illustrations of the finished pieces and information about sizing and construction on the back.

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Classics

V. I. Arnold, Kapil H. Paranjape · Resonance · 2014

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Classics

John Talbot · Cambridge University Press eBooks · 2024

Evocations of Classical Greece and Rome pervade Robert Lowell's entire oeuvre. His fascination with Latin literature in particular shaped his own poetry. The density and involved syntax of Virgil and Propertius are echoed in the crabbed and tortured involutions of Lowell's earlier poetry. His confessional verse is in part a response to Catullan frankness. His view of America as declining from republic into empire was colored by the historiography of Suetonius and Tacitus, in whose portraits of imperial tyrants Lowell found a frame for depicting the darker elements of his own character. He essayed many (usually very free) translations or versions of Greek and Roman poems, often with autobiographical inflections. A number of "original" poems can be shown to have originated as translations from Catullus, Virgil, Propertius, or Horace. In contrast with his almost obsessive engagement with Roman literature, Lowell's engagement with Greek was less extensive, often mediated through later European literature, and (notably in his versions of Aeschylus) less vivid.

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