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Taschenbuch. Condizione: Neu. Druck auf Anfrage Neuware - Printed after ordering - Essay from the year 2012 in the subject American Studies - Culture and Applied Geography, grade: n.v., Humboldt-University of Berlin (Institut für Anglistik & Amerikanistik), course: SE Writing the Term Paper, language: English, abstract: Pre-9/11 America was a country where 'Islam was [.] well on its way to becoming accepted' (Fichtner 2011), where '2.5 million American Muslims were accepted without question as Americans' and 'people could distinguish between Osama bin Laden and their family doctors'. Yet after the attacks, 'their world caved in around them'. The country 'which still absorbs a million immigrants every year' became 'paranoid' and made them its 'internal enemy'. '[Unfounded] fear of and hostility towards Islam' (CAIR 2012) has lead to 'discriminations [,] [.] exclusion [.] [and] stereotyping' of Muslims, 'hate crimes' against them and 'the presumption of guilt by association'. A national poll by the Media and Society Research Group of Cornell's School of Industrial and Labor Relations shows that '44 percent of Americans [.] favor curtailing some liberties for Muslim Americans' (Friedlander Jr. 2004) because they believe 'Islam is a religion of violence [.] [that] supports terrorism' (CAIR 2012) - despite in fact being ''[.] not very knowledgeable' or 'not at all knowledgeable' about Islam'. Muslim Americans are arrested and questioned at US airports by virtue of 'a face or a name' (MacFarquhar 2006) and placed on a 'watch list' that is no longer able to 'distinguish between a lurking terrorist and a harmless citizen with a Muslim name'. Post-9/11 US Islamophobia therefore serves as an emphatic example of how unsubstantiated prejudice and racial profiling go hand in hand as the country becomes 'locked into war mode' (Fichtner 2011).

Taschenbuch. Condizione: Neu. Druck auf Anfrage Neuware - Printed after ordering - Essay from the year 2012 in the subject English Language and Literature Studies - Literature, grade: 1,0, Humboldt-University of Berlin (Institut für Anglistik & Amerikanistik), course: SE Writing the Term Paper, language: English, abstract: Babette Cole's Princess Smartypants is a young woman who has, according to her mother, reached the age at which she is ready for marriage. This typical fairytale theme of a young princess is contradicted and overthrown constantly by Princess Smartypants' character throughout the whole story - she seems, dresses, appears and behaves more like a child than a lady, favours pet monsters over men and tends to have more fun playing around than being responsible or at least behaving according to the position she is put into. It seems that for her, this childlike lifestyle is the key to living 'happily ever after' in a world such as hers - one of responsibility - and that she stands for the message that the child inside is what leads to happiness if lived to the full with devotion. This paper aims to elaborate on this thesis and its proof given in several elements of the children's story.

Taschenbuch. Condizione: Neu. 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 Books on Demand GmbH, Überseering 33, 22297 Hamburg 28 pp. Englisch.

Taschenbuch. Condizione: Neu. Druck auf Anfrage Neuware - Printed after ordering - Seminar paper from the year 2014 in the subject English Language and Literature Studies - Linguistics, grade: 1,3, Humboldt-University of Berlin (Institut für Anglistik & Amerikanistik), course: SE Verb Semantics, language: English, abstract: LOLspeak has established itself as a remarkably distinct form of online English language. The dialect used in memes with LOLcats has developed from being a Netspeak offspring slang used 'to make amusing text for funny cat pictures' to a language phenomenon with 'regularities and patterns' that make it 'a complex and systematic reimagining of the English language'. It has transgressed its meme boundaries and manifested in commentary forums, the bible rewrite 'LOLcat Bible Translation Project' - and has become the subject of a number of academic works. From a verb semantic point of view, LOLspeak jumps directly into the eye with its simplification and regularisation of verbs. The dialect in fact seems to be putting strong emphasis on the verb and its function amidst a sentence by shifting not only several grammatical components, but in this way also the aspect & situation type the verb and its correlating items in a sentence operate in. In doing so, it seems to be stressing the importance of the verb in this context as well as making aware of what in fact and in detail composes the aspect and situation type of a sentence. Is LOLspeak threfore a dialect of English that is worth appraising linguistically for its instructive & educational value - or is it a simple 'language play' that rather bears the contrary effect and degenerates the English language with its shifting and breaking of linguistic rules.

Taschenbuch. Condizione: Neu. Druck auf Anfrage Neuware - Printed after ordering - 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.

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Taschenbuch. Condizione: Neu. Druck auf Anfrage Neuware - Printed after ordering - Bachelor Thesis from the year 2015 in the subject English Language and Literature Studies - Literature, grade: 2,3, Humboldt-University of Berlin, language: English, abstract: Peter Doherty is a poet of today whose form of expression is music. Devoting himself to being a 'popstar [as well as] performance poet' (Doherty, Books of Albion 9), he is subject to extensive media coverage as a celebrity (cf. 262), on the one hand meticulously vituperated by the tabloid press for his junkie rocker lifestyle (cf. 141; Hannaford 158), on the other hand glorified as 'a folk hero' (168), a 'legend' (B Libertines 0:09:12) who 'has come to epitomise British rock 'n' roll [.] as both pariah and idol' (Hannaford 3), 'a true romantic with a God-given gift for melody and verse' (Pomphrey qtd. in 258) and even further as 'the last of the Rock Romantics' (5).Peter Doherty certainly shares poetic doctrines with English Romantic poetry. Nonetheless, his public presentation and depiction as a Romantic, be it by himself or by the media, must also be taken into account. It is neither without significance nor reason that he is declared a Romantic on account of his philosophy (cf. Hannaford 229), lifestyle (cf. 231) and 'self-destruction' (Anonymous Fan qtd. in 330), just as his own frequent referencing and citing of the Romantic poets (cf. From Albion to Shangri-La 178), the placement of these in relation to Doherty by others (cf. B Libertines 0:08:46-0:09:19) and overall his depiction as well as self-depiction in interviews, books and in his published diaries. The question that therefore evidently arises is: Subjected to a lyric analysis, can Peter Doherty be termed a Romantic poet Bearing in mind Pattison's words that 'rock has endowed the conventions of Romanticism with popular life' (38) and Hannaford's that Doherty has 'revived the notion of the rockstar as intellectual and as romantic troubadour' (227), this bachelor paper will aim to answer this question by firstly providing a definition of English Romantic poetry and a justification as to why popular rock music can be considered heir to Romantic poetry, then by examining the depiction and perception of Doherty as a Romantic public persona and distinguishing this from his poetic doctrines that resemble those of the Romantic poet, Albion and Arcady. These two themes will be examined and put into literary context, whereupon the second part of this paper will comprise the lyric analysis of four of Doherty's songs with regard to the literary attributes that define Romantic poetry. Finally, a conclusion of all that has been found will close the paper, delivering an answer to the stated question.

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Paperback. Condizione: Brand New. pap/psc edition. 220 pages. 11.25x8.75x0.50 inches. In Stock.

Condizione: Hervorragend. Zustand: Hervorragend | Sprache: Englisch | Produktart: Bücher | 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?

Condizione: Sehr gut. Zustand: Sehr gut | Sprache: Englisch | Produktart: Bücher | Bachelor Thesis from the year 2015 in the subject English Language and Literature Studies - Literature, grade: 2,3, Humboldt-University of Berlin, language: English, abstract: Peter Doherty is a poet of today whose form of expression is music. Devoting himself to being a ¿popstar [as well as] performance poet¿ (Doherty, Books of Albion 9), he is subject to extensive media coverage as a celebrity (cf. 262), on the one hand meticulously vituperated by the tabloid press for his junkie rocker lifestyle (cf. 141; Hannaford 158), on the other hand glorified as ¿a folk herö (168), a ¿legend¿ (B Libertines 0:09:12) who ¿has come to epitomise British rock 'n' roll [¿] as both pariah and idol¿ (Hannaford 3), ¿a true romantic with a God-given gift for melody and verse¿ (Pomphrey qtd. in 258) and even further as ¿the last of the Rock Romantics¿ (5). Peter Doherty certainly shares poetic doctrines with English Romantic poetry. Nonetheless, his public presentation and depiction as a Romantic, be it by himself or by the media, must also be taken into account. It is neither without significance nor reason that he is declared a Romantic on account of his philosophy (cf. Hannaford 229), lifestyle (cf. 231) and ¿self-destruction¿ (Anonymous Fan qtd. in 330), just as his own frequent referencing and citing of the Romantic poets (cf. From Albion to Shangri-La 178), the placement of these in relation to Doherty by others (cf. B Libertines 0:08:46-0:09:19) and overall his depiction as well as self-depiction in interviews, books and in his published diaries. The question that therefore evidently arises is: Subjected to a lyric analysis, can Peter Doherty be termed a Romantic poet? Bearing in mind Pattison's words that ¿rock has endowed the conventions of Romanticism with popular life¿ (38) and Hannaford's that Doherty has ¿revived the notion of the rockstar as intellectual and as romantic troubadour¿ (227), this bachelor paper will aim to answer this question by firstly providing a definition of English Romantic poetry and a justification as to why popular rock music can be considered heir to Romantic poetry, then by examining the depiction and perception of Doherty as a Romantic public persona and distinguishing this from his poetic doctrines that resemble those of the Romantic poet, Albion and Arcady. These two themes will be examined and put into literary context, whereupon the second part of this paper will comprise the lyric analysis of four of Doherty's songs with regard to the literary attributes that define Romantic poetry. Finally, a conclusion of all that has been found will close the paper, delivering an answer to the stated question.

Condizione: New. pp. 134.

Condizione: New.

Taschenbuch. Condizione: Neu. Neuware -Studienarbeit aus dem Jahr 2012 im Fachbereich Medien / Kommunikation - Mediengeschichte, Note: 2,0, Humboldt-Universität zu Berlin (Institut für Musikwissenschaft und Medienwissenschaft), Veranstaltung: SE Medien, Politik und Religion in der deutsch-deutschen Nachkriegszeit, Sprache: Deutsch, Abstract: Willi Forsts Spielfilm 'Die Sünderin' ist der größte Skandal der Filmgeschichte Deutschlands in derNachkriegszeit (vgl. Burghardt 1996:11). Ein 'bis heute ohne Beispiel gebliebener Proteststurm'(13) von Kirche und Öffentlichkeit gegen ihn manifestierte sich nicht nur in Flugblättern undMahnworten (vgl. 351-357), sondern auch in 'Boykottmaßnahmen' (23), 'ZwischenrufenPfeifkonzerten, [.] Stinkbomben und Tränengas' (26)Demonstrationen (vgl. 27-28) und schließlich in politischen Debatten (vgl. 26), Absetzungen (vgl.29-31) und Aufführungsverboten (vgl. 31-37). Grund für diesen Protest wurde gesehen imDurchbrechen von Tabus des Films (vgl. 239), in der Verherrlichung & Bejahung von 'Prostitution>wilder EheBooks on Demand GmbH, Überseering 33, 22297 Hamburg 20 pp. Deutsch.

Taschenbuch. Condizione: Neu. Druck auf Anfrage Neuware - Printed after ordering - Studienarbeit aus dem Jahr 2012 im Fachbereich Medien / Kommunikation - Mediengeschichte, Note: 2,0, Humboldt-Universität zu Berlin (Institut für Musikwissenschaft und Medienwissenschaft), Veranstaltung: SE Medien, Politik und Religion in der deutsch-deutschen Nachkriegszeit, Sprache: Deutsch, Abstract: Willi Forsts Spielfilm 'Die Sünderin' ist der größte Skandal der Filmgeschichte Deutschlands in derNachkriegszeit (vgl. Burghardt 1996:11). Ein 'bis heute ohne Beispiel gebliebener Proteststurm'(13) von Kirche und Öffentlichkeit gegen ihn manifestierte sich nicht nur in Flugblättern undMahnworten (vgl. 351-357), sondern auch in 'Boykottmaßnahmen' (23), 'Zwischenrufen,Pfeifkonzerten, [.] Stinkbomben und Tränengas' (26),Demonstrationen (vgl. 27-28) und schließlich in politischen Debatten (vgl. 26), Absetzungen (vgl.29-31) und Aufführungsverboten (vgl. 31-37). Grund für diesen Protest wurde gesehen imDurchbrechen von Tabus des Films (vgl. 239), in der Verherrlichung & Bejahung von 'Prostitution,>wilder EheSumpfblüteKloake der ZeitKloake der Zeit<', die der Filmwiderspiegelt. Er weist viele Parallelen auf zu einem Zeitalter der 'Unbestimmtheit des sozialenStatus [.] [,] ökonomische[r] Unterversorgung, [.] Instabilität und [.] extreme[r] Diffusitätgesellschaftlicher Leitbilder' (Schildt 1995:306), zu einem 'Zeitalter des Konsums' (353) und der'Freizeitgesellschaft' (363) sowie zum 'Visuelle[n] Zeitalter' (385) der 'Reizüberflutung' und des'Sensationalismus' (386) - und scheint als Spiegel dieser 'grundverdorbene[n] Gesellschaft, in dieich [(Marina)] da geraten war' ('Die Sünderin' 0:34:52) einen kritischen Blick auf sie zu werfen.Im Sinne der Erklärung Willi Forsts, sein Ziel mit 'Die Sünderin' sei es, '«sich nun an brennendeZeitprobleme [zu] wagen» [.] in der Darstellung einer lebensnahen Wirklichkeit' (Burghardt1996:15) , da das 'Publikum [.] nach Problemen der Wirklichkeit [verlange]' (16), wird sich dieseArbeit mit beiden Gesichtspunkten kritisch auseinandersetzen und die Frage zu beantwortenversuchen, ob 'Die Sünderin' mehr ein zu Recht verrufener Skandal ist oderdoch als Spiegel der Gesellschaft der 50er Jahre und als künstlerisches Meisterwerk (vgl. 14) zu denbedeutendsten Filmen seiner Zeit gehört, der schließlich dank seines Skandals zum 'kommerziellerfolgreichsten Film [.] im Bundesgebiet nach 1945' (51) wurde.

Taschenbuch. Condizione: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Essay from the year 2012 in the subject American Studies - Culture and Applied Geography, grade: n.v., Humboldt-University of Berlin (Institut für Anglistik & Amerikanistik), course: SE Writing the Term Paper, language: English, abstract: Pre-9/11 America was a country where 'Islam was [.] well on its way to becoming accepted' (Fichtner 2011), where '2.5 million American Muslims were accepted without question as Americans' and 'people could distinguish between Osama bin Laden and their family doctors'. Yet after the attacks, 'their world caved in around them'. The country 'which still absorbs a million immigrants every year' became 'paranoid' and made them its 'internal enemy'. '[Unfounded] fear of and hostility towards Islam' (CAIR 2012) has lead to 'discriminations [,] [.] exclusion [.] [and] stereotyping' of Muslims, 'hate crimes' against them and 'the presumption of guilt by association'. A national poll by the Media and Society Research Group of Cornell's School of Industrial and Labor Relations shows that '44 percent of Americans [.] favor curtailing some liberties for Muslim Americans' (Friedlander Jr. 2004) because they believe 'Islam is a religion of violence [.] [that] supports terrorism' (CAIR 2012) - despite in fact being ''[.] not very knowledgeable' or 'not at all knowledgeable' about Islam'. Muslim Americans are arrested and questioned at US airports by virtue of 'a face or a name' (MacFarquhar 2006) and placed on a 'watch list' that is no longer able to 'distinguish between a lurking terrorist and a harmless citizen with a Muslim name'. Post-9/11 US Islamophobia therefore serves as an emphatic example of how unsubstantiated prejudice and racial profiling go hand in hand as the country becomes 'locked into war mode' (Fichtner 2011). 12 pp. Englisch.

Taschenbuch. Condizione: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Seminar paper from the year 2014 in the subject English Language and Literature Studies - Linguistics, grade: 1,3, Humboldt-University of Berlin (Institut für Anglistik & Amerikanistik), course: SE Verb Semantics, language: English, abstract: LOLspeak has established itself as a remarkably distinct form of online English language. The dialect used in memes with LOLcats has developed from being a Netspeak offspring slang used 'to make amusing text for funny cat pictures' to a language phenomenon with 'regularities and patterns' that make it 'a complex and systematic reimagining of the English language'. It has transgressed its meme boundaries and manifested in commentary forums, the bible rewrite 'LOLcat Bible Translation Project' - and has become the subject of a number of academic works. From a verb semantic point of view, LOLspeak jumps directly into the eye with its simplification and regularisation of verbs. The dialect in fact seems to be putting strong emphasis on the verb and its function amidst a sentence by shifting not only several grammatical components, but in this way also the aspect & situation type the verb and its correlating items in a sentence operate in. In doing so, it seems to be stressing the importance of the verb in this context as well as making aware of what in fact and in detail composes the aspect and situation type of a sentence. Is LOLspeak threfore a dialect of English that is worth appraising linguistically for its instructive & educational value - or is it a simple 'language play' that rather bears the contrary effect and degenerates the English language with its shifting and breaking of linguistic rules 24 pp. Englisch.

Taschenbuch. Condizione: Neu. 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.

Condizione: New. Print on Demand pp. 60.