Titlebook: Byron and the Politics of Freedom and Terror; Matthew J. A. Green (Associate Professor in Englis Book 2011 Palgrave Macmillan, a division

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Pedro Funari,Andres Zarankin,Melissa Salerno later call imitative or triangular desire.. By the time he turned to writing tragedies in 1820 and 1821, the poet’s understanding of imitative processes—in their individual, social, and political dimensions—had matured. His late plays are a highly qualified observer’s fullest meditation on the powe

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https://doi.org/10.1007/978-1-4419-0679-3en more ravished myself than anybody since the Trojan war.”. The comparison is suggestive, for it links him to a tradition of men pursued and even dismembered by women, especially Pentheus in . and Orpheus in Virgil’s .. In ., Byron continued the Orphic theme. He depicted his hero not as the legenda

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Rodrigo Navarrete Sánchez,Ana María López…void.”. This is from Baudrillard’s response to the events of September 11, 2001, the first in a series of four short essays published under the title . in 2002. Reviewing the essays in 2002, the . wrote:

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https://doi.org/10.1057/9780230248502As the drama draws to a close, Shakespeare’s Cleopatra imagines with horror the Roman theatrical sequels that will spring up in mockery of her Egyptian majesty. As she tells her handmaiden Iras, “scald rhymers” will “ballad us out o’ tune,” and

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, Spectacle, and the Empire State,As the drama draws to a close, Shakespeare’s Cleopatra imagines with horror the Roman theatrical sequels that will spring up in mockery of her Egyptian majesty. As she tells her handmaiden Iras, “scald rhymers” will “ballad us out o’ tune,” and

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,“Awake to Terror”: The Impact of Italy on Byron’s Depiction of Freedom’s Battles,Writing to John Murray from Venice in May 1820, Byron affirmed his hatred of the English “as a race” and detailed his sight-seeing in Rome where he had been “poring over churches & antiquities”: