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Welcome Back

November 2009

Internet marketing, SEO, SocialNetworks and more

Getting the best from the web


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John Keats


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"To Autumn" is apoemby English

Romanticpoet John Keats(31

October 179 ! 3 #ebr$ary 1%1&'
http://en.wikipedia.org/wiki/Poetryhttp://en.wikipedia.org/wiki/Romanticismhttp://en.wikipedia.org/wiki/John_Keatshttp://en.wikipedia.org/wiki/John_Keatshttp://en.wikipedia.org/wiki/Romanticismhttp://en.wikipedia.org/wiki/Poetry


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"o )$t$mn" is the *inal +ork in

a gro$p o* poems kno+n as

Keats,s "1%19 o-es"'
http://en.wikipedia.org/wiki/John_Keats's_1819_odeshttp://en.wikipedia.org/wiki/John_Keats's_1819_odes


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"o )$t$mn" is a poem o* three

stan.as/ each o* ele0en lines' Writtenin 1%19/ the str$ct$re is that o* an

o-al hymn/ ha0ing three clearly

-e*ine- sections correspon-ing to

the lassical -i0isions o* strophe/

antistrophe/ an- epo-e
http://en.wikipedia.org/wiki/Odehttp://en.wikipedia.org/wiki/Strophehttp://en.wikipedia.org/wiki/Antistrophehttp://en.wikipedia.org/wiki/Epodehttp://en.wikipedia.org/wiki/Epodehttp://en.wikipedia.org/wiki/Antistrophehttp://en.wikipedia.org/wiki/Strophehttp://en.wikipedia.org/wiki/Ode


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he imagery is richly achie0e-

thro$gh thepersoni*icationo*

)$t$mn
http://en.wikipedia.org/wiki/Personificationhttp://en.wikipedia.org/wiki/Personification


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Poem


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2eason o* mists an- mello+ *r$it*$lness/


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Close bosom-friend of the maturing sun;


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Conspiring with him how to load and bless


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With fruit the vines that round the thatch-eves

run;


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o ben- +ith apples the moss,- cottagetrees/


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And fill all fruit with ripeness to the

core;

ll h - - l h


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o s+ell the go$r-/ an- pl$mp the

ha.el shells


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With a s+eet kernel4 to set b$--ing more/


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)n- still more/ later *lo+ers *or the bees/


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5ntil they think +arm -ays +ill

ne0er cease/


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For ummer has o!er-brimm!d their clamm"

cells#


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Who hath not seen thee o*t ami- thy store6


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2ometimes +hoe0er seeks abroa- may *in-


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hee sitting careless on a granary *loor/


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hy hair so*tli*te- by the +inno+ing +in-


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Or on a hal*reap- *$rro+ so$n- asleep/


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8ro+se- +ith the *$me o* poppies/ +hile thy hook


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2pares the net s+ath an- all its

t+in:- *lo+ers;


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)n- sometimes like a gleaner tho$

-ost keep


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Welcome Back

November 2009

Internet marketing, SEO, SocialNetworks and more

Getting the best from the web


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John Keats


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"To Autumn" is apoemby English

Romanticpoet John Keats (31

http://en.wikipedia.org/wiki/Poetryhttp://en.wikipedia.org/wiki/Romanticismhttp://en.wikipedia.org/wiki/Romanticismhttp://en.wikipedia.org/wiki/Poetry


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thro$gh the personi*ication o*

)$t$mn


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Poem


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run;


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core;

o s+ell the go$r- an- pl$mp the


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ha.el shells


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il h hi k - ill


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ne0er cease/


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cells#


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h i i l


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hee sitting careless on a granary

*loor/


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2 th t th - ll it


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t+in:- *lo+ers;

) - ti lik l th


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-ost keep

2t - th l - h -


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2tea-y thy la-en hea- across a

brook4

$r b" a c"der press with patient loo&


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$r b" a c"der-press% with patient loo&%

ho$ +atchest the last oo.ings


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ho$ +atchest the last oo.ings/

ho$rs by ho$rs'


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Where are the songs o* 2pring6 )y/ +here are they6

hink not o* them tho hast th


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hink not o* them/ tho$ hast thy

m$sic too/


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While barr:- clo$-s bloom the

so*t-ying -ay

) - t h th t bbl l i ith h


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)n- to$ch the st$bbleplains +ith rosy h$e4


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John Keats


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"To Autumn" is a poem by English

Romantic poet John Keats (31



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-e*ine- sections correspon-ing to

the lassical -i0isions o* strophe/



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)$t$mn


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Poem


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With fruit the vines that round the thatch-eves run;


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core;



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g / p pha.el shells


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ne0er cease/



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For ummer has o er-brimm d their clamm"

cells#


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2 ti h k b - *i -


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*loor/


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t+in:- *lo+ers;



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-ost keep



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brook4



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ho$ +atchest the last oo.ings/


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ho$rs by ho$rs'

h h * 2 i 6 ) h h 6


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/ y

m$sic too/


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so*t-ying -ay



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p y 4

gnats mo$rn


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gnats mo$rn

Among the river sallows borne aloft


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Among the river-sallows% borne aloft


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r sin&ing as the light wind lives or dies;

sinking

)n- *$llgro+n lambs lo$- bleat *rom


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g

hilly bo$rn4

=e-gecrickets sing4 anno+ +ith treble so*t


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=e-ge crickets sing4 anno+ +ith treble so*t


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n ga er ng s+a o+s + er n eskies


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skies'


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gnats mo$rn


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gnats mo$rn

Among the river-sallows borne aloft


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A QuickTour

of Logos

The Logical Appea

So what exactly is logic?


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So what exactly is logic?

Who cares?Informally, logic is about saying things that makesense.ou can think of it in that way if you like!

"It#s pretty sunny to$ay, so you shoul$ wear sunscreen!%

&ormally, logic is the art of arguing ' not like a (ght or$ebate, but by using the information we alrea$y knowto $raw new an$ useful conclusions!

"If it#s sunny to$ay, you shoul$ wear sunscreen!In$ee$ it is sunny to$ay!

Therefore, you shoul$ wear sunscreen!%


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")ut wait! That *ust looke$ like the

exact same thing you sai$ before, youhack!%

Well, yes! )ut that#s how an argument looks iform+ ou can break $own anyargument into

that makes it easier to think about!

If it#s sunny to$ay, you shoul$ wear sunscree

It is sunny to$ay!-------------------------------------------

Therefore, you shoul$ wear sunscreen!

.remises/

gi0ens

1onclusion

2.remises always come (rst, an$ the c

4ow about a more


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4ow about a more

complex argument?5! This piece of fresh fruit is fu66y!7! It also has see$s!

8! If a fruit is fu66y, it#s either a kiwi or a peach!

9! .eaches ha0e a pit they $on#t ha0e see$s!:! So the fruit can#t be a peach!

;! So the fruit must be a kiwi!

Which of the abo0e sentences is a conclusion?

4ow about a more


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4ow about a more

complex argument?5! This piece of fresh fruit is fu66y!7! It also has see$s!

8! If a fruit is fu66y, it#s either a kiwi or a peach!

9! .eaches ha0e a pit they $on#t ha0e see$s!:! So the fruit can#t be a peach!

;! So the fruit must be a kiwi!


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)ut what counts as goo$

logic%?That argument was goo$ 2ma$e sense3, becausethe conclusion followe$ from the premises! We#llsee what this means in a moment!

Why $on#t we look at a badargument?

)ut what counts as "goo$


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logic%?Some people ha0e fallen o= cli=s an$ li0e$!

Therefore, if I *ump o= this cli=, I will $e(nitely be (

"1ome on!What coul$possibly gowrong?%



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logic%?Some people ha0e fallen o= cli=s an$ li0e$!

Therefore, if I *ump o= this cli=, I will $e(nitely be (

This argument is weak! Although the premiseiit#s easy to think of ways 20ery painful ways3 tconclusioncoul$ be false! The easiest way to s

logic is to $o *ust that> try to think of another

2.hilosophers call these counterexamples3!



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logic%?Let#s look at two kin$s of arguments!1.e$ucti0e reasoning>

All interns can breathe (re! So.hilip can breathe (re!

Is there a piece of the pu66le missing?



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All interns can breathe (re! .hilip isan intern! So .hilip can breathe(re!

Sometimes you may encounter "hi$$en% state

an$ i$eas, which the writer sneaks in but $oessay outright!



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All interns can breathe (re! .hilip isan intern! So .hilip can breathe(re!

Are the premisestrue?

If so, then the conclusion#s100% guaranteed true!@o getting aroun$ it+



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logic%?Let#s look at two kin$s of arguments!2.In$ucti0e reasoning>

I touche$ a sto0e an$ it burne$ me! I $i$ this

(fty times, an$ the same thing happene$!Sothe

next time I touch the sto0e, it will burn me!

Are the premisestrue?

If so, then the conclusion#sprobably true! There mightstill be exceptions!

LIB W4AT?


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4ow is this useful to me?

Like Cr! Corgan sai$, the ability to makestrong logical arguments will become more

an$ more important later on in high schoolan$ college!

.athos an$ ethos are still 0aluable+ )ut

your au$ience will be a lot better atDuestioning them! Logos is han$y because,if you use it well, it can#t really be$ispro0e$!


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4ow is this useful to me?

)ut e0en better is the superpower to spot weaklogic!

@ext time you watch TE or go online 2with yourparents# permission, of course3, try to keep track ofhow many $i=erent arguments are being pitche$ toyou by a$s! 4ow much info is gi0en to you? 4ow

much is left out?


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What time is it?

A$0enF wait, no! Acti0ity time+

.air o= into groups of four! Bach group will recei0e anof a poor argument 2these may be either in$ucti0e or

With your group, you will ha0e : minutes to try to comone counterexampleF one way in which the argumecoul$ be wrong, e0en if the premises are $e(nitely tru.oke it full of holes+

Also, choose a group representati0e to tell us your rea

2It#s G to imagine unlikely or weir$ explanations$on#t be afrai$ to think outsi$e the box!G$$ly enough, logic has 0ery little to $o with facts!3

l


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Some examples>

ARGU!"#$"I pulle$ an allFnighter stu$ying for last wetest, an$ I en$e$ up with an A! Tire$ness must make m

&U"#!R$What if you got an A because you actually stGr maybe the test was going to be easy for you all alon

ARGU!"#$"If I play with a$#s power tools, he#ll yell a

)ut a$is

yelling at me for something! So I guess I muplaye$ with the power tools!%

&U"#!R$What if he#s yelling at you for a $i=erent reascratching the car, or hammerFthrowing the cat onto th

i &i th li ht i d li di


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sinking


hill b


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hilly bo$rn4



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he re-breast +histles *rom a gar-encro*t4


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cro*t4

n ga er ng s+a o+s + er n eskies'


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John Keats


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"To Autumn" is a poem by English

Romantic poet John Keats (31



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o )$t$mn is a poem o* three



-e*ine- sections correspon-ing tothe lassical -i0isions o* strophe/



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)$t$mn


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Poem



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/


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run;


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;



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core;


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core;

o s+ell the go$r-/ an- pl$mp theha.el shells


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ne0er cease


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ne0er cease/


cells#


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cells#



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t+in:- *lo+ers;


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t+in:- *lo+ers;


-ost keep


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-ost keep

2tea-y thy la-en hea- across a brook4


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ho$ +atchest the last oo.ings/ho$rs by ho$rs'


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y



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m$sic too


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m$sic too/

While barr:- clo$-s bloom the

so*t-ying -ay


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so*t -ying -ay



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gnats mo$rn


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g g ;sinking


hilly bo$rn4


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hilly bo$rn4



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he re-breast +histles *rom a gar-encro*t4


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)n- gathering s+allo+s t+itter in the skies'


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'omanticism


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4istorical an$ Social)ackgroun$

The industrial townThe industrial townThe in$ustriali6ation change$ ra$ically


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The in$ustriali6ation change$ ra$icallythe lan$scape of


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Prosperit" and confidence in()**+s

American and French revolutions

disappointment in bitter and

violent ends - ,apoleonndustrial 'evolution

dirt"% unorgani.ed cities emerge

huge class shift

)ritish SocietyJ The population was

$i i$ $ i t th i l


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$i0i$e$ into three social

classes>TH! $%()O*(!RS%() %RISTOR%"+

this class ha$ rule$ thecountry for centuries an$

hel$ most of the wealt!TH! B,SI(!SS'!(%() I(),STRI%$ISTS+

thanks to their har$work the british economywas thri0ing!

TH! '%SS!S+they worke$ in thefactories an$ were poor!

4istorical an$ Social)ackgroun$

#olitical Re-orms


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The &actory %ctof 5K88 limite$ working hours an$ chil$renun$er nine coul$ not work!

In 5K7: Trade ,nions were recogni6e$!&actory ownersforme$ their own associations

)usinessmen an$ in$ustrialists were gi0en the ote in 5K87!

A police -orcewas establishe$ in 5K7! A local goernment was establishe$ in e0ery town! A system ofnational primary education was set up in

5K89! 4istorical an$ Social)ackgroun$

The French Revolution

> as the #rench Re0ol$tion starte- the +hole


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as the #rench Re0ol$tion starte-/ the +holei-ea o* nationalism change-/ an- so -i- theromantic 0ie+4 it consiste- then in sel*-etermination an- a pri-e in the nationalorigins an- $nity4 they sai- that e0eryh$man being sho$l- be pri-e o* his originsan- nation/ b$t at the same time he sho$l--e0elop as an in-i0i-$al4 they claime- thatthere sho$l- be a balance in the-e0elopment o* each person bet+een thecommon interest o* the nation an- his o+n

personal goals> the accent +as p$t on the national history

an- *olklore/ an- *$rthermore/ the 0al$es o*tra-ition an- c$stoms +ere p$t at the centero* the romantic mo0ement

> inspire- by this 0ie+ $pon the co$ntry/ thepeoples o* E$rope ha- the po+er to re-ra+the map o* their continent an- *reethemsel0es

ng s oman c sm can e un ers oo as a re urn o ena ssance o e

poetry o- Spencer Shakespeare and 'ilton3. This return is anticipated /yowper 4ray ollins and Thomson.JH%R%T!RISTIS+5 Reial o- instinctual li-e 0reason was not so important3.5 The search o- the loe and the /eauty.

I t - R l ti 0% i & h th 6 - ( l 3


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5 Importance o- Reolutions 0%merican &rench the 6gure o- (apoleon3.5 (ew role o- imagination.

5 The reali7ation o- the su/lime the hal- way /etween real and supernaturalworld time and space.5 (ature as a source o- inspiration.5 Realuation o- myths.5 #hilosophers+ 8.8 Rousseau is the 6rst to use the word 9romanti:ue; in oneo- his works 09Reeries du promemuer solitaire;3. Romance has -rench

origins.Schlegel used the word 9romantisch; speaking a/out creatiity andsentimental themes in a critic work 9Sturm und )rang; 0in !nglish+ 9Stormand Stress; in which there is an exaltation o- nature uni:ueness and-reedom o- the indiidual ideal o- genius3.

Cenu


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Selected *orks < %nalysis o-

J &IST


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J SB1G@


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*I$$I%' B$%=!J*I$$I%'

*OR)S*ORTHJS%',!$ T.O$!RI)4!

Romantic #oets

William )lake

)l k M lif t


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)lakeMs life was spent

in rebellion an$ therestricti0e inNuencesof institutions such asgo0ernment an$ thechurch! )lake was

aware of the negati0ee=ects of the rapi$ly$e0eloping in$ustrial

an$ commercial

society!"The Lamb%

An$"The Tyger% Cenu .oets


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To see a World in

a Grain of SandAnd a Heaven

in a Wild Flower,

Hold Innity in the

palm of your hand

And Eternity in an hour!

William Blake was born in London, where he

spent most of his life. His father was a successfulLondon hosier and attracted by the doctrines ofEmmanuel Swedenborg. Blake was rst educatedat home, chiey by his mother. His parentsencouraged him to collect prints of the !talianmasters, and in "#$# sent him to Henry %ars&drawing school. 'rom his early years, he

e(perienced )isions of angels and ghostly monks,he saw and con)ersed with the angel *abriel, the+irgin ary, and )arious historical gures.!ndependent through his life, Blake left no debtsat his death on -ugust ", "/#. He was buried inan unmarked gra)e at the public cemetery ofBunhill 'ields.

0Auguries of Innocence

William Blake

)ack to In$ex Gnwar$ to )yron-nalysis of1-uguries of !nnocence2

1-uguries of !nnocence2'ull %oem

The Lamb an$ The Tyger


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)lake wrote two books> "Songs of Innocence%an$"Songs of Bxperience%!

In "The Lamb% from the

(ongs o) *nnocence )lakepresente$ with an imageof a gentle, bene0olent,lo0ing


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! tra)elled among unknown men,!n lands beyond the sea3

4or England did ! know till then,What lo)e ! bore to thee.

&5is past, that melancholy dream6

4or will ! 7uit thy shore- second time, for still ! seem5o lo)e thee more and more.

-mong thy mountains did ! feelthe 8oy of my desire3

-nd she ! cherished, turned the

wheel,Beside an English re.5hy mornings showed, thy nights

concealedthe bowers where Lucy played3-nd thine is too the last green

eld

5hat Luc &s e es sur)e ed

0I Travelled Among Unknown Men

William Wordsworth

William Wordsworth was born on -pril #,"##9, at :ockermouth on the ;i)erames Lowther, Earl ofLonsdale, the most powerful ?and perhapsthe most hated@ man in the area. His rstformal education was at -nne Birkett&sschool at %enrith, where one of hisclassmates was his future wife aryHutchinson. Wordsworth died on -pril "A,"/9.

-nalysis of 1! 5ra)elled -mong Cnknown en2

)ack to In$ex


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William Wor$sworth spoetry emphasies the

0alue of chil$hoo$experience an the

celebration of nature!4e glori(es the spirit

of man, li0ing in

armony with hisnatural en0ironment,far from the spiritually

bankrupt city! 4imbeing pantheistic

i$enti(e$ the nature

with go$!

I Wan$ere$ Lonely As A 1lou$ Cenu .oets

Romanticism in ?iterat$re (cont'&


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> here is pleas$re inbea$ty/ Wor-s+orth+rites' )n- in this

sense/ poetry sho$l-grati*y the senses'

> @n stri0ing to capt$rethe eternal bea$ty/ the

poet gi0es rise toromantic epression inall h$man beings'


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J Wor$sworth is best

known as a nature poetwho foun$ beauty,comfort an$ moralstrength in the naturalworl$! If he were ali0eto$ay he woul$

probably be a memberof an organisation thatcampaigns to protectthe e0ironment! &orhim the Worl$ of natureis free from corruption

an$ stress, an$ o=ersman a means ofescape fromin$ustrialise$ society!

Samuel T! 1oleri$ge

1oleri$geMs poetry often


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1oleri$ge s poetry often

$eals with themysterious, thesupernatural an$ theextraor$inary! While

Wor$sworth looke$ for

the spiritual in e0ery$aysub*ects, 1oleri$gewante$ to gi0e the

supernatural acolouring of e0ery$ay

reality!

The ime of the Ancient Cariner Cenu .oets

J oleridge descri/es


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J oleridge descri/es

the natural andsupernatural eentsthat occur duringthe adenturous

oyage.The eentso- the poem take

place in an eerieghostly atmosphereand the reader

o-ten -eels he ismoing -rom a realto an unreal world

and /ack again.


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)yron was the

prototype of theomantic poet! 4ewas hea0ily in0ol0e$with contemporary

social issues! 4e like

the heroes of his longnarrati0e poems, was

a melancholy an$solitary (gure whoseactions often $e(en$

social con0ections!

on Ouan Cenu .oets


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)on 8uan O i $ $ b


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J on Ouan is se$uce$ by

the beautiful an$ ol$eronna Oulia! She istypical of )yronMssplen$i$ female

portraits> sensual an$apparently innocent

always on the 0erge oftears or rea$y to faintan$ yet strong an$

aggressi0e! Abo0e all,she is much more

intelligent an$ cunning

than the a0erage man2especially if he is ahusban$3! @o character,

not e0en on Ouan, isfree of narratorMs irony!


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! met a tra)eller from an anti7ue landWho saidD 5wo )ast and trunkless legs of stoneStand in the desert. . . 4ear them, on the sand,

Half sunk, a shattered )isage lies, whose frown,-nd wrinkled lip, and sneer of cold command,5ell that its sculptor well those passions read

Which yet sur)i)e, stamped on these lifeless things,5he hand that mocked them and the heart that fed.

-nd on the pedestal these words appearDFy name is G=ymandias, king of kingsD

Look on my works, ye ighty, and despair6F

4othing beside remains. ;ound the decayGf that colossal wreck, boundless and bare.

5he lone and le)el sands far away.

0 Ozymandias%ercy Bysshe Shelley

%ercy Bysshe Shelley was anEnglish ;omantic poet who rebelled

against English politics andconser)ati)e )alues. Shelley wasconsidered with his friend LordByron a pariah for his life style. Hedrew no essential distinctionbetween poetry and politics, and hiswork reected the radical ideas and

re)olutionary optimism of the era.Like many poets of his day, Shelleyemployed mythological themes andgures from *reek poetry that ga)ean e(alted tone for his )isions.Shelley died >uly /, "/.

)ack to In$exGnwar$ to

Wor$sworth-nalysis of 1G=ymandias2

.ercy )ysshe Shelley

Shelley was the most


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y

re0oluctionary an$ nonFconformist of theomantic poet! 4e was

an in$i0i$ualist an$i$ealist who re*ecte$

the istitutions of,family,church, marriagean$ the 1hristian faithan$ rebelle$ against all

forms of tyranny!

efence of .oetry Cenu .oets

efence of .oetry


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J efence of poetry contains someof the (nest Duotes about theanture of poetry an$ the role of thepoet in the Bnglish language!

"A poet is t'e aut'or to ot'ers o) t'e'ig'est wisdom+ ,irtue+ pleasure

and glory%

Oohn eatseatsMs life makes hisliterary achie0ements


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literary achie0ements

e0en more astonishing!The main theme of hispoetry is> the conNict

betwenn the real worl$of su=ering, $eath an$

$ecay an$ the i$ealworl$ of beauty,

immagination an$eternal youth!

G$e on a


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A ionysian festi0al with music an$ecstatic $ances, a piper un$er thetrees in a pastoral setting, a youngman in lo0e pursuing a girl an$almost reaching her, a processionof townspeople an$ priest lea$ing acow to the sacri(ce!

eats is fascinate$ by the fact thatart is able to present an i$eal worl$because it can free6e actions an$emotions> the lo0er $epicte$ on theurn will ne0er actually reach the girlhe is following, the pipers will ne0eren$ their song, the streets of thelittle town will always be $esert an$silent! The beauty of the girl, thear$ent passion of her lo0er, thepleasure of the music an$ theboughs in bloom will ne0er fa$e!

Hugo and the Romanticism


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> =$go +as the one +ho +rote theliterary mani*esto o* theromanticism in the pre*ace to histrage-y calle- Cromwell

> he says that the ne+ -octrine is the

Aliberalism in literat$re an- thatAthere are neither r$les/ normo-els *or romantics

> as =$go presents it/ Romanticisme0ol0es as an opposition tolassicism an- Romantic

Carnassianism/ o**ering literat$re*ree-om o* epression thro$gh the-ismission o* norms'

Classicism Romanticism

i- l i > presents a $ni0erse -etermine-


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> presents an i-eal/ static/

obDecti0e +orl-> has i-eal categories an-

eternal types o* characters

> has an abstract/ e$ilibrate-an- -ominate- by morals

character> simply obser0es the nat$re

> preaches rationality

> the r$le o* the 3 entities; o*time/ space an- plot

> presents a $ni0erse -etermine-

by the mo0ements o* history/+hich is *antastical/ s$bDecti0e> the nat$re o0er+helms the

character

> has a -ynamic/ sentimentalhero/ +ho is in a constantsearch *or the absol$te

> artists reinterpret the nat$rethro$gh their o+n s$bDecti0ity

> emphasi.es sentiments/passions

> abolishes the r$le o* the 3entities

Romantic character


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> is an eceptional character p$t in eceptionalsit$ations(hero/ geni$s&

> is con*$se-/ $nsatis*ie-

> is contin$ally *ighting himsel* an- his limits

> can belong to any social class

> has goo- an- ba- traits/ like any h$man being

> the artist is the s$preme being/ +ho -oesnt ha0e tocomply to the r$les

Characteristics

> promotes antithetical constr$ctions/ contrasts/ etremes


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promotes antithetical constr$ctions/ contrasts/ etremes

> -isting$ishes artistic 0al$es in the less esthetical parts o* reality an-there*ore anticipates the 2ymbolism +hich +ill *o$n- a tr$e Aesthetico* the $gly

> symbols; the sky/ the stars/ the ocean/ the sea/ the lake/ the spring/ the+oo-s

> re-isco0ers the *olkloric creation/ the history an- the nat$re> has a pre-ilection *or the *antastic/ tragic/ grotes$e/ macabre/

mystery/ occ$lt/ -isease- an- e0en satanic

> places the in-i0i-$al at the centre o* all things/ o* li*e an- o* alleperiences

Romanticism & painting


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> E$g:ne 8elacroi/Liberty Leading thePeople

Romanticism & sculpture


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> #ranFois R$-e/La

Marseillaise

ARomantic

> #rom ARoman ! a poetic or prose heroic

i l -i l li


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narrative/ in late me-ie0al literat$re

> erm is re0i0e- to -escribe a Amo0ement

or set o* share- belie*s an- themesG

> Ggro+ing o$t o* late 1%th an- early 19th

> Gan- present as a contin$ing in*l$ence or

ten-ency


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Hat$re

> @n Hat$re/ =$manity is

! @nspire-

! @n*orme-! Re-eeme-

! rans*orme-

! @-eali.e-


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E$ality

> Egalitarian 0ie+ o* society

> he Asocial $nion among people

> Hationalism (loyalty to Anation0' Ar$lers&

> Re0ol$tion an- re*orm

> =$manity can be per*ecte-


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2ensibility

> @-ealism

> @ntensity o* emotions

> 2igni*icance o* actions

> Worthiness o* common person> =$manitys best is glori*ie- in the

! lassical

! e-ie0al


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@magination

> Co+er o* imagination to

Atransport

> in- heals/ con-emns itsel*> 2$bDecti0e nat$re o* tr$th

> 2pontaneo$s response

Cerhaps the most striking *eat$re o*

the poets o* the Romantic o0ement


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the poets o* the Romantic o0ement

is their attit$-e to nat$re' he

solit$-e o* real nat$re is alien/

immeas$rable/ inh$man4 the

Romantic solit$-e is a 0ision o*

nat$re +hich re*lects the solit$-e o*

the poet' he Romantic *in-s

e0ery+here in nat$re his o+n image'

2tephen 2pen-er


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he RomanticL poet' ' 'lo0es

to escape *rom the heat an-

press$re o* h$manity/ an- so

*rom himsel* as a social being/an- to lose himsel* in

the *ree-om o* lonely places'

Joseph Warren Beach

What the Romantics behel- +hen they looke- at li*e +as


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What the Romantics behel- +hen they looke- at li*e +as

a ra-ical -i**erence bet+een the +orl- o* appearances

an- the +orl- o* reality' What seeme- important in the

+orl- o* appearances (the +orl- as it looks to the

or-inary man/ the man o* Acommon sense& +as re0eale-

as $nimportant or *alse +hen it +as obser0e- by the mano* tr$e imagination' ''' h$s *ree- *rom $nimaginati0e

blin-ness/ the Romantic sa+ Hat$re an- an in their

tr$e light/ their essential character/ an- in their gen$ine

+orth' Ernest Bernba$m


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he most $ni0ersal image in RomanticpoetryL is perhaps that o* light/ a *it

symbol o* spirit$al ill$mination/ o* the

transcen-ental 0ision/ o* the +ork o* the

imagination/ o* the i-eal to +hich thepoet aspires'

R')' #oakes

'omanticism - Characteristics/

>he pre-ominance o* Individualism


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p

imagination o0er reasonan- *ormal r$les

>Crimiti0ism

>?o0e o* nat$re>)n interest in the past

>ysticism

>@nterest in the Mothic

Human rights

Idealiation of rurallife

Enthusiasm for thewild, irregular, Gothic

or grotes!ue in nature

Enthusiasm for theuncivilied or "natural#

Crinciples o* Romanticism;


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> Romanticism +as a reaction against con0ention'

> Romanticism asserte- the po+er o* the in-i0i-$al'

> Romanticism re*lecte- a -eep appreciation o* the

bea$ties o* nat$re'

> Romanticism emphasi.e- the importance o* the

s$bDecti0e eperience'

> Romanticism +as i-ealistic'

Romanticism +as a reaction against

con0ention;


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> )s a political mo0ement/ this reaction +as

re*lecte- in the ne+ -emocratic i-eals that oppose-

monarchy an- *e$-alism'

> @n art/ it meant a t$rn a+ay *rom Heoclassicisman- the ancient mo-els o* Mreek per*ection an-

lassical correctness'

> Chilosophically/ romanticism +o$l- conten- +ith

Rationalism


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> Romanticism marke- an era characteri.e- by ani-eali.ation o* the in-i0i-$al'

> Colitically/ the mo0ement in*l$ence- -emocratic i-ealsan- the re0ol$tionary principles o* social e$ality'

> Chilosophically/ it meant that the i-ea o* obDecti0ereality +o$l- gi0e +ay to s$bDecti0e eperience4 th$s/all tr$th became a matter o* h$man perception'

> @n the art +orl-/ romanticism marke- a *ascination+ith the in-i0i-$al geni$s/ an- ele0ate- the artist/

philosopher/ an- poet abo0e all others'

Romanticism re*lecte- a -eep

appreciation o* the bea$ties o*


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nat$re;> #or the romantics/ nat$re +as ho+ the spirit +asre0eale- to h$mankin-'

> he romantic philosophers belie0e- in the metaphysicalor spirit$al nat$re o* reality'

> hey tho$ght that a higher reality eiste- behin- theappearance o* things in the physical +orl-'

> Hat$re appeare- to people as a material reality4 ho+e0er/beca$se it e0oke- s$ch strong *eelings in h$mankin-/ itre0eale- itsel* as containing a higher/ spirit$al tr$th'

> Romantic artists trie- to capt$re in their art the same*eelings nat$re inspire- in them'

Romanticism emphasi.e- the

importance o* the s$bDecti0e


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eperience;> he romantics belie0e- that emotion an- the sensesco$l- lea- to higher tr$ths than either reason or theintellect co$l-'

> Romantics s$ppose- that *eelings/ s$ch as a+e/ *ear/

-elight/ Doy/ an- +on-er/ +ere keys that co$l- $nlock themysteries o* the +orl-'

> he res$lt +as a literat$re that contin$ally eplore- thein+ar- eperiences o* the sel*'

> he imagination became one o* the highest *ac$lties o*

h$man perception/ *or it +as thro$gh the imaginationthat in-i0i-$als co$l- eperience transcen-ent orspirit$al tr$ths'

Romanticism +as i-ealistic;


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> On one han-/ romanticism +as philosophically roote- ini-ealism'

> Reality eiste- primarily in the i-eal +orl- On the other han-/ romanticism +as literally i-ealistic4 itten-e- to be optimistic in its o$tlook on li*e'

> Colitical an- social romantics asserte- that h$man beingsco$l- li0e accor-ing to higher principles/ s$ch as thebelie*s in social e$ality/ *ree-om/ an- h$man rights'

Chilosophical Roots o*

Romanticism


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> he #rench philosopher Jean Jac$esRo$ssea$ (171 ! 177%& arg$e- thatci0ili.ation +as creating a race that +aso$t o* step +ith nat$re'

> i0ili.ation strippe- people o* theirnat$ral instincts'

> AE0erything is goo- +hen it lea0es the

creator/ he arg$e-/ Ae0erything-egenerates in the han-s o* men'

> Ro$ssea$ belie0e- h$man beings ha-innate int$iti0e po+ers4 that is/ theyinstincti0ely kne+ ho+ to -eal +ith theo$tsi-e +orl-'

> =e *elt that socalle- Aprimiti0epeople/ those +ho li0e- closer to an- inharmony +ith nat$re/ ha- a greater/more re*ine- int$ition than Aci0ilh$man beings'

> Ro$ssea$ belie0e- that there +ere basicprinciples/ s$ch as liberty an- e$ality/+hich +ere innate to h$man beings'

> i0ili.ation an- go0ernments/ ho+e0er/ha- con-itione- man to en-$re li*e+itho$t them'

> Ro$ssea$s i-eas +ere in*l$ential to

many/ *rom the )merican an- #renchre0ol$tionaries to romantic +riters'

> =is i-eas o* nat$re an- int$ition +eretaken e0en *$rther in the philosophy o*Kant'

Chilosophical Roots o* Romanticism

(cont'&


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> Chilosophy be*ore Kant +as largely base- on rationalisman- empiricism'

> Rationalism +as the belie* that kno+le-ge o* the +orl-co$l- be obtaine- only thro$gh reason'

> Reason co$l- kno+ reality in-epen-ently *rom sense o*eperience4 that is/ logic/ not emotion le- to tr$th'

> Empiricism +as the eact opposite' English philosophers/s$ch as John ?ocke an- 8a0i- =$me/ arg$e- that sense

+as the only +ay o* arri0ing at kno+le-ge' o get at thetr$th/ one ha- to go by eperience


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> @n the 0is$al arts/ English artists s$ch as J''W' $rner (1771%1&an- John onstable (1771%37& establishe- the 0is$al romantic genrethro$gh their lan-scapes o* sea an- co$ntrysi-e'

> 5sing rich/ almost impressionistic colors an- tones/ they painte- +itha -eep appreciation o* the bea$ties o* nat$re'

> Both re*lecte- the contemporary literary an- romantic mo0ements inE$rope'

> heir art con0eye- the romantic i-eal4 that is/ they s$pporte- theromantic belie* that re*lections on the bea$ty o* nat$re co$l- initiate aheightene- personal a+areness o* the senses/ an- th$s approach the

spirit o* the -i0ine'

Romanticism in ?iterat$re


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> @n literat$re/ romanticism +as -ominate- by

the English poets William Wor-s+orth

(177P1%P& an- 2am$el aylor oleri-ge

(1771%3Q&'

> @n 179% oleri-ge an- Wor-s+orth

p$blishe- a Doint 0ol$me o* poetry calle-

Lyrical Balladsan- in -oing so la$nche- theEnglish Romantic o0ement'



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> @n hisPreace to the Lyrical BalladsWor-s+orthpro*esses all the basic principles o* romanticism;he anno$nces the break +ith tra-ition4 he e$ltsthe po+er o* the romantic poet to gi0e 0oice toin-i0i-$al *eeling4 he speaks o* the po+er o*nat$re to sho+ the +ay o* the spirit4 he praises the*ac$lty o* the imagination to gi0e 0oice to thes$bDecti0e eperience4 an- he speaks o* the

ennobling e**ects poetry has on the moralcon-ition o* h$mankin-'



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> Wor-s+orth *elt the imagination co$l- take the eperiences o* e0ery-ay menan- +omen an- t$rn them into art'

> By th$s highlighting the or-inary/ Wor-s+orth points to the -eeper spirit thatli0es in all things4 the problem/ as he sees it/ is that h$man habit has ma-e these+on-ers too *amiliar'

> 5nlike oleri-ge/ +ho sa+ the imagination as the Ali0ing po+er an- prime

agent o* all h$man perception/ Wor-s+orth *elt lang$age an- poetry +eresecon-ary to the act$al eperiences o* h$man beings' @n other +or-s/ it +as theobDect o* poetry to $nco0er these realities/ not to pose as realities themsel0es'

> Wor-s+orth -e*en-s the romantic poets reliance on personal *eelings an-/ likeRo$ssea$/ claims that h$man beings ha0e become too -istant *rom their nat$re'

> i0ili.ation has stolen their insight into nat$re a+ay' @n other +or-s/ the o0erstim$lation o* the senses (e0en in an age +itho$t 0i-eo games& keeps men an-

+omen *rom appreciating the $iet bea$ty o* nat$re/ an- +ith it theopport$nity *or me-itati0e tho$ght an- introspection'


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J "Eoices an$ Eisions%

J "Literature an$ Anthology in the

Bnglish Language%

Cenu

Where are +e6


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Targetometer

)gen-a


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> Cart One! @ntro-$ction an- backgro$n-

! 2earch Engine Optimisation (on site&

! Menerating ra**ic Online (b$t o** site&

> Break

> Cart +o

! 2ocial Het+orking (on an- o** site&

! Croacti0e ra**ic Meneration (O**line&

! @ntegrate- arketing ampaigns

> $estion time

What is Web 'P S 2ocial e-ia6


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> =ype (or Dargon&6

> echnology6

> hange in attit$-e o* $sers or the attit$-e o* Web

managers6

> ) +eb cop o$t or a +ay to gi0e *ree-om to $sers6

> ) goodthing or a badthing6

> J$st another thing6> ) *a-6

@n*l$ential Opinions


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Web 'P S 2ocial e-ia S 2ocial Het+orking


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> =ar- to -e*ine

> #a0o$rite 0human interaction in a virtual world1

> echnology I )ttit$-e I #ree

> Web 'P technology pro0i-es instant comm$nication

> his technology an- ne+ attit$-e allo+s $ser generate-

content (5M&

> 2ocial e-ia are the ne+ online tools

> 2ocial Het+orking is +hat +e -o


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We sayG


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> 2on+tignore it

> 3reatopport$nity

> 2on+tlet it -a..le

> Keep a b$siness *oc$s an- marketing perspecti0e

> Remember the Mol-en R$les


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5ser types (#orrester ! 2ean orcoran&


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> reators

> ollectors

> ritics

> Joiners

> 2pectators

2trengths


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> Cersonal

> Nali-ate-

> re-ible

> Engaging

> Niral

@ncreasing importance in 2EO

o*;


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> Eternal ?inking

> Web #ootprint I Cresence

> )$thority

> heme an- Rele0ance

> 2ocial Het+orking sites are seen to rank highly

What -o we$se 2ocial Het+orks

*or6


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> ollaboration

>Recr$itment

> arketing an- #oc$s gro$ps

arketing


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> ra**ic generation an- search

> arketing

!Bran- positioning

!CR

!?ea-s

!2ales

!$stomer interaction

!Retention an- rein*orcement

!#ee-back

2ome (2ocial& Het+orks

> Blog (+ith links to yo$r site&


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> 2$i-oo lens

> y2pace

> #acebook gro$p

> ?inke-@n

> agging (-elicio$s/ st$mble$pon/ 8igg&

> Uo$ $be

> 2li-eshare

> #lickr

> +itter

> )rticle 2ites

> CR 2ites

> ra-espace

> Hiche =ome B$siness Het+ork I others I etc''

2t$mble5pon


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-igg


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-elicio$s


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Blog an- blogging


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> Easy to b$il- Wor-press

> On site or o** site6

>Blog 8irectoriesI Other blogsI Uo$r o+nsite

> Be interesting an- not too salesy

> 2earchable ontent> o$ple o* times a month

#acebook


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> B$siness to ons$mer> ass market

> AMi0e me a poke or Ahro+ me a

sheep/ A-$-e

> #an Cages an- Mro$p Cages

> =ighly targete- a-0ertising

> Be personal b$t re*lect yo$r bran-> Be interacti0e an- get 0isitors in0ol0e-

?inke- in


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> Ol-er/ b$t less +ell kno+n6

> Cro*essionals

> B$siness to B$siness

> ompany Cro*ile Cage

> ?inke-@n )ns+ers

> arket Research

> 2ales


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+eet-eck


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@nnocent #acebook

2earch


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@nnocent *acebook

0i-eos


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@nnocent on *acebook


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S2 Het+ork ?inks


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S2 #acebook


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S2 *acebook

-isc$ssions


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S2 *acebook o**ers


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S2 +itter


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8ell omm$nity

Cages


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8ell 2ocial Het+ork

?inks


257/297

8ell ?inke-in


258/297

8ell +itter Mro$ps


259/297

8ell O$tlet +itter


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8ell #acebook


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8ell *acebook


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8ell *lickr


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ESU areers

*acebook


264/297

M Blog


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armite #acebook


266/297

armite #acebook


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armite *acebook

games


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armite *acebook

promos


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armite Website


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armite on Uo$t$be


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Uo$t$be

> )ll yo$ nee-


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)ll yo$ nee-

!amera

!)ston artin

!Cair o* trainers

> http;II+++'yo$t$be'comI+atch60Xy5Ra9P

RDkS*eat$reXplayerYembe--e-

> http;II+++'yo$t$be'comI$serIblen-tec6blen-X1SobXQ

What -oes this tell $s6

> Croblem -ri0en


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ob e - 0e

> ObDecti0es

> reati0e

> Rele0ance

> Reso$rce

> @t Works

Who

> #ans


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#ans

> @ntereste- c$stomers

> Reg$lar $sers

> Hiche

> We t$rn them into a-0ocates

) 2mall =oli-ay ompany

> Website


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> Rich ontent

> Cages *or long tail 2earch erms

> Blogs relating to this

> ?inks *rom rele0ant blogs

> Ni-eos on Uo$$be

> )-+or-s

> 8irectories

> ags

> #acebook

> )rticles sites

> CR 2ites

ail +agging the -og6


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> Were not talking abo$t a Website anymore

+ere talking abo$t a Web Presence


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Mro$n-s+ell ! #orrester Research CO2

> Mro$n-s+ell ! #orrester Research CO2


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! Ceople

! ObDecti0es

! 2trategy

! echnology

> B? 2ol$tions ! WEB2@E

! Watch

! E0al$ate

! Become an acti0e belie0er

! 2trategy

! @mplementation! echnology

! E0ol0e

"o )$t$mn" is the *inal +ork in a


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o )$t$mn is the *inal +ork in agro$p o* poems kno+n as Keats,s

"1%19 o-es"'


stan.as/ each o* ele0en lines' Written

in 1%19 the str$ct$re is that o* an


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in 1%19/ the str$ct$re is that o* ano-al hymn/ ha0ing three clearly

-e*ine- sections correspon-ing tothe lassical -i0isions o* strophe/




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he imagery is richly achie0e-thro$gh the personi*ication o*

)$t$mn

Poem


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Poem



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With fruit the vines that round the thatch-evesrun;


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And fill all fruit with ripeness to thecore;


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o s+ell the go$r-/ an- pl$mp theha.el shells


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5ntil they think +arm -ays +illne0er cease/


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For ummer has o!er-brimm!d their clamm"cells#


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