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Franz Ferdinand begin many of their songs with a nod to their influences before heading off towards parts unknown. “Come on Home” starts with a shimmering guitar line on loan from Blondie, then grooves away unabashedly with some positively Keatsian lyrical work from Kapranos: “Moonlight falls upon your perfect skin / Falls, and you draw back again...

Author: By Nathaniel A. Smith, CRIMSON STAFF WRITER | Title: CD Review | 3/12/2004 | See Source »

...impression in his several appearances at Harvard that he in no way regrets his decisions to avoid public politicking. The later collections become more and more violent and even overtly political in prose style and theme (particularly the works in The Spirit Level), but never lose their acute Keatsian awareness of detail and natural beauty...

Author: By Ankur N. Ghosh, CONTRIBUTING WRITER | Title: Sifting Through Thirty Years of Seamus Heaney | 11/6/1998 | See Source »

...said Hass spoke in that panel about how most of Keats' later poems were never equalled by later artists, so it is "therefore intimidating to poets who cannot call themselves Keatsian without believing that they will fail to measure up to his standard...

Author: By Douglas M. Pravda, | Title: Houghton Hosts Keats Conference | 9/13/1995 | See Source »

...multiplicity of hidden messages. The image of the cigarette/ phallus remains central, perhaps suggesting Merle's own doubts about his manhood. As Merle stands, patriachal, yet despairing amidst the rolling fields of tobacco, the camera shifts once again to an image of sexual negation. The Barn is a Keatsian cave of forlorn despair and homosexual repression, suggesting void on both a sexual and an ontological level. The only hint of resolution comes in the form of conversion. All seems resolved as the tobacco is mysteriously rendered into phallic triumph in the form of the omnipresent cigarette...

Author: By Daley C. Haggar, | Title: Why is Merle Haggard? | 3/9/1995 | See Source »

Channing could only glimpse the Keatsian stars and the Thoreauvian mornings. While he looked inward in an age that insisted the truth was outside the self. Channing advanced, Delbanco reminds us, toward the Transcendentalist belief in the internalized, of the divine without reaching it. The author's compelling analysis claims that Channing "is willing to seek truth in the mental process itself." He "discredits" history, "dismantles" nature, and assails the law as he comes closer to understanding his own human head. Delbanco affirms "he has affinities with Emerson, with William James. But he has no school." In an age when...

Author: By James L. Cott, | Title: The Liberal Imagination | 4/8/1981 | See Source »

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