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Kostantzer, Stephane Christian. "Les Odes de John Keats : une grammaire poétique." Université Marc Bloch (Strasbourg) (1971-2008), 2008. http://www.theses.fr/2008STR20081.
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Le projet de cette étude consiste à mettre à profit les outils de la linguistique, notamment la linguistique énonciative, pour étudier les cinq grandes odes du poète romantique anglais John Keats. Il s’agira, en combinant la théorie des opérations énonciatives, la sémantique et l’interprétation littéraire, de mieux comprendre le rôle des marqueurs grammaticaux et leur usage original dans la poétique de Keats, et de voir comment l’auteur utilise de façon signifiante les catégories grammaticales et les valeurs qui leur sont associées pour donner aux termes de l’énoncé poétique un surcroît expressif tendant vers ce que Antoine Culioli appelle le haut degré notionnel. Ce faisant, nous serons amené à mettre à jour d’autres procédés créateurs d’expressivité poétique : la polysémie, la mise en réseaux lexicale, thématique ou prosodique, la discontinuité textuelle, logique, référentielle ou pragmatique, les figures de style (métaphores, métonymies, oxymores, synesthésies), la trans-polarité et la trans-énonciativité — notre objectif constant restant de voir comment la grammaire se prête à ces procédés expressifs. Pour mener à bien cette étude, nous étudierons d’abord l’expressivité au sein du groupe nominal, en nous concentrant sur l’emploi des adjectifs et des pronoms ; puis nous analyserons la détermination verbale ; et enfin, nous proposerons une étude des prépositions, afin de voir en quoi elles aussi participent de l’expressivité poétique<br>The aim of this study is to use the tools of linguistics, notably enunciative linguistics, to study the five great odes by the English romantic poet John Keats. By combining the theory of enunciative operations, semantics and literary criticism, we shall try to define the role of grammatical markers in Keats’s poetry and see how originally and significantly the author uses grammatical markers and their associated values to give his utterance a greater expressivity that points to what Antoine Culioli calls the haut degré. In doing so, we will bring to light other devices that partake in poetic expressivity: polysemy, lexical, thematic or prosodic network structuring, textual, logical, referential or pragmatic discontinuity, figures of speech (metaphor, metonymy, oxymoron, synesthesia), trans-polarity and trans-enunciativity. Our constant aim will be to focus on the way grammar lends itself to those expressive forms. We shall first analyse expressive forms in the nominal group, then in verbal determination, and finally, we shall see how prepositions are similarly turned into markers of poetic expressivity
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Johnstone, Michael 1971. "Breathing eyes : Keats and the dynamics of reading." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26692.
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Starting with Jerome McGann's landmark 1979 essay "Keats and the Historical Method in Literary Criticism," the recent sixteen-plus years of Keats criticism brims to overflowing with the dominance of New Historicism and its archaeological recovery of the political, historical Keats against the previous preeminence of a formalist, aesthetic Keats. The grip of New Historicism now holds tightly enough, perhaps, to the point where it suffers from a lack of attention to formalist, aesthetic, stylistic differentials and peculiarities. A critical position, then, that addresses this lack of attention looks to be an assessment of the relationships between New Historicism and formalism: how, in fact, New Historicism owes a debt to the formalist ways of reading it works to overcome. Such ways of reading find one of their most powerful statements in Keats himself--and, in a startlingly close twentieth-century analogue, the reader-response theory of Wolfgang Iser. The readings here of Keats's poetry consider how it reveals that Keats, like Iser, holds the germ of New Historicism's methodology, as it falls under the general taxonomy of Iser's theory but for how it actually dramatizes and predicts that theory. Reading, for Keats, ultimately places one in a dynamic relationship with history--a relationship always of potential, perpetually "widening speculation" to "ease the Burden of the Mystery" that is history.
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Elprin, Jeremy. "Challenging unsettledness : approaches to reading the letters of John keats." Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCC059.
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Cette thèse s'intéresse aux défis posés par le caractère instable des lettres de John Keats. Même si ces dernières comptent parmi les plus célèbres de toute la littérature anglaise, les critiques n'ont commencé que récemment à les envisager comme une création artistique à part entière, plutôt qu'un simple complément (aussi éclairant soit-il) à son oeuvre poétique, ou une source biographique. Afin de mener ce projet à bien, ce travail de recherche se propose d'étudier leur complexité, tant formelle que générique et matérielle. Cela implique de les examiner sous différents angles critiques — en ce sens que ces lettres semblent inviter et mettre à l'épreuve certaines approches interprétatives — mais aussi de s'intéresser à leur forme manuscrite, en regard de leurs transcriptions et leur diffusion une fois éditées. Plus spécifiquement, et grâce à la numérisation récente d'une quantité importante des lettres manuscrites, il est désormais possible de s'intéresser de plus près à l'engagement artistique de Keats pour son oeuvre épistolaire, d'étudier dans quelle mesure son écriture s'adapte à l'aspect visuel et matériel de la page manuscrite, et comment elle exploite savamment les limites de la lettre, en tentant d'y créer un nouvel espace de composition, engendré par la nature même du support. En remettant l'accent sur les différentes formes d'instabilité qui sous-tendent l'intégralité du corpus, cette thèse tente à la fois de souligner les problèmes de compréhension que posent encore certains des passages les plus emblématiques, et de mettre en lumière ces textes dont l'opacité relative continue de mettre le lecteur à l'épreuve<br>This thesis -explores the challenging unsettledness of John Keats's letters, and attempts to give them the sustained critical attention they have long deserved. Indeed, although the letters rank among the most famous in English literary history, critics have only recently begun to read them as a creative achievement in their own right, rather than as an illuminating supplement to his poetic oeuvre or as material for his biography. The present study argues that, in order to further this project, it is necessary to think more about their formal, generic, and material complexity. This entails looking at them from a variety of angles — as texts which seem self-consciously to invite and to challenge certain interpretive approaches — but also looking at the way they were originally written, in comparison with the way they have been transcribed and disseminated in print. In particular, thanks to the recent digitization of a substantial number of the extant holograph letters, it is now possible to read further into Keats's creative engagement with his epistolary materials: to study the ways in which his writing responds to the look and feel of the manuscript page, probes and strategically exploits the limits of individual letters, speculates on and prospects for an alternative compositional space opened up by the medium itself. By returning focus to the diverse forms of unsettledness (textual, theoretical, "literary") which underlie the corpus as a whole, this thesis attempts at once to expose some of the gaps in our understanding of the most canonical passages of the letters, and to shed light on those texts — often no less challenging — which have remained in relative obscurity
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Alegría, Corona Diego. "Walking as a visionary experience: the odes of John Keats." Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/143422.
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Gutiérrez, Malhue Lili. "The ambivalent depiction and presence of the feminine in the work of John Keats." Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/137781.
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Grodd, Elizabeth Stafford. "The Love Poems of John Clare and John Keats: A Comparative Study." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4907.
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This study addresses lesser known works of romantic poets John Clare and John Keats--Clare's Child Harold and Keats's poems to Fanny Brawne--which I refer to as their love poems because the works are informed by intense feelings the poets had for women they loved. Although these works have been the brunt of negative criticism because Clare was considered insane at the time of the composition of Child Harold and Keats was accused of using the poems to give vent to his personal sufferings, nonetheless I argue that the love poems are significant for several reasons. They are a reflection of the poets' personal experiences and also demonstrate their remarkable and surprisingly similar creative abilities in the way they use poetry as a means of devising new strategies for dealing with the painful realities of their disturbing lives. And because I feel it is important to understand Clare's and Keats's feelings for the women they love in order to understand their poetry (since the poetry is, after all, based on real life experiences), I provide chapters describing the poets's lives and loves, as well as their poetic processes, to serve as a framework for examining the poems. In the remaining chapters, I show how the poets incorporate highly sophisticated metaphor in attempting to reconcile the apparent conflicts the speakers in their poems are experiencing between their subjective responses to, and their rational assessment of human existence. In the process, the speakers experience various states of emotional upheaval ranging from what I refer to as periods of limbo, purgatory, and paradise, and they create personal thresholds and undergo differing states of self-awareness. In the final chapter I provide a summary of how these different emotional states are metaphorically effected, and then attempt to explain the value of Clare's and Keats's poetic achievements in the poems from a current perspective.
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Montheard, Oriane. "De l’un à l’autre : rencontres et contaminations dans la poésie et la correspondance de John Keats." Paris 3, 2007. http://www.theses.fr/2007PA030051.
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Cette thèse cherche à identifier l’articulation qui organise la pratique keatsienne d’une écriture à deux visages. L’écriture épistolaire et l’écriture poétique keatsiennes donnent en effet des versions différentes d’une même conception du monde, de l’écriture et de l’expérience des rapports humains axée sur une logique de l’ouverture. Dans les poèmes et dans les lettres, la rencontre et la contamination sont les deux étapes qui marquent le chemin vers l’autre, que ce soit l’interlocuteur des poèmes, le destinataire, le lecteur, l’autre féminin ou l’autre genre littéraire. Ainsi, selon leurs stratégies et leurs motivations propres, la poésie et la correspondance apportent chacune leur réponse à des problématiques communes. Une première partie explore l’énonciation de l’adresse, qui convertit l’absence de l’autre en présence verbale et fait du texte un lieu de rencontre, voire de contamination entre les interlocuteurs. Ensuite, l’étude se penche sur la rencontre de Keats avec ses lecteurs. Redoutée ou ardemment souhaitée selon les cas, elle se révèle particulièrement pendant ces moments critiques que sont l’ouverture et la clôture des textes, ainsi qu’à l’approche de la mort, lorsque Keats livre à ses correspondants et à ses lecteurs des adieux ambigus. Une troisième partie examine les rapports entre le féminin et le masculin. Dans les poèmes, ces rapports hésitent entre la rencontre à distance et les fusions dangereuses. Ce discours amoureux poétique est alors transposé dans la rhétorique amoureuse épistolaire. Enfin, une dernière partie analyse la filiation générique entre poésie et correspondance à travers les discours et les genres hybrides qu’elles produisent<br>This thesis aims at identifying the connection which structures Keats’s twofold writing. Indeed, Keats’s epistolary and poetic writings offer different versions of the same conception of the world, of writing and of the experience of human relationships based on openness. In the poems and letters, the encounter and contamination are the two steps which pave the way to the other, either the interlocutor of the poems, the addressee, the reader, the feminine other or the other literary genre. Hence, according to their specific strategies and motivations, the poetry and the letters provide their own solutions to shared issues. The first part explores the enunciation of addressing which turns the absence of the other into a verbal presence and transforms the text into the locus of encounters and even of contamination between interlocutors. The study then focuses on Keats’s encounter with his readers. Either feared or eagerly wished for, it is best apprehended in the beginnings and endings, the key passages of the texts, and also when, as death approaches, Keats ambiguously bids farewell to his recipients and readers. The third part examines the relations between the feminine and the masculine. In the poems, these relations oscillate between the encounter from a distance and dangerous fusions. This poetic lover’s discourse is then translated into the rhetoric of love letters. Finally, the last part analyses the generic filiation between the poetry and letters through the hybrid discourse and genres they produce
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Gilbreath, Marcia L. (Marcia Lynn). "The Apocalyptic Marriage: Eros and Agape in Keats's The Eve of St. Agnes." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc501155/.
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This analysis of Keats's poem proffers evidence and arguments to support the contention that The Eve of St. Agnes presents allegorically the poet's speculations regarding the relationship between eros and agape, speculations which include a sharp criticism of Christianity and a model for a new, more "humanistic" system of salvation. The union of Madeline and Porphyro symbolizes the reconciliation of the two opposing types of love in an apocalyptic marriage styled on the Biblical union of Christ and the Church. The irony inherent in the poem arises from Keats's use of Christian myths, symbols, and sacraments to accomplish this purpose.
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Theobald, John. "Paradoxical solitude in the life, letters, and poetry of John Keats, 1814-1818." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/749.
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Ramadier, Bernard-Jean. "L'errance romantique : Byron, Shelley, Keats." Grenoble 3, 1998. http://www.theses.fr/1998GRE39042.
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Les trajectoires errantes des existences de byron, shelley et keats s'organisent en itineraires par l'ecriture poetique. D'autre part, l'etude de la traduction onirique de l'errance dans les oeuvres fait emerger une convergence profonde des trois poetes par leur usage des images et des symboles en relation avec le theme. Un + complexe d'ahasverus ; informe a des degres divers des poemes aussi differents que childe harold's pilgrimage, don juan , alastor , et endymion. La structure totalisante du mythe du juif errant, mise en evidence par les anthropologues et les sociologues, superpose ontogenese et phylogenese, et lui permet de representer a la fois l'individu et l'espece confrontes au grand mystere du temps. Errer, c'est d'abord prendre conscience d'un + avant ; et d'un + apres ; determinant la representation poetique d'un + etre du dehors ; exile du paradis qui avance dans l'espace et le temps, nostalgique de sa condition originelle d' + etre du dedans ;. A travers les poetes, c'est une histoire universelle, et pas seulement la voie d'une experience individuelle, qui nous est donnee, histoire que l'on entend dans les voix du texte et qui parlent de lieux quittes que l'on aspire a retrouver. C'est a partir du constat dresse par les poetes de la vacuite de la deambulation existentielle que le theme de l'errance trouve ses racines et ses prolongements dans le mythe du juif errant. Fixation onirique des experiences douloureuses de la vie, le personnage amplifie la condamnation du poete, liee a son statut de contemplateur marginal, aliene d'un monde qui refuse d'entendre sa voix<br>The meandering trajectories of the lives of byron, shelley and keats find an organising force in, and become itineraries through, poetry. Studying the theme of wandering as it appears in the dreams of poetic imagination highlights the three poets' deeply converging use of images and symbols related to the theme. An "ahasuerus complex" informs in various ways poems like childe harold's pilgrimage, don juan , alastor , and endymion , despite their obvious differences in tone and maturity. Furthermore the influence of the myth of the wandering jew spreads well beyond those major poems; the myth's encompassing structure, highlighted by anthropologists and sociologists, allows it to represent both the individual's and the species' puzzling position before the great mystery of time in the double exposure of ontogenesis and phylogenesis. Wandering means first and foremost realizing man's position between "before" and "after", which initiates a poetic representation of an outcast, an exile who wanders away, longing after his lost paradise and yearning to go home, to be part of a whole again. Through the poets we are given a story, not only an access to individual experience, but a universal story about lost places that man tries to trace and the path to which is wafted on the various voices speaking in the texts. From the poets' awareness of the aimless travel of life, the theme of wandering originates in, and grows from, the myth of the wandering jew. Poetic imagination links life's painful experiences with the eternal wanderer's thorny way, and the jew's curse with the poet's endless attempts to be reconciled with the universe
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Ghosh, Hrileena. "John Keats's medical notebook and the poet's career : an editorial, critical and biographical reassessment." Thesis, University of St Andrews, 2016. http://hdl.handle.net/10023/8247.
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This thesis explores the significance of John Keats's medical Notebook, and his time at Guy's Hospital (October 1815 – March 1817), for the poet's career. As a primary contribution, it offers a new transcription of Keats's medical Notebook (Appendix 1). The transcription reproduces Keats's text and indicates the layout of his notes, but is neither a facsimile, nor a new edition: the visual form of Keats's notes is not reproduced, nor do I offer critical annotations; commentary follows in subsequent chapters. The achievements, limitations and influence of the only edition of Keats's medical Notebook — Maurice Buxton Forman's from 1934 — are the subject of the first chapter, which also considers accounts of Keats's medical career in Keats biography and criticism. Chapter two focuses on the poems Keats wrote while at Guy's to show that the two aspects of his life — medicine and poetry — were mutually influential. Chapter three considers Keats's medical notes in comparison to a fellow-student's, indicating how some characteristics of Keats's note-taking prefigure aspects of his mature poetry. Chapter four finds Endymion suffused with medical knowledge and imagery, and argues that this was a vital aspect of the poem's depiction of passion. Chapter five suggests that the publication of Keats's 1820 volume was greatly influenced by questions of health, medicine, and disease; concerns reflected by the poems in it, which also reveal the extent of Keats's continued awareness of, and interest in, contemporary medical thought. In sum, the thesis argues that the origins of Keats's poetic achievement can be traced in his medical Notebook and ‘hospital' poems, and that the ability to infuse his poetry with medical knowledge was a vital component of Keats's poetic power and achievement.
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Navarro, Aliste Daniela. "Miltonic influence in John Keats: creative process of reshaping myths in Hyperion and The fall of Hyperion: a dream." Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/137777.
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Brannon, Katrina. "Une approche cognitive de la langue émotionnelle dans l’œuvre de John Keats." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL133.
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Cette thèse présente une analyse linguistique d’une sélection de poèmes de John Keats, et plus précisément celle de l’expression et de la verbalisation de l’émotion à travers le langage dans les vingt-six poèmes qui composent le corpus poétique et qui constituent le point de départ de cette recherche. L’approche linguistique privilégiée est une approche cognitive, basée sur les théories de la linguistique cognitive, de la grammaire cognitive, et de la poétique cognitive. La théorie de la métaphore et de la métonymie conceptuelles joue également un rôle important dans les analyses poétiques et grammaticales présentées dans cette thèse. L’émotion est conçue comme embodied (incarnée). Son étude s’appuie sur les travaux des cognitivistes, sur la philosophie et sur les recherches en neurobiologie. L’objectif de cette thèse est d’examiner les manières dont l’émotion s’exprime au sein de la poésie keatsienne par une interrogation approfondie de la langue elle-même, en partant donc du principe que les éléments lexicaux et grammaticaux – et leur signification – qui composent les poèmes s’avèrent essentiels pour bien rendre compte de la traduction poétique de l’expérience émotionnelle<br>This thesis presents a linguistic analysis of a selection of poems by John Keats: specifically, the expression and verbalization of emotion by way of language the twenty-six poems that compose the poetic corpus upon which this research is founded. The linguistic approach taken is a cognitive approach, based on the theories of cognitive linguistics, cognitive grammar, and cognitive poetics. Conceptual Metaphor and Metonymy Theory also play an important role in the poetic and grammatical analyses. The approach concerning emotion is an embodied one, based in language, philosophy, and with support from neurobiological research. The goal of this thesis is to examine the ways in which emotion is expressed within Keatsian poetry by a close interrogation of the language itself, thus holding the view that the lexical and grammatical elements—and their semantics—that compose the verses and poems themselves are essential to the salience of the poetic rendering of emotional experience
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Gillet, Fanny. "Saisie/dessaisissement : enjeux de l'unité texte/image chez Keats, Tennyson, Rossetti et dans l'art préraphaélite." Toulouse 2, 2008. http://www.theses.fr/2008TOU20101.
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Cette thèse explore les relations qu'ont pu entretenir l'art poétique de Keats, Tennyson et Rossetti avec l'œuvre visuelle du mouvement préraphaélite. La rencontre entre le texte et l'image est particulièrement fructueuse – poèmes mis en tableaux, ekphrasis poétiques, volume illustré issu de la collaboration des artistes, double pratique artistique chez Rossetti. Cette relation forte s'appuie sur une tradition encore très vivace au dix-neuvième siècle anglais, celle de l'ut pictura poesis. Cette comparaison d'Horace invite à placer peinture et poésie en miroir, chaque œuvre se construisant à l'image de l'autre. Or pour le regard qui doit désormais se confronter à deux formes hétéroclites, dotées de leurs propres codes et modalités d'appréhension, le texte/image peut impliquer une certaine gêne. En cela, devenir lecteur/spectateur, déjà, semble l'expérience d'un dessaisissement. Tenter de maintenir l'unicité et l'unité de chaque œuvre, comme garanties de l'originalité artistique, ne se fait de plus qu'au prix de dédoublements et de miroitements qui interdisent la stabilité de l'interprétation. Si l'on accepte ce dessaisissement, l'élan réciproque du poème au tableau paraît parfois tendre vers, voir se suturer en un espace unique, qui permettrait dès lors une saisie globale, un tissage des formes, une façon de penser les deux moitiés comme indissociables l'une de l'autre. La suturation, brèche et potentielle blessure, doit alors s'envisager comme une entité texte/image dynamique, qui renonce à la fixité par l'ébauche, l'inachèvement, pour nous entraîner vers un espace/temps plus complexe, celui du parcours labyrinthique où le texte/image se fait quête<br>This dissertation on word and image focuses on the relationship connecting Keats, Tennyson, Rossetti's poetry and Pre-Raphaelite art, be it through visual representations of poems, ekphrastic works, illustrated books, or Rossetti's “double works” of art linking poem and painting. This strong link partly results from the persistence in nineteenth-century England of the powerful tradition of ut pictura poesis, a comparison by Horace which has been used to blend poetry and painting, as if they were mirror images of each other. However, since they remain heterogeneous forms of art, each with its own codes and modes of apprehension, we can wonder whether simultaneous perception may entail no uneasiness. Indeed, being a reader/viewer implies, from the very start, abandoning some habits of perception. Even as we try to maintain the uniqueness of each work of art, doublings, mirroring effects debunk stable interpretation. If we admit this form of amazement implied by word and image, there might be a way of considering them as a whole, each aspiring to find completeness by including the other: only then may they become inseparable “halves”. There still exists a potentially painful interstice between the two that the art of inachievement, through sketches or suspension, sublimates, creating a more complex unity, a dynamic process aiming to grasp both poetry and painting, in which the reader/viewer enters the path of labyrinthine a(maze)ment
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Barra, van Treek Erika de la. "Desterritorialización y reterritorialización de Tyger de Blake y Nightingale de Keats en la obra de Jorge Luis Borges: ¿diálogo interdiscursivo e intercultural entre el romanticismo inglés y la Argentina postmoderna?" Tesis, Universidad de Chile, 2008. http://repositorio.uchile.cl/handle/2250/109054.
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Tesis para optar al grado de Doctor en Literatura Hispanoamericana y Chilena<br>Como es sabido y Borges (1899-1986) mismo lo señala, pasó su niñez “detrás de una verja con lanzas, y en una biblioteca de ilimitados libros ingleses. Palermo del cuchillo y de la guitarra andaba (me aseguran) por las esquinas” Esta pequeña cita instala una problemática no menor en su obra y que contiene la relación siempre en tensión entre Latinoamérica (periferia) y Europa (centro). La investigación examina especialmente el diálogo interdiscursivo e intercultural entre Borges y dos románticos ingleses: William Blake (1757-1827) y John Keats (1795-1821) a través de la desterritorialización de Tyger y Nightingale del contexto romántico inglés decimonónico y su reterritorialización en la Argentina borgeana moderna / postmoderna del siglo XX. Metodológicamente, se ha realizado un análisis del poema “The Tyger” de Blake y del poema “Ode to a Nightingale” de Keats para dilucidar su significación o significaciones románticas. Posteriormente se ha examinado la obra ensayística, cuentística, lírica de Borges en búsqueda de los significados que él atribuye a tyger y nightingale descubriéndose una polisemia compleja otorgada por sus acercamientos serios o jocosos. En otras palabras, Borges desestabiliza la relación significante /significado de tyger y nightingale y su contexto romántico. Tanto tyger como nightingale diseminan rizomáticamente por la obra de Borges a través de los principios de conexión y heterogeneidad que permiten unirlos a nuevos significados diversos sin que se llegue jamás a un significado definitivo. Borges instalaría una postergación infinita del significado que asemeja un deslizamiento, un rodar, un nomadismo con múltiples entradas y salidas entre los discursos involucrados. (Kristeva, 1980; Derrida, 1975; Deleuze/Guattari, 1997; Barthes, 1974). Aunque la investigación se encuentra aún en progreso, la recodificación que hace Borges de los significantes románticos ingleses tyger y nightingale parece tener importantes implicancias desde la perspectiva del postcolonialismo, ya que el juego literario conducido por Borges establece una relación de paridad con el centro que cuestiona la sujeción periférica de América Latina al centro Europeo.
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Grovier, Kelly. "Walking Stewart & the making of Romantic imagination." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670203.
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Téchené, Claire. "La musique dans la poésie : une figure de l'altérité chez les Romantiques anglais." Paris 7, 2011. http://www.theses.fr/2011PA070084.
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Ce travail étudie les images musicales comme les métaphores dans les œuvres poétiques complètes de Wordsworth, Coleridge, Byron, Shelley, Keats. À travers l'examen des occurrences de ce champ lexical, il s'agit d'analyser la relation d'identité-altérité entretenue par la poésie avec la musique à l'ère romantique : l'histoire commune des deux arts du temps, ou SisterArts pour la génération précédente, est retravaillée par les romantiques qui voient en la musique un véritable langage suggérant une transcendance seulement entrevue par l'homme. Dans le cadre d'un rapport nouveau du sujet sensible au monde qui l'entoure, la musique est rêvée par les poètes comme un modèle d'expression et de connaissance de la vérité et de l'harmonie universelle, mais aussi comme un repoussoir par sa trop grande ambiguïté, sa non-référentialité e son caractère éphémère. Considérée comme héritière de la tradition rhétorique, la musique est alors la mauvaise copie derridienne qui ne fait que charmer l'oreille sans être porteuse de sens. L'importance croissante de la musique instrumentale au tournant du siècle ouvre la porte sur un monde merveilleux qui, comme le silence, invite à la méditation, à la remémoration, à l'imagination, propices à la création poétique : sa faculté de mise en mouvement est le pouvoir de la musique comme Autre. Ainsi, la reconnaissance par les poètes de la particularité de la musique comme son pur et travaillé les conduit à réinvestir le genre lyrique, frontière entre poésie et musique où la première tente de regagner son unité ancienne avec la seconde, avec une nostalgie toute romantique pour l'âge d'or du chant dont elle perdit la trace lors de son entrée dans l'écrit<br>This thesis studies the images of music such as metaphors in the complete poetical works of Wordsworth, Coleridge, Byron, Shelley and Keats. It endeavours to examine the occurrences of ail music-related words in order to understand the identity-alterity relationship between poetry and music in the romantic era. The two arts, that develop in time, were called the Sister Arts by the Augustans, and their common history was placed under scrutiny by the Romantics, who saw music as a real language that suggests a transcendence that man can only get a glimpse of. At the same time, sentient man developed a new relationship with the surrounding world, and poets dreamt of music as a model for expression and the Knowledge of truth and universal harmony; but it also served as a foil because of its ambiguity, nonreferentiality and ephemerality. Music could also be considered as the heir to the rhetorical tradition, and a Derridian pharmakon that only charms the ear and means nothing. The increasing significance of instrumental music at the turn of the century opened up the door, like silence, to a marvelous world of meditation, remembrance, imagination, ail conducive to poetic creativity. Music's talent for putting ideas into motion was recognised as its distinctive feature as Other. Thus poets acknowledged music as pure, elaborate sound, and turned to lyricism, that frontier between poetry and music where the former attempts to reclaim the old unity in a romantic, nostalgic move towards the golden age of song it lost trace of when it entered the realm of the written text
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Baron, Dumitra. "Les matériaux intertextuels anglo-américains dans l'œuvre de Cioran." Nice, 2006. http://www.theses.fr/2006NICE2011.
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La thèse analyse l’œuvre de Cioran (1911-1995) et ses rapports avec l’espace littéraire et culturel anglo-américain de la perspective de la littérature comparée et de la po(ï)étique. La première partie présente les principales catégories des matériaux anglo-américains, les raisons qui déterminent leur élection et leur convocation dans l’espace de création cioranien. Après l’étude des enjeux de la lecture, le geste fondamental de collection des matériaux, nous nous intéressons à la manière dont l’auteur emploie ses notes de lecture (de Shakespeare, des poètes romantiques, de Swift, Wilde, Emily Dickinson, Emily Brontë, de Beckett et Fitzgerald) dans la création de ses textes. Nous interrogerons les Cahiers et une partie des manuscrits afin de découvrir les principales coordonnées qui régissent l’état de préparation de l’œuvre. Les diverses transformations des matériaux anglo-américains et leurs formes de combinaison seront examinées en fonction de deux gestes fondamentaux : le bricolage (la traduction) et le collage-assemblage (l’épigraphe, la citation, la reprise et la référence). La dernière partie explore les divers parcours des matériaux anglo-américains dans l’œuvre et la spécificité de l’écriture aphoristique, la recherche de la formule d’écriture se transformant en une recherche d’une formule de soi. Le moi « à fragments » serait pour Cioran un moi à formules anglo-américaines, l’identité se construisant dans les moments de contact entre les textes et l’ego scriptor. L’intertextualité apparaît comme une forme d’impersonnalisation créatrice, l’identité altérée étant investiguée en trois temps : « se vouloir l’autre », « devenir l’autre » et « dépasser l’autre »<br>The thesis analyzes the work of Cioran (1911-1995) and its relationship with the Anglo-American literary and cultural space from the perspective of the comparative literature and of the po(ï)etics. The first part presents the main categories of Anglo-American materials, the reasons which determine their election and their convocation in the space of creation. After the study of the importance of reading, the fundamental gesture of collection of materials, we are interested in the way in which the author employs his reading notes (of Shakespeare, of the romantic poets, of Swift, Wilde, Emily Dickinson, Emily Brontë, of Beckett or Fitzgerald) in the creation of his texts. We will question the Cahiers and a part of manuscripts in order to discover the main coordinates which govern the state of preparation of the work. The various transformations of the Anglo-American materials and their forms of combination will be examined according to two fundamental gestures: the bricolage (the translation) and the collage-assemblage (the epigraph, the quotation, the repetition and the reference). The last part explores the different itineraries of the Anglo-American materials in the work and the specificity of the aphoristic writing, the search of the formula of writing becoming a quest of a formula of the self. The “fragmented self” would be for Cioran a “self of Anglo-American formulae”, the identity being built in the moments of contact between the texts and the ego scriptor. The intertextuality seems a form of creative impersonnalisation, the altered identity being investigated at three levels: “to want to be the other one”, “to become the other one” and “to exceed the other one”
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Schmidt, Hendrik J. J. "Aspects of classicism in John Keats's poetry from "Endymion" to "The fall of Hyperion"." Thesis, 2014. http://hdl.handle.net/10210/11178.
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M.A. (English)<br>John Keats (31 October.1795 - 23 February 1821) is prominent among the younger generation of poets of the Romantic period. From the early admiration of his contemporaries to the present much attention has been paid to the nature of Romanticism in his work. A member of the "Keats circle," Joseph Ritchie, as early as November 1817 wrote to a friend that he thought Keats "might well prove to be the great poetical luminary of the age to come."l In an essay entitled "On the Development of Keats' (sic) Reputation," (1968), J. R. MacGillivray discusses this ongoing admiration of Keats as central to the embodiment of . Romanticism, and refers also to the veneration of the poet by members of the Pre-Raphaelite Brotherhood. 2 MacGillivray states that they had a natural affinity for the poet's work because of the "romantic medievalism" in some of his poems, and because of the sensuous richness of some of his description...
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"Keats and Coleridge: a comparison." 2013. http://library.cuhk.edu.hk/record=b5884299.
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Jin, Lu.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.<br>Includes bibliographical references.<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstracts also in Chinese.
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Li, Richard W. "Ut pictura poesis: Keats, anamorphosis, and Taoism." Thesis, 1995. http://hdl.handle.net/2429/8851.
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The present dissertation proposes a fresh approach to Keats's
remarkable growth and development as a poet by assessing his works
in relation to four different but interrelated contexts: the
tradition of poetry as a "speaking picture," Lacanian
interpretations of that tradition, the related nature of classical
Chinese poetry, and parallels between Keatsian themes and Taoist
principles.
Chapter one seeks to assess Keats's poetry by articulating the
relationship between "ut pictura poesis" on the one hand, and
psychoanalysis and Taoist philosophy on the other. Chapter two
deals with the invisible ground of the sympathetic imagination.
Chapter three discusses Keats's philosophy of "negative capability"
with reference to the Taoist philosophy of the "Middle Path."
Chapter four compares Keats's Lamia to the Chinese legend The White
Snake. Chapter five concludes the work by showing how the poet
matures into "poethood" through an anamorphotic process of
developing from the imaginary to the symbolic.
The focus of this dissertation is on the pictorial and
sculptural qualities of Keats's poetry in comparison with many
poems in the Chinese and western traditions. Efforts have also been
made to combine psychoanalytical theory and Taoist philosophy and
poetics to shed light on the discussion. Even though the
dissertation seeks to assess Keats's poetry through an analogy with the plastic arts and to extend this assessment through conceptual
categories provided by psychoanalysis (with reference to the poet's
maturing into "poethood") and Taoist philosophy (with reference to
the poet's philosophy of "negative capability"), it does not assert
that Keats is a psychoanalyst nor does it claim that he is a
Taoist. Keats is mainly a poet dealing with human emotion, love,
beauty, truth, and imagination — a poet with "no self," a poet who
can be regarded as "the perfect man" (Tao Te Chinq, 18) in the
truest sense of a Taoist.
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Roberts, Maureen B. (Maureen Beryl). "The diamond path : a study of individuation in the works of John Keats / by Maureen B. Roberts." 1993. http://hdl.handle.net/2440/21406.
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Bibliography: leaves 304-316<br>316 leaves ; 30 cm.<br>Title page, contents and abstract only. The complete thesis in print form is available from the University Library.<br>Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1994
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"Keats and negative capability." Thesis, 2007. http://library.cuhk.edu.hk/record=b6074366.
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This thesis focuses on John Keats's most important aesthetic idea, negative capability, and by studying the history of this idea, argues that a non-egotistic poetic tradition can be found in English poetry, which can be traced back to Shakespeare and was taken over by Keats, and through Keats, carried on to the modernist poets. The introduction gives an anatomy of negative capability by looking at Keats's various references to it and summing up its key elements and their interconnections. It also provides a critical heritage of the concept and gives a review of the state of knowledge. Chapter one studies the genealogy of negative capability, focusing on Hazlitt and Shakespeare as the most important contemporary and historical influences on the formation of the idea. It first looks at those of Hazlitt's aesthetic, philosophical and poetic views that made the most significant impact on Keats, and then gives an account of Keats's reading of and reflections on Shakespeare, defining King Lear as the most important play in giving rise to his idea of negative capability. Chapter two gives a close reading of King Lear, exploring what in the play exemplifies negative capability, and how in turn the play illuminates the idea. Keats's reading is also discussed in the context of the Neoclassic and Romantic receptions of the play. Chapter three studies Keats's own poetry in the light of negative capability, giving a narrative of the evolution of the idea in Keats's poetic practice by following the chronology of Keats's poetry, concentrating on "Sleep and Poetry", Endymion, Hyperion and his key achievements in the Great Year of 1819. Chapter four explores the legacy of negative capability by focusing on Yeats's and Eliot's respective inheritance of the idea, suggesting that negative capability is deeply embedded in a much wider cultural and intellectual tradition. The thesis concludes that negative capability is an important part of both the creative and critical heritage, and ultimately, it is a way of being, conveying an attitude towards human experience.<br>Li Ou.<br>"July 2007."<br>Adviser: David Parker.<br>Source: Dissertation Abstracts International, Volume: 69-01, Section: A, page: 0224.<br>Thesis (Ph.D.)--Chinese University of Hong Kong, 2007.<br>Includes bibliographical references (p. 283-285).<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstracts in English and Chinese.<br>School code: 1307.
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Ferraria, Ana Margarida. "As épicas breves de Keats e Pessoa." Master's thesis, 2011. http://hdl.handle.net/10451/4491.
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Tese de mestrado, Teoria da Literatura, Universidade de Lisboa, Faculdade de Letras, 2011<br>A influência que o poeta John Keats exerceu sobre Fernando Pessoa começou ainda durante a sua juventude, mas a sua importância veio a sobressair durante a escrita de Mensagem e de textos teórico-filosóficos com ecoos de William Hazlitt e de outros escritores românticos. Faz parte do objectivo desta tese demonstrar os pontos de ligação dos dois poetas e das suas poesias, nomeadamente nos poemas Mensagem, Hyperion e The Fall of Hyperion (os quais Pessoa comunicara, previamente, terem sido uma fonte de inspiração para o seu poema). Após o estudo destas e de outras obras, assim como do pensamento destes autores, é previsto que esta tese consiga convencer o leitor que ambos os poetas fizeram um elogio (quer activo, quer passivo) do poder e da arte, em detrimento da conquista e da acção, sendo estes tópicos o fundamento dos poemas referidos.<br>Abstract: Keats's influence on Fernando Pessoa began early in his youth and became more important in the planning of Mensagem and in other theoretical writings which echo the thought of William Hazlitt and other Romantic writers. This thesis is an attempt to map out the connection between these two major poets and their poetry, focussing mainly on Mensagem, Hyperion and The Fall of Hyperion, the latter two texts being explicitly recognized by Pessoa as the model for his own poem. A main contention of this thesis is that both poets praised Hazlitt’s power and art over achievement and action.
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Steyn, Herco Jacobus. "Protean deities : classical mythology in John Keats’s ‘Hyperion poems’ and Dan Simmons’s Hyperion and The fall of Hyperion." Diss., 2011. http://hdl.handle.net/10500/4908.
Full textAbstract:
This dissertation concurs with the Jungian postulation that certain psychological archetypes are inclined to be reproduced by the collective unconscious. In turn, these psychological archetypes are revealed to emerge in literature as literary archetypes. It is consequently argued that science fiction has come to form a new mythology because the archetypal images are displaced in a modern, scientific guise. This signifies a shift in the collective world view of humanity, or a shift in its collective consciousness. It is consequently argued that humanity’s collective consciousness has evolved from mythic thought to scientific thought, courtesy of the numerous groundbreaking scientific discoveries of the past few centuries. This dissertation posits as a premise that Pierre Teilhard de Chardin’s supposition of humanity’s collective consciousness evolving towards what he calls the Omega Point to hold true. The scientific displacement of the literary archetypes reveals humankind’s evolution towards the Omega Point and a cosmic consciousness.<br>English Studies<br>M.A. (English)