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Published: 4 June 2021

Last updated: 29 July 2024

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1

Hughes, Peggy Janeane. "Paradise Lost." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/5953.

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The worldwide gap between rich and poor is widening. Status seeking and status keeping are fueled by the conspicuous consumption of luxury goods. These bright shiny objects are staples in a restricted economy in which only the wealthy participate. The notion of gaining riches for the purpose of helping the poor is fading. Materialism, luxury and riches have been the subject of religious and secular inquiry. In this quest, wealth has been condemned and applauded. Prestige-obsessed consumers are becoming blind to worsening social conditions.

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2

Djukic, George. "Essentialism : Paradise lost /." Title page, contents and abstract only, 1997. http://web4.library.adelaide.edu.au/theses/09PH/09phd626.pdf.

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3

Learmonth, Nicola. "Self-perception in Paradise lost." Thesis, University of Canterbury. English, 2001. http://hdl.handle.net/10092/7058.

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Milton's God can derive satisfaction from relationships with the Son, the angels and Man, and hold these creatures accountable for maintaining this union only if he allows them free choice. Creatures demonstrate their love and obedience, and so maintain their relationships with God, by choosing to carry out the divine will. The choice either to maintain or break union with God must be deliberate, and involve an internal process if that creature is to be free and held accountable for their actions. The intellectual faculties of reason, will, and self-perception enable created beings to exercise their freedom consciously. All free agents must apply their self-knowledge to comprehend and fulfil their respective roles in Creation. An accurate creaturely self-perception involves creatures knowing their identity and nature; understanding the limits of their power to act; appreciating God as the source of their existence and their power to act; and recognising their places and roles in the divine order. Self-understanding is connected to happiness and together these form an appreciation that motivates free agents to establish and continue their alliances with God. The Son, Satan, Adam and Eve all behave in accordance with the way they understand themselves. The Son's selfless obedience to God is motivated by his appreciation for God as his Maker, and his perception of his role in the divine order as the physical manifestation of God's will. This frees the Son to pursue his desire to promote the divine purpose without consideration for himself. Inaccurate self-perception is self-deception, allowing creatures to believe that their happiness consists in independence from God. Satan deceives himself into believing that he can be God's adversary and that opposition to God is a realistic possibility. Adam's and Eve's individual acts self disobedience are the result of a gradually developing inaccuracy in their self-perception. Adam comes to believe that Eve is the source of his happiness, and this misconception is confounded with his fear of solitude. He disobeys God after allowing his immoderate love for Eve to become a higher priority than his relationship with God. Eve's self-perception is confused when she becomes aware of a disparity between her husband's assessment of her and her own understanding of herself because hitherto Adam has been her primary source of knowledge about God, Creation, and her being. The Serpent inspires a sense of injured merit that corresponds with Eve's impression that Adam judged her unfairly. She disobeys God's law because she comes to believe that obeying God impedes her happiness. These creatures behave in accordance with the way they understand themselves, and can make righteous choices by applying their reason in conjunction with their self-knowledge.

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4

TANIMOTO, Chikako. "Milton's Eve in Paradise Lost." 名古屋大学大学院国際言語文化研究科, 2005. http://hdl.handle.net/2237/19726.

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5

Olson, Jonathan Randall. "Paradise revised : The formal and material revision of Paradise lost." Thesis, University of Liverpool, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.526845.

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6

Leonard, J. K. "Names and naming in 'Paradise Lost'." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.355884.

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7

Cowser, Steven John. "The politics of sacred history in Eikonklastes, Paradise Lost and Paradise Regain'd." Thesis, Queen Mary, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.554362.

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This thesis examines the political dimension and underlying continuities of John Milton's use of biblical and reformation history in Eikonklastes, Paradise Lost, and Paradise Regain 'd. In Chapter I, the rhetorical tactics of Eikonoklastes-particularly the prefatory material-represent an attempt to outline a different notion of civic and spiritual security, independent of monarchical oversight, and are presented as crucial contexts for the political ambitions of Milton's later epic poetry. The discussion of Paradise Lost as a text deeply interested in the contemporaneous rhetoric of security is contained in the prolegomena and Chapters II and Ill. Chapter II is a consideration of Milton's redaction of Old Testament history in the epic catalogue of Book I, in which I argue that key elements of its interaction with epic convention have been overlooked; this reading offers a more appropriate understanding of Milton's own perception of societal decline and proposes an oppositional commentary on the shortcomings of Restoration England's polity. I argue that Milton's presentation of both Edenic security and prelapsarian prayer in Chapter III are not only distinct to him, in literary and social terms, but are also explicable as interventions on contemporary anxiety over the relationship between Church and State. Finally, in Chapter IV I contend that Paradise Regain 'd is the most authoritative poetic expression of Milton's mature political thinking via a re-examination of its genre, protagonist, and non-traditional banquet temptation. Having established the conspicuous political identity of the poem's content and form, I then discuss how the poem's use of biblical history is structured to oppose contemporaneous appeals to the 'common good' and quiescence at any price.

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8

Arvin, Ittamar Johanan. "Bliss, delight and pleasure in Paradise lost /." Connect to full text, 2001. http://setis.library.usyd.edu.au/adt/public_html/adt-NU/public/adt-NU20030129.094154/index.html.

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9

Kolpien, Emily R. "Queer 'Paradise Lost': Reproduction, Gender, and Sexuality." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/657.

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In the span of this thesis, I investigate the queer nature of John Milton’s epic poem Paradise Lost, and argue that in spite of the biblical subject matter it is in fact a text filled with instances of queer transgression. I focus on preexisting feminist critiques of Milton in my introduction in order to ground myself within the academic field, and in order to illustrate how I will be branching out from it. In my first chapter, I discuss the queered nature of the poem’s landscapes, such as Chaos and Hell, and the specifically queer and masculine nature of reproduction, such as Sin’s birth out of Satan’s head and Eve’s birth from Adam’s rib. I then turn to an in-depth discussion of Sin in Chapter Two, illustrating how she is punished with reproduction and sexual violence, and how this contrasts with her queer birth while illustrating the poem’s problematic stance toward fallen women. In my final chapter, I tackle the character of Eve, and argue that her narcissistic scene at the lake after her birth reveals her queer sexual desire for her feminine reflection. I also discuss how the poem sexualizes Sin and Eve, and how their physical appearances illustrate the state of women in the poem. I finish by arguing that a queer perspective of Milton is important because it allows modern critics to view as both illuminating and empowering.

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10

Avin, Ittamar Johanan. "Bliss Delight and Pleasure in Paradise Lost." Thesis, The University of Sydney, 2001. http://hdl.handle.net/2123/484.

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There have been many studies of keywords in Paradise Lost. Over the last fifty or so years words such as �wander�, �lapse�, �error�, �fruit�, �balmy�, �fall�, �hands�, among others, have attracted critics� attention. The present enquiry brings under scrutiny three linked keywords which have up to now escaped notice. These are the words �bliss�, �delight�, and �pleasure�. The fundamental proposition of the thesis is that Milton does not use these words haphazardly or interchangeably in his epic poem (though in other of his poetic productions he is by no means as fastidious). On the contrary, he self-consciously distinguishes among the three terms, assigning to each its own particular �theatre of operations�. Meant by this is that each keyword is selectively referred to a separate structural division of the epic, thus, �bliss� has reference specifically to Heaven (or to the earthly paradise viewed as a simulacrum of Heaven), �delight� to the earthly paradise in Eden and to the prelapsarian condition nourished by it; while �pleasure�, whose signification is ambiguous, refers in its favourable sense (which is but little removed from �delight�) to the Garden and the sensations associated with it, and in its unfavourable one to postlapsarian sensations and to the fallen characters. Insofar as the three structural divisions taken into account (Hell is not) are hierarchically organized in the epic, so too are the three keywords that answer to them. Moreover, in relating keywords to considerations of structure, the thesis breaks new ground in Paradise Lost studies.

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Avin, Ittamar Johanan. "Bliss Delight and Pleasure in Paradise Lost." University of Sydney. English, 2001. http://hdl.handle.net/2123/484.

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There have been many studies of keywords in Paradise Lost. Over the last fifty or so years words such as �wander�, �lapse�, �error�, �fruit�, �balmy�, �fall�, �hands�, among others, have attracted critics� attention. The present enquiry brings under scrutiny three linked keywords which have up to now escaped notice. These are the words �bliss�, �delight�, and �pleasure�. The fundamental proposition of the thesis is that Milton does not use these words haphazardly or interchangeably in his epic poem (though in other of his poetic productions he is by no means as fastidious). On the contrary, he self-consciously distinguishes among the three terms, assigning to each its own particular �theatre of operations�. Meant by this is that each keyword is selectively referred to a separate structural division of the epic, thus, �bliss� has reference specifically to Heaven (or to the earthly paradise viewed as a simulacrum of Heaven), �delight� to the earthly paradise in Eden and to the prelapsarian condition nourished by it; while �pleasure�, whose signification is ambiguous, refers in its favourable sense (which is but little removed from �delight�) to the Garden and the sensations associated with it, and in its unfavourable one to postlapsarian sensations and to the fallen characters. Insofar as the three structural divisions taken into account (Hell is not) are hierarchically organized in the epic, so too are the three keywords that answer to them. Moreover, in relating keywords to considerations of structure, the thesis breaks new ground in Paradise Lost studies.

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12

Möllers, Hildegard. "A paradise populated with lost souls : literarische Auseinandersetzungen mit Los Angeles /." Essen : Verl. die Blaue Eule, 1999. http://catalogue.bnf.fr/ark:/12148/cb38876107f.

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13

Wilson, Emma Annette. "John Milton's use of logic in 'Paradise Lost'." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/850.

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14

Kean, Margaret. "John Milton's Paradise Lost : image reproduction and identification." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320797.

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15

Mathews, Justin Lee. "Paradise Lost and the Medieval Tradition." TopSCHOLAR®, 2008. http://digitalcommons.wku.edu/theses/28.

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16

Stallard, Matthew S. "John Milton's Bible : scriptural resonance in Paradise lost /." View abstract, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3320757.

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17

Anderson, Jarod K. "Milton's outsiders the decentralization of morality in paradise lost /." Connect to resource, 2008. http://hdl.handle.net/1811/32137.

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18

Kuehnova, Sarka. "John Milton's Paradise Lost : language, ambiguity and the ineffable." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365537.

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19

Stallard, Matthew S. "John Milton’’s Bible: Biblical Resonance in Paradise Lost." Ohio University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1218072545.

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20

Brown, M. Dawn Henderson. "Original and eternal seduction Satan's psyche in Paradise lost /." View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-1/brownm/melissabrown.pdf.

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21

Rapp, Claudia. "A paradise lost : placing Hawai'i on the literary map /." [S.l. : s.n.], 2000. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB8905152.

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22

Rapp, Claudia. "A paradise lost placing Hawai'i on the literary map /." [S.l. : s.n.], 2001. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB9033535.

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23

Graham, E. A. "Milton and seventeenth century individualism : language and identity in 'Paradise Lost', 'Paradise Regained' and 'Samson Agonistes'." Thesis, University of Manchester, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.376133.

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24

Koo, Youngwhoe. "Idea of Natural Law in Milton's Comus and Paradise Lost." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277958/.

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This dissertation tries to locate Milton's optimistic view of man and nature as expressed in Comus, Doctrine and Discipline of Divorce, and Paradise Lost in the long tradition of natural law that goes back to Aristotle, Cicero, and Aquinas.

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25

McConomy, Erin Elizabeth. "Renaissance humanism in Michelangelo's Sistine Chapel and Milton's Paradise Lost." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37223.pdf.

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26

Harris, Neil. "Milton's 'Sataneid' : the poet and the devil in 'Paradise Lost'." Thesis, University of Leicester, 1985. http://hdl.handle.net/2381/10972.

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In this thesis I study two themes: first the influence of the Italian chivalric epic on the figure of Satan; second Milton's use of Dante and Ariosto in the figure of the narrating poet. I explore how within Paradise Lost the Archfiend acts out a 'Sataneid' modelled on a series of traditional epic encounters and exploits. Satan's encounter with Sin and Death at the gates of Hell hints at a reversal of the epic catabasis. When the episode is related to its Virgilian model, the guardians of Hell appear as a Cerberus and a Charon, but the analogy also shows Satan's virtus to be modelled on Aeneas. Therefore Milton hints at a Herculean descensus to be undertaken by the Son. A study of the Commonplace Book shows that Milton did not know Boiardo's text of the Orlando Innamorato but used Berni's rifacimento. Milton's use of this poem in the 'Fontarabbia' (1.587) and the 'Albracca' (PR. III. 337) similes identifies Satan's armies with chivalric exemplars, but deliberate 'errors' also expose weakness and Satanic untruth. I compare Milton's 'Great Consult' and his War in Heaven to episodes in the Orlando Innamorato. Milton's simile of the 'Tuscan Artist' (1.587) identifies astronomy not with Galileo but with Catiline and other types of Satanic rebellion which seek forbidden knowledge and power. Milton's 'Vallombrosa' (1.303) simile, drawing on conventions established in Virgil, Dante, and Ariosto, alludes: first to the OT Tophet and Gehenna; second to the Psalmist's 'valley of the shadow of death' (23.4); finally, through Dante's identification of Florence in his encounter with Brunetto Latini as a type of the biblical Sodom, to the 'great city that spiritually is Sodom and Eygpt' (Revelation 11.8). If Satan's entry into the Limbo of Vanity signposts a transition into a chivalric role, then the enchanted gardens of Alcina, Armida and Acrasia in the chivalric epics, which all rework the classical account of Ulysses finding Achilles in the court of king Lycomedes, serve as models for Milton's treatment in a brilliant vue renversee of the intruder, the couple and the garden in Paradise Lost. Allegorical criticisms of the gardens in Ariosto, Tasso and Spenser indicate a more complex allegorical pattern in Milton.

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27

Pallister, William. "Historical and literary dimensions of rhetoric in Milton's 'Paradise Lost'." Thesis, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391484.

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Fernandes, Marcos Aurélio Zamith. "A relação entre a serpente e satã em Paradise Lost." Universidade Presbiteriana Mackenzie, 2016. http://tede.mackenzie.br/jspui/handle/tede/2991.

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This work aims at analyzing the character of Satan in the epic work Paradise Lost by the Puritan writer John Milton (1608-1674). More specifically, it aims at offering an answer to the question: in what manner do the traits of the serpent reflect Satan? In order to do that, the analysis was divided into parts. In the first chapter, it was presented the context of the literary production and reception of the work Paradise Lost in order to show features of this corpus and to relate them to other literary works and with its historical moment. In the second chapter, concepts of the narrative theory of Mieke Bal (1997) were applied to the protagonist so that the analysis of Satan in itself and in relation to other elements of the narrative was theoretically based. Finally, in the third chapter, based on a list of features provided by Charlesworth (2010) about the animal serpent (author's expertise), these features were related to the Milton's serpent so that one comprehends traits of the character of the serpent that together relate to Satan. This analysis is justified because many works were found about the Satan of Paradise Lost, nevertheless none whose theme was delimited in that manner. Once a narrative theory and texts from the literary criticism on Milton and of his epic poem pertinent to the current theme were chosen, it is expected that this dissertation allows the reader of Paradise Lost to acquire a more accurate view on the function of the character of Satan in the plot, particularly in the form of the tempting serpent assumed by Satan.
Este trabalho visa a analisar a personagem Satã da obra épica Paradise Lost do escritor puritano John Milton (1608-1674). Mais especificamente, objetiva-se oferecer uma resposta à questão: de que maneira os traços da serpente refletem Satã? Para isso, a análise se dividiu em partes. No primeiro capítulo, apresentou-se o contexto de produção e recepção literárias da obra Paradise Lost com a finalidade de mostrar características desse corpus e relacioná-las com outras obras literárias e com seu momento histórico. No segundo capítulo, aplicaram-se à protagonista conceitos da teoria da narrativa de Mieke Bal (1997) para que fosse fundamentada teoricamente a análise de Satã em si mesmo e em relação a outros elementos da narrativa. Finalmente, no terceiro capítulo, com base numa lista de características fornecidas por Charlesworth (2010) a respeito do animal serpente (especialidade do autor), relacionaram-se essas características com a serpente de Milton de modo que se compreendessem traços da personagem serpente que em conjunto se relacionam com Satã. Esta análise se justifica na medida em que se encontraram vários trabalhos sobre o Satã de Paradise Lost, no entanto nenhum cujo tema fosse delimitado dessa forma. Escolhidos uma teoria da narrativa e textos da fortuna crítica de Milton e de sua épica pertinentes ao presente tema, espera-se que esta dissertação permita que o leitor de Paradise Lost adquira uma visão mais apurada a respeito da função da personagem Satã na trama, em particular da forma de serpente tentadora assumida por Satã.

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Somervell, Tess Elizabeth Sophie. "Reading time in Paradise lost, The Seasons, and The Prelude." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709447.

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Wang, Shengyu. "Multiple voices and contesting ideologies in John Milton's Paradise Lost." [Ames, Iowa : Iowa State University], 2008.

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DeFurio, Laura. "Milton's indeterminate theodicy will, grace, and cause in Paradise lost /." Click here for download, 2009. http://proquest.umi.com/pqdweb?did=1711556971&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.

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Poole, William. "Frail origins : theories of the fall in the age of Milton." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365620.

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Hannon, Elizabeth. "The influence of Paradise Lost on the hymns of Charles Wesley." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25417.

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An overview of the prose writings of John Wesley, and the hymn writing of his brother Charles, shows that John Milton was an important influence on both men. A search of the literature indicates that critics have rarely noticed this, and although some work has been done on John's abridgement of Paradise Lost, there are no qualitative studies of its effect on the hymnody of Charles. Although the singing of hymns is a potential way of influencing language and doctrine of all singers, it is particularly important for people who have little other education. Charles Wesley, as the most prolific English hymnwriter, was influential in educating generations of church-goers. He used Paradise Lost in several ways: l)by simple appropriation of diction, 2) by combining it with the Bible in four specific ways, i.e., a) simple addition of images and language from Paradise Lost to biblical sources, b) magnification of a biblical idea by projecting it through a scene in Paradise Lost, as in the case of the hymn, "Soldiers of Christ Arise" which is influenced by Book 5, c) the use of the Bible and Paradise Lost as joint "pre-text" to create a new concept, and d) the use of Paradise Lost to "Christianise" a Psalm. Psalm 24 is used as an example. Obvious reasons why Charles Wesley might wish to imitate Milton, such as Milton's popularity in the eighteenth century, and Wesley family connections with Milton, are explored and considered not significant, but a common classical education is important. The two men have similar theological views in two doctrines essential to the Wesleyan revival: a) justification by faith and b) universal redemption. Other similarities are their expression of views on covenant theology, the nature of the goodness of God, and the name of God as "all in all." Their audiences were different but their purposes were similar: to teach "serious godliness" by inculcating doctrine and inspiring faith in a way that would touch the minds and hearts of their readers. Three appendices are presented: one on the problem of the hymn as a literary genre, the second on the audience for Wesley hymns, and the third on the history of literary criticism of the Wesleys.
Arts, Faculty of
English, Department of
Graduate

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Sugimura, N. K. "'Matter of glorious trial' : spiritual and material substance in Paradise Lost." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432226.

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Coleman, Henry Peter. "Man in Devil's guise : Satan's exceptional humanity in Milton's Paradise Lost." Thesis, University of Canterbury. English, 1998. http://hdl.handle.net/10092/7112.

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The subject of this thesis is Satan in Milton's Paradise Lost. I begin by observing how major critics and poets from Dryden on have understood this wonderful yet controversial character in Milton's greatest poem. After identifying the Satanist and anti-Satanist schools in this tradition and some of the general features of each school, I proceed to argue my central claim: by virtue of his consciousness, will, reason, and passion, Satan is a character whose nature is not in fact supernatural but fundamentally and essentially the same as that of an exceptional human being. I justify this claim by treating each of these attributes in separate chapters (the first chapter documents both consciousness and will). In making this argument, I take issue with early anti-Satanists, such as Dryden, Addison, Blair, and Johnson, and later anti-Satanists, such as Williams, Lewis, Musgrove, and Fish who fail to recognise Satan's exceptional human qualities, especially his reason. Though I align myself with some of the Satanists I discuss in the opening chapter, I also distinguish myself from them by first providing a distinct description of the specific nature of Satan's consciousness, will, reason, and passion. In so doing, I advance the Satanist critics' understanding of Satan by demonstrating that when all these particular features of Satan's character are taken together he can be seen as an exceptional human being. Thus, I explicitly argue for a claim that Satanists either gloss over or simply assume: Satan is essentially human. And it is because he is essentially human that Johnson is mistaken in claiming that the poem lacks human interest: we are interested in Satan because Satan is like us.

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Voss, Annemarie. "John Milton's Paradise lost in Germany : reception and German-language criticism." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/762991.

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This survey focuses on German-language studies of John Milton's Paradise Lost, based on a bibliography of more than 140 German-language publications dating from 1651 to the present. Its purpose is to describe and evaluate these studies and to make their arguments accessible to readers who have difficulties locating, obtaining, and/or reading these texts.Chapters 1-4 give an account of Milton's reception in Germany and Switzerland. Topics discussed include the evaluation of Milton as poet and man, the influence of Milton's Paradise Lost on the development of German literature (Klopstock's Messias), early Milton studies, German translations of Milton's Paradise Lost, the teaching of Milton's works in Germany, and the evaluation of the poem for the present generation. Chapters 5 to 10 survey twentieth-century German-language criticism of Paradise Lost. Topics include the literary tradition; the drama plans; structure and style; cosmology and theology; and interpretations of the fall.Outstanding twentieth-century German studies include Hiibener's analysis of stylistic tension (1913); Bastian's analysis of the problem of temptation (1930); Wickert's examination of Milton's drama plans (1955); Grun's interpretation of the fall (1956); MoritzSiebeck's structural and aesthetic justification of the last two books of Paradise Lost (1963); Spevack-Husmann's examination of the relevance of the medieval tradition of allegorical and typological myth interpretation for Milton's mythological comparisons (1963); Markus's study of the parenthesis as rhetorical means of psychological influence (1965); Hagenbuchle's analysis of the fall(1969); Maier's examination of contrast and parallel as structural elements (1974); Slogsnat's exploration of the dramatical structure and tragic nature (1978); Schrey's account of Milton's reception in Germany (1980); and Klein's study of astronomy and anthropocentric in Milton's attitude towards science (1986). These studies deserve to be better known by the English-speaking scholarly community for their different points of view and their good understanding of Milton's art.Milton's Paradise Lost is still appreciated in Germany and continues to have many readers.
Department of English

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Lavelle, William H. "Revolutionary Satan: A Reevaluation of the Devil's Place in Paradise Lost." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429893486.

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38

Angello, Elizabeth Stuart. "Paradise Always Already Lost: Myth, Memory, and Matter in English Literature." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5172.

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This dissertation follows a collection of agentive objects around and through the networks of humans and nonhumans in four disparate works of English literature: the Anglo-Saxon poem The Dream of the Rood, William Shakespeare's narrative poem The Rape of Lucrece, Thomas Hardy's novel The Woodlanders, and Philip Pullman's trilogy His Dark Materials. Applying the emergent discourses of object-oriented analyses, I posit the need for a critique that considers literary objects not as textual versions of real-world objects but as constructs of human imagination. What happens when we treat nonhuman or inanimate objects in literature as full characters in their own right? What work do nonhumans do to generate the story and the characters? How does our understanding of the human characters depend on the nonhuman ones? Most importantly, what motivates the agency of the fictive nonhuman? I argue that in this particular collection of texts, nonhuman agency stems from authorial nostalgia for the Garden of Eden: a time long past in which humans, nonhumans, and God existed in perfect harmony. Each text preserves this collective memory in a unique way, processing the myth as the author's cultural moment allows. The Dream of the Rood chapter uncovers the complex network of mirrors between the poet, the fictive Dreamer, the True Cross who speaks to the Dreamer, and the reader(s) of the poem. I use Jacques Lacan's stages of psychosexual development to trace the contours of this network, and I demonstrate how the poet's Edenic vision takes the form of an early medieval feast hall in heaven in which God presides over a banquet table like Hrothgar over Heorot. The Rape of Lucrece chapter posits that a series of domestic actors (weasels, wind, door locks) join with various "pricks" in the poem in an attempt to protect Lucrece from her rapist, Tarquin. Through these objects, I investigate the limits of women's speech and its efficacy before concluding with a consideration of the poem's Edenic vision, a Humanist paradise-on-earth, in the guise of the Roman Republic. The next chapter follows a shorn section of hair through The Woodlanders as it performs various functions and is assigned responsibility and power by several different human characters in the novel. The hair acts within a network of "man-traps" that illustrate the dangers of human artifice in an industrial era, and it reveals to readers Hardy's certainty that we will never reclaim Eden in our postlapsarian world. Finally, I navigate the fantastic worlds of His Dark Materials with the aid of three powerfully agentive objects: a golden compass, a subtle knife, and an amber spyglass. The first and second, I insist, resist not only their user's intentions but also their author's, because they are imbued with so much life and power that the narrative cannot contain them. The spyglass, by contrast, performs exactly as it was designed to do, and reveals the secret of the perfectly symbiotic world of the creatures called mulefa, who model for us a very contemporary new Eden that is populated by hybrids, sustained by materialism and sensuality, and presided over by earthly individuals rather than an omniscient Creator. Pullman's trilogy brings us back to the Garden but insists that our fallen state is our triumph rather than our tragedy.

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Zart, Paloma Catarina. "O ETOS SATÂNICO: A ORATÓRIA ENTRECORTADA DE UM REBELDE RENEGADO." Universidade Federal de Santa Maria, 2011. http://repositorio.ufsm.br/handle/1/9844.

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ohn Milton (1608-1674) lived in an age marked by religious discussion. The English Civil War (1640) had one of its supporters involving religion, literary texts were composed with biblical allegories, and Milton, following the habits of his own time, created literary works with sacred influence. For this reason and for a long time, Paradise Lost has been seen under the biblical myth that served as material basis for the composition of the epic. Before the Romantics, few critics had dared to leave the comfort zone and had rehearsed an analysis that took care of other aspects besides the contributions of classical authors and literary works or the biblical myth itself. The Romantics opened up a new critical line which was concerned with the characters of Paradise Lost, in special Satan. They heard the voices that bring to life the epic narrative and they had found a model for their own age. The heroic noble Satan of the Romantics, however, does not respond to the complexity of the character. Far from being a mere embodiment of evil, an element that can be blamed for all misfortune, the Miltonic Satan has in himself traces from the anterior good. He is victimized by the understanding of his present and slaughtered with the memories of his past; the character is placed between the image of a great leader externalized to the other angels, and the doubts that overcome his thoughts. This thesis aims to counteract these two parts of the character.
John Milton (1608-1674) viveu em um período marcado pela discussão religiosa. A guerra civil inglesa (1640) tivera um de seus suportes envolvendo a religião, textos literários foram compostos com alegorias bíblicas, e Milton, seguindo os hábitos de seu tempo, criou obras com influência sacra. O Paradise Lost, por causa disso, foi, durante muito tempo, observado à luz do mito bíblico que serviu de matéria base para a composição do épico. Antes dos românticos, poucos críticos ousaram sair da zona de conforto e ensaiaram uma análise que cuidava de outros aspectos além da contribuição de autores e obras clássicas ou do mito bíblico. Com os românticos, abriu-se definitivamente uma linha crítica atenta às personagens do Paradise Lost, em especial de Satã. Eles ouviram as vozes que dão vida à narrativa épica e descobriram um modelo para o seu próprio tempo. O Satã heróico e nobre dos românticos, no entanto, não responde à complexidade da personagem. Longe de ser uma mera materialização do mal, um elemento que possa ser culpado por todo o infortúnio, o Satã de Milton abriga em si vestígios do bem anterior. Vitimado pela compreensão de seu presente e abatido com as memórias do passado, a personagem coloca-se entre a imagem de grande líder exteriorizada aos outros anjos e as dúvidas que dominam os seus pensamentos. Esta dissertação tem por objetivo contrapor essas duas partes da personagem.

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Hay, Ken. "Metaphoric strategies and the paradox of the fortunate fall in Paradise Lost." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq25607.pdf.

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Dunser, Maria L. "READING NATURE, READING EVE: READING HUMAN NATURE IN JOHN MILTON'S PARADISE LOST." MSSTATE, 2008. http://sun.library.msstate.edu/ETD-db/theses/available/etd-04032008-144046/.

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Renaissance England was a period of tremendous flux; ideas about science, gender and knowledge or how we come to knowledge come under examination. These areas of flux intersect with the text examined here in their relationship to the key concept of nature. In John Miltons, Paradise Lost, nature appears in various forms over sixty times. By first examining the word nature in relation to the ideas in flux during the period and next examining Miltons use of the word in the epic, an overlooked yet significant aspect of his epic emerges. Milton uses the mutability of nature to further justify the ways of God to man. How his use of nature develops an association between nature and Eve is of even greater significance. In a carnivalesque inversion of the convention of the period, Miltons development of nature in the poem and his development of the association of Eve with nature reveal an association of Eve with human nature.

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Taylor, Michael W. "The paradise lost of liberalism : individualist political thought in late Victorian Britain." Thesis, University of Oxford, 1992. http://ora.ox.ac.uk/objects/uuid:eb92cda2-1e70-464d-8a75-77562ea5a582.

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The thesis argues that the development of the New Liberalism in the late nineteenth century was opposed from the standpoint of a more "traditional" conception of liberalism by a group of political theorists who owed their inspiration to the work of Herbert Spencer. Despite the protestations of these self-styled "Individualists" that they were the true heirs of mid-century liberalism, it is argued that their political theory represented as much a transformation of Benthamite Radicalism as did that of the New Liberals. The Individualists developed raid-century liberalism in a conservative direction, arguing that social change was not to be attained by conscious design and developing an ethical justification for the actual distribution of property and power in late Victorian Britain. The thesis establishes this claim by examining six Individualist arguments derived from Spencer's Synthetic Philosophy: (1) the argument from the biological theory of evolution; (2) the argument from psychological theory; (3) the sociological conception of society as an "organism"; (4) the theory of historical development; (5) the doctrine of utility; and (6) the theory of justice and property rights.

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Hopkins, Andrew J. "I fall erroneous, there to wander decoding Milton's mazes in Paradise lost /." Click here for download, 2008. http://proquest.umi.com/pqdweb?did=1594487871&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.

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Zwierlein, Anne-Julia. "Majestick Milton : British imperial expansion and transformations of "Paradise lost", 1667-1837 /." Münster : Lit, 2001. http://catalogue.bnf.fr/ark:/12148/cb39248240h.

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Dunser, Maria Lynn. "Reading nature, reading Eve reading human nature in John Milton's Paradise Lost /." Master's thesis, Mississippi State : Mississippi State University, 2008. http://library.msstate.edu/etd/show.asp?etd=etd-04032008-144046.

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Mattern, Frank. "Milton and Christian Hebraism : forms and functions of Rabbinic Exegesis in 'Paradise Lost' /." Heidelberg : Universitätsverl. Winter, 2009. http://deposit.d-nb.de/cgi-bin/dokserv?id=3240965&prov=M&dok_var=1&dok_ext=htm.

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Brown, Sherri Lynne. "Digesting Devotion: Food As Sustenance And Sacrament In Milton's Paradise Lost." NCSU, 2005. http://www.lib.ncsu.edu/theses/available/etd-10242005-195707/unrestricted/etd.pdf.

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Ktorides, Subha. "Canonical criticism : the canonical interpretation of Creation and Fall in milton's Paradise Lost." Thesis, University of Sussex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426264.

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Keym, Stefan. "Krzysztof Pendereckis 'Sacra Rappresentazione' Paradise Lost und das religiöse Musiktheater im 20. Jahrhundert." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70769.

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Gibson, Kristopher. "A Critique of Stanley Fish’s Reader-Response Reading of John Milton’s Paradise Lost." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-36435.

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The essay critically examines Stanley Fish’s reader-response reading of Paradise Lost.In particular Fish’s main thesis that John Milton’s sole purpose in Paradise Lost is toeducate the reader on their position as fallen.The essay then examines two key claimsthat Fish employs to arrive at his conclusion, namely: (1) Fish’s notion of intendedreadership and authorial intent for Paradise Lost; and (2) Fish’s claims of readerresponse to Paradise Lost in two selected contexts (i) the reader response to Satan in thebeginning of Paradise Lost (ii) the reader response to an aspect of narration in ParadiseLost i.e. the poem’s epic voice. Based on the analysis of these two key claims the essayfinds Fish’s thesis unsubstantiated and in need of further argument.

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