Dissertations / Theses on the topic 'Samuel Taylor; Romantic poetry'

In Romantic studies, Romanticism is regarded as a reaction against modernity, or more accurately, a self-critique of modernity. There have been critical debates over the nature of the preoccupation of the Romantics with the past and the natural world, whether such concern is an illustration of the reactionary tendency of Romanticism, or an aesthetic innovation of the Romantics. This study tries to approach this problem from the perspective of space. It draws from the spatial theory of Henri Lefebvre, discussed in the Production of Space, in which Lefebvre conceives a spatial history of modernity, and sees Romanticism as the cultural movement that took place at the threshold of the formation of abstract space. The poetry of three British Romantic writers, William Wordsworth, S. T. Coleridge and Joanna Baillie, is examined. This study analyses how the writers’ thinking and poetry writing are interactive with the formation of social space during the Romantic period. Their poetry embodies the lived experience of the time. The writers show an awareness of the performative aspect of poetry, that poetry is a kind of linguistic creation instead of mere representation, which can be used to appropriate the lived space of reality. This awareness is particular to these Romantic writers because their poetic tactics are socially contextualized. Poetry is their method, as well as manner of life, for confronting the unprecedented social changes brought by modernity. By using Merleau-Ponty’s phenomenology, an examination of the significance of the body and perception in Romantic poetry is also employed to show how, through the use of performative poetic language, the writers re-create their lived space so as to counter the dominance of abstract space.

Thesis (Ph. D.)--University of Oregon, 2002.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 251-257). Also available for download via the World Wide Web; free to University of Oregon users.

In recent decades there have been many attempts to pull Austen into the fold of high Romantic literature. On one level, these thematic comparisons are useful, for Austen has long been anachronistically treated as separate from the Romantic tradition. In the past, her writings have essentially straddled Romantic classification, labeled either as hangers-on in the satiric eighteenth-century literary tradition or as early artifacts of a kind of proto-Victorianism. To a large extent, scholars have described Austen as a writer departing from, rather than embracing, the literary trends of the Romantic era. Yet, while recent publications depicting a “Romantic Austen” yield impressive insights into the timeliness of her fiction, they haven't fully addressed Austen's participation in some of the most crucial literary debates of her time. Thus, it is my intention in this essay to extend the discussion of Austen as a Romantic to her participation in Romantic-era debates over emergent literary categories of authorship and realism. I argue that we can best contextualize Austen by examining how her model of authorship differs from those that surfaced in literary conversations of the time, particularly those relating to the high Romantic myth of the solitary genius. Likewise, as questions of solitary authorship often overlap with discussions of realism and romance in literature, it is important to reexamine how Austen responds to these categories, particularly in the context of a strictly Romantic engagement with these terms. I find that, though Austen's writing has long been implicated in the emergence of realism in literature, little has been written to link this impulse to the earlier emergence of Romantic-era categories of authorship and literary creativity. I contend that Austen's self-projection (as both an author and realist) engages with Romantic-era literary debates over these categories; likewise, I argue that her response to these emergent concerns is more complex and nuanced than has heretofore been accounted for in literary scholarship.

Souvent perçu comme le poète de la " nature " par excellence, William Wordsworth serait bien plutôt celui qui a donné définitivement congé à une riche tradition descriptive, puisque les évocations du paysage sont chez lui bien plus rares que chez tous ses prédécesseurs du XVIIIe siècle. Le présent travail se propose de prêter attention à cette raréfaction, qu'on peut également voir, sur le plan de l'histoire esthétique, comme le moment d'émergence d 'une modernité abstraite. La poésie wordsworthienne, qui a pour ambition de refonder le langage et les formes poétiques par un retour à l'authenticité de la nature, apparaît indissociablement comme une rupture avec un mode essentiel de la première modernité anglaise, celui des Géorgiques. Elle prend ainsi acte de la crise de la représentation qui affecte l'optimisme du XVIIIe siècle et qui empêche désormais de voir dans le paysage la manifestation d' un ordre providentiel. Le " romantisme " anglais est ce qui surgit au défaut de la cosmologie, pour témoigner d'une fondamentale absence au monde. Cette évolution est ici étudiée en deux temps. On s'attachera d'abord à retracer, dans son détail, la trajectoire de la poésie de jeunesse de Wordsworth et de Coleridge, pour montrer que le moment refondateur de Lyrical Ballads intervient au terme d'un épuisement des formes et de la topique qui garantissaient traditionnellement l'intelligibilité du cosmos. Et l'on abordera ensuite trois moments distincts de la maturité poétique de Wordsworth [1798, 1802, 1807], qui suggèrent que le retour de l'idéologie dans son œuvre répond intimement à l'ébranlement radical dans lequel elle trouve son inspiration.

This thesis has evolved from William Blake's phrase, "Imitation is Criticism" written in the margin of Sir Joshua Reynolds's Discourses on Art. As a concept central to the production and criticism of art, imitation has largely been explored in the philosophical context of aesthetics rather than in terms of its practical application in image-text studies of the Romantic period. It has also traditionally served as a marker for the period designation 'Romantic', which in image-text studies continues to be played out in terms of the transition from imitative to expressive modes of making and response. Yet this notion of periodization has proven problematic in studying the response to 'false criticism' within what Wallace Stevens calls that 'corpus of remarks about painting'. These remarks reveal an important tension within imitation as a way of making something like something else, but also as a means of characterizing the relationships that underpin that resemblance. This tension not only occupies a central place in the concurrent development of art criticism and literary criticism in the period, but also offers a new foundation for the interdisciplinary study of image-text relationships in the period. The thesis is divided into two parts, each guided by the important role that imitation plays in the fight against 'false criticism' with respect to the visual arts. The first part examines the tension within imitation from the standpoint of artists and connoisseurs who expressed concern about the excesses of description in asserting the need for a credible art criticism while at the same time realizing its inevitability. The second part examines the tension within imitation from the standpoint of the American artist Washington Allston and his friend Samuel Taylor Coleridge, both of whom used this tension to advantage in setting forth a lexicon and methodology that could account not only for the 'specific image' described, but also the geometrical and structural relationships that underpin that image.

The popularization of academic spaces that combine Buddhist philosophy with the literature of the Romantic period – a discipline I refer to as Buddhist Romantic Studies – have exposed the lack of scholarly attention Samuel Taylor Coleridge and The Rime of the Ancient Mariner have received within such studies. Validating Coleridge’s right to exist within Buddhist Romantic spheres, my thesis argues that Coleridge was cognizant of Buddhism through historical and textual encounters. To create a space for The Rime within Buddhist Romantic Studies, my thesis provides an interpretation of the poem that centers on the concept of prajna, or wisdom, as a vital tool for cultivating the mind. Focusing on prajna, I argue that the Mariner’s didactic story traces his cognitive voyage from ignorance to enlightenment. By examining The Rime within the framework of Buddhism, readers will also be able to grasp the importance of cultivating the mind and transcending ignorance.

Romantic symbolism is a poorly understood concept. It was first formulated by the Romantics in a variety of contexts. Goethe develops his theory of the symbol most notably in his scientific works. Schelling's approach to the Romantic symbol is firmly rooted in his philosophical writings. Coleridge articulates a Romantic notion of symbolism across his extensive literary criticism. The foundational influence of these related theories of Romantic symbolism can be seen in the artistic, literary, and scientific productions of Romantic minded individuals all over Europe in the late eighteenth and early nineteenth century. However, the nature and scope of the Romantic symbol as originally formulated by Goethe, Schelling, and others has been obfuscated in unfortunate ways by the contemporary theoretical assumptions and narrow interpretations of recent academic scholarship. This thesis restores the original connotation of the Romantic symbol by identifying the common way in which it is misconstrued: the ontic fallacy.

Thesis (M.A.)--Kutztown University of Pennsylvania, 1995.
Source: Masters Abstracts International, Volume: 45-06, page: 2823. Typescript. Abstract precedes thesis as preliminary leaves [1-2]. Includes bibliographical references (leaves 180-190).

Meschonnic soulignait l’importance de l’« inséparabilité entre histoire et fonctionnement, entre langage et littérature », la nécessité de « reconnaître l’historicité du traduire, et des traductions » (poétique du traduire, introduction). En s’appuyant sur l’analyse des différentes traductions françaises de l’œuvre du poète-philosophe Coleridge, traductions publiées entre 1825 et 2015, nous tenterons de mettre en perspective ces traductions plurielles et les différentes théories de la traduction. Entre théorie de la traduction et pratique du traduire, comment peut-on définir le rôle et la place du traducteur ? La poésie est souvent considérée comme « intraduisible ». Pourtant, la poésie se traduit depuis des siècles. S’agit-il de traduction ou de « transposition créatrice », comme le pensait Jakobson ? Nous analyserons les différents procédés mis en œuvre pour compenser « what gets lost in translation », selon la formule de Robert Frost. En se plaçant dans une perspective comparative, nous examinerons le rôle joué par la traduction dans l’introduction de la poésie et de la pensée de Coleridge en France, ainsi que les échanges intellectuels entre France et Angleterre au moment de la naissance du Romantisme
Meschonnic emphasized the importance of the "inseparability of history and modes of operating, between language and literature", the necessity of "recognizing the historicity of translating, and of translations" (Poetics of translating, introduction). By analyzing the different French translations of the work of the poet-philosopher Coleridge, published between 1837 and 2006, I will try to put these translations in the context of the different theories of translation and the different aesthetics of reception. Between the theory of translation and the practice of translating, how can the role and position of the translator be defined? Poetry is often considered as "untranslatable". Yet poetry has been translated for centuries. Is it translation or, what Jakobson calls a process of "creative transposition"? I will analyse the different processes used to make up for "what gets lost in translation" (Robert Frost). In a comparative perspective, I will discuss the role played by translation in the reception of Coleridge's poetry and thought in France and examine the intellectual exchanges between France and Great-Britain at the time of the birth of Romanticism

by Eric Kwan-wai Yu.
Thesis (Ph.D.)--Chinese University of Hong Kong, 1994.
Includes bibliographical references (leaves 250-264).
Preface --- p.1
Chapter Chapter 1 --- "A Portrait of the Romantic as a Solipsist The ""Romantic Revolt,"" Lyricism and Selfhood" --- p.9
Chapter Chapter 2 --- Romantic Alienation Reconsidered --- p.38
Chapter Chapter 3 --- Burdens of the Past The Poetic Vocation and Elitist Leanings --- p.83
Chapter Chapter 4 --- "Wordsworth's and Coleridge's Early Poetry Sensibility, Radical ism and Reception" --- p.121
Chapter Chapter 5 --- "Egotism Established The Reception of Wordsworth's Poems (1807) and the General Attack on the ""Lake School""" --- p.153
Chapter Chapter 6 --- "Egotism Transformed Hazlitt's Criticism, the Acceptance of Wordsworth, and Twentieth-Century Romantic Scholarship" --- p.195
Notes --- p.224
Works Cited --- p.250

Recent scholarship demonstrates that the metaphor of taste, which represents aesthetic discernment as gustatory sensation, foregrounds ideologically laden questions of individual and cultural identity across a wide swath of literary history. But critics have yet to discover that taste is but one component of a much broader network of metaphors that figure the mind as a human body that eats and digests the world of objects and ideas. Using two approaches to metaphor from cognitive science, Lakoff and Johnson’s Conceptual Metaphor Theory and Fauconnier and Turner’s theory of "conceptual blending," I relate metaphors like reading-is-eating, ideas-are-food, and contemplation-is-digestion within a metaphor system that I call "the digesting mind." Applying this insight to organic aesthetics, I argue that poets expand organicism's metaphorical basis beyond the familiar poem-as-plant by introducing a mind that consumes plantlike poems. Coleridge, Wordsworth, Emerson, Whitman, and William Carlos Williams link writers and readers in an ideational economy figured as nutritional exchange. As each poet negotiates questions of creativity and literary influence, his biological, philosophical, political, and aesthetic beliefs converge in metaphors of the digesting mind. After introducing my approach in chapter one, I examine the digesting mind's importance in the evolution of organic aesthetics from English romanticism to American modernism. In chapter two, the digesting mind destabilizes Coleridge's influential distinction between mechanism and organicism by revealing, in Biographia Literaria, his anxiety that a diet of mechanistic literature will reduce the organic mind to a machine. Chapter three reads Wordsworth's Prelude in similar terms, as an allegory representing mental development as nutritional growth, in which the imagination requires an organic diet of poetry and nature. In chapter four, Whitman’s Leaves of Grass Americanizes the digesting mind with an Emersonian aesthetic that locates power in the poet’s present transformation of the literary past into future mental nourishment. In chapter five, Williams adapts Emerson's digesting mind with a pragmatic aesthetics of experience. By representing his Objectivist poems as fruit, as in "This is Just to Say," Williams relocates the organic ideals of vitality and unity from the poem, as aesthetic object, to the audience's felt experience of reading-as-eating.
2017-11-04T00:00:00Z

碩士
國立中正大學
外國語文研究所
89
The romantic imagination in nature for the Romantic poets zeroes in on a special topic in English Romanticism during the 19th century. In a word, the romantic imagination for Samuel Taylor Coleridge actually stands for the esemplastic power, which goes into the central parts of his poems. Samuel Taylor Coleridge, one of the top and eminent poets, fathered the Modern Poetry and the Romantic Revolution in English Literature, since the Romantic Revolution was giving the spirit of new birth to Modern Literature that spreads the emotional experience and the spiritual ecstasy. For instance, M. H. Abrams has commented, "Colerigde's poetic talent and insight are the seminal and excellent contributions to literature, and also regards him as the intellectual center of the English Romanticism movement." This thesis is divided into 5 parts, including the introduction, three chapters as the main body and the conclusion. First, this thesis aims to analyze the poetic mind and nature, as G. Wilson Knight has acclaimed, the quester has come to the world of "Hell, Purgatory and Paradise" in "Christabel," "The Rime of the Ancient Mariner" and "Kubla Khan." Second, this thesis focuses on how the poet-speaker explicates the poetic mind and nature in the romantic quest, and how the romantic imagination forms the poem as an organic whole. By its inward-looking journey, the poet-speaker, readers and the characters at the end have adopted the enlightenment of the moral indoctrination when they are on their road to seek after the grand central truth. After experiencing the spiritual odyssey, the poet-speaker, readers and the characters become "sadder and wiser" men. In addition, understanding the essence of good, evil, love, and moral, they reconstruct the spirit of internalization of the romantic quest, and are inspired by the enlightenment of the moral indoctrination. In Chapter One, firstly, what is Romanticism? Generally speaking, Romanticism is a "rebellion in a number of senses" that contains a wide freedom and the personal imagination, as which acts a perfect element in the poetic writings. Next, what is Coleridge's imagination? The poet-speaker in the "Conversation Poems" has explicated the poetic mind and nature, in which readers have touched with the variant forms of breathing of the romantic imagination, as "Nature's self is the breath of God." Chapter Two focuses on how the poet-speaker deals with nature in the romantic quest. The demonic group is close to the idea of Christian myth, which bases on the central spirit of the "apocalypse of imagination," just as Harold Bloom has mentioned, "the Romantics tended to take Milton's Satan as the archetype of the heroically defeated Promethean quester." So readers, the dreamer and the characters have experienced the metamorphic allusion of good, evil, moral, innate sin, misunderstanding, and understanding. They must go into the happiness and terror of "Hell, Purgatory and Paradise," respectively, which already reflect to the world of nature and the world of super-nature. Chapter Three copes with one thematic level of love and seeking after the grand central truth. As Harold Bloom has mentioned, "The higher Imagination shapes truth; the lower merely takes it, through nature, from the Shaping Spirit of God, and the Mariner's quest came to duplicate of his creation." The spirit of internalization of quest-romance is regarded as the central spirit of romantic quest, and also manifests it as the poet's higher imagination. Therefore, in my conclusion, the poet-speaker is an expert who deals with the dark world of nature, in which the poet-speaker has performed man's anxiety and guilt. However, at the end, human beings can discover love, truth and light, and also experience that the romantic imagination reshapes the poem as an organic whole.

In 'Political Atheism vs. The Divine Right of Kings,' I build on Thompson and Scrivener’s work analysing John Thelwall’s play 'The Fairy of the Lake' as a political allegory, arguing all religious symbolism in 'FL' to advance the traditionally Revolutionary thesis that “the King is not a God.” My first chapter contextualises Thelwall’s revival of 17th century radicalism during the French Revolution and its failure. My second chapter examines how Thelwall’s use of fire as a symbol discrediting the Saxons’ pagan notion of divine monarchy, also emphasises the idolatrous apotheosis of King Arthur. My third chapter deconstructs the Fairy of the Lake’s water and characterisation, and concludes her sole purpose to be to justify a Revolution beyond moral reproach. My fourth chapter traces how beer satirises Communion wine, among both pagans and Christians, in order to undermine any religion that could reinforce either divinity or the Divine Right of Kings.
A close reading of an all-but-forgotten Arthurian play as an allegory against the Divine Right of Kings.