Dissertations / Theses on the topic 'William Wordsworth (1770-1850)'

La marche est un point nodal où s'entrecroisent les thèmes favoris et les problèmes fondamentaux du poète romantique William Wordsworth (1770-1850) : elle permet une approche transversale de sa vie et de son oeuvre, car elle ouvre un champ d'étude situé à la croisée de la littérature, de la philosophie et de l'histoire des formes et des idées. Période de grandes mutations socio-culturelles, le tournant du dix-neuvième siècle marque l'émergence de la marche comme loisir. Grand marcheur lui-même,Wordsworth offre dans son oeuvre poétique, un tableau complet des marcheurs de l'époque. Les vers où il évoque ses déambulations londoniennes présentent en outre une perception nouvelle de la ville via la marche. A l'image de l'écriture, la marche était pour lui un puissant instrument d'ancrage et de découverte. Véritable hygiène de vie, elle l'aidait à définir son être et à assurer sa stabilité psychologique car elle lui permettait, comme la composition poétique, de lutter contre ses tendances mélancoliques. En décuplant ses sensations, elle évitait que sa perception ne soit émoussée par le quotidien, favorisant ainsi une ouverture émerveillée au monde dans laquelle il puisait son inspiration poétique. Ses promenades dans la nature étaient par ailleurs souvent des chemins intérieurs parce qu'elles permettaient la découverte de paysages sur lesquels il pouvait se projeter, tout en facilitant la méditation ou les rencontres inopinées. La marche jouait enfin un rôle essentiel dans sa création car il composait généralement ses poèmes en marchant. L'écriture s'apparentait même chez lui à une marche intériorisée, comme le suggère le rythme ambulatoire de ses vers. Prenant le relais de ses promenades dans la nature, ses déambulations poétiques participaient de la même quête fondamentale - celle de la continuité - puisqu'elles étaient guidées par sa volonté de retrouver son être passé pour l'enchâsser dans l'écrin de ses vers.

Influential later eighteenth-century critics and philosophers (Stewart, Knight, Alison, Jeffrey, Godwin) argued that poetry's moral and practical benefits derive from "analytical" modes of reading rather than from the poet's instructive intentions. Frequently exploiting the philosophical "language of necessity," Wordsworth's essays and prefaces (1798-1815) protested that poetry directly improves the reader's moral code and ethical conduct. This dissertation discusses Wordsworth's criticism in the context of analytical principles of interpretation current in the 1790s, providing terms for exploring the theme of reading in early mss. of Peter Bell and The Ruined Cottage (1798-1799), the 1798 Lyrical Ballads, and later poems such as "A narrow girdle of rough stones and crags," "Resolution and Independence," "Elegiac Stanzas," and The Prelude (Book V).
These poems anticipate Wordsworth's presentation of reading as the "art of admiration" in the "Essay, Supplementary" to the 1815 Poems, and indicate a sustained search for alternatives and correctives to detached investigative approaches to the aesthetic experience. Attempting to reconcile the extremes of the credulous or fanciful response, reflecting a childlike desire to be free from all constraints, and the analytical response, fuelled by perceptions of contrast between poetic illusion and reality, Wordsworth's criticism and poetry depict the reader as the"auxiliar" of poetic genius. The purpose, traditionally undermined by critics as peremptory and egotistical, was to challenge readers to examine their basic motives in seeking poetic pleasure.

Wordsworth's works between his departure from London on 10 July 1793 and the visit by Coleridge on 10 June 1797 are key documents in any discussion of the development of his poetry as they span the transition from Descriptive Sketches to Lyrical Ballads. Despite the key critical question of the originality of Lyrical Ballads, no exhaustive examination of Wordsworth's use of literary sources during this period has yet been undertaken. In this thesis a pattern of sources for each poem written during the period 1793-1797 is established, especially Wordsworth's developing use of his own verse as a source. There are many literary sources that had not previously been discovered, and this necessitated a reassessment of the role of sources in Wordsworth's poetry generally. In particular, the importance of certain eighteenth-century authors and ideologies had been underrated as influences on Wordsworth's poetry. An overview of Wordsworth's use of his sources shows significant changes during the period. In earlier poems they were incorporated into his poetry with little modification, but in later poems they were often radically transformed and complexly assimilated. Literary sources played a key role in the development of Wordsworth's works, critical theories, and world view. Finally, a brief examination of passages from The Prelude confirms the view that the importance of literary sources in Wordsworth's changing poetry and the workings of his poetic imagination was not confined to the period 1793-7.

This text recontextualizes Wordsworth's writings by showing the ways in which they question the assumptions about "philosophy" and "poetry" that have been constructed within the field of Cartesian dualisms. It employs the ideas of classical rhetoricians, particularly Isocrates and Quintilian, contemporary rhetorical thinkers such as Kenneth Burke, and twentieth-century scientists, particularly Gregory Bateson, David Bohm, and Antonio Damasio, to show that Wordsworth's efforts to establish connections between mind and body, mind and world, and feeling and thinking were coherent and highly relevant rather than simply paradoxical. And it argues that Wordsworth's writings embody his effort to develop a "rhetorical epistemology" or an "epistemic rhetoric" that could counterbalance the dangers of the reductive scientific epistemology of his time.Employing his knowledge of classical rhetoric, particularly Quintilian, and his own sense of the complexities of perception and representation, Wordsworth developed a model of knowing founded on personal experience, representation, relationship, and revision rather than on the establishment of "demonstrable" or "objective" knowledge. His model, like Gregory Bateson's "ecology of mind," was built on an integrated view of mind and world. He believed that perception, feeling, thinking and acting were related in a continuum of mental process (rather than being separate categories), and that individual minds had a mutually-shaping, integrative relationship with what he saw as larger mindlike processes (particularly "Nature").Within this ecology of mind, Wordsworth positioned poetry as a mental process which completed science by providing the means for joining fact and value, "objective knowledge" and personal meaning, reflection and participation. In his construction, poetry was to be an accessible, experience-based discourse of learning and knowing. He aimed to return poetry to its origins, not in "primitive utterance of feelings" but in "poesis" or meaning-making.By countering the assumptions of scientific epistemology, and offering a vital alternative, he sought to reshape and revalue poetry, to broaden his society's narrowing view of knowledge, and to reconstitute moral vision and belief in a society on its way to terminal doubt. His model of knowing is worth considering as we reshape our own views of knowing in the late twentieth century.
Department of English

This thesis examines the role of imagination in "The Prelude," within the context of recent criticism. In accordance with the impact of new historicism on contemporary Wordsworth studies, considerable attention is given to new historicist readings. It is argued that new history's methodological approach generally undervalues the complex texture of subjectivity in "The Prelude." New historical critiques tend to interpret the Wordsworthian imagination merely as a narrative strategy that enables the poet to displace or elide socio-historical realities. However, "The Prelude" does not entirely support such a reading. On the basis of Wordsworth's autobiography and related prose works, it is asserted that the poet's consciousness of creative decline and mortality potently informs his sense of imagination, and eventuates in a mode of self-perception that precludes subjective autonomy and socio-historical displacement.

In the introductory definition of spots of time, Wordsworth claims that these important childhood episodes are virtuous and worthy of celebration. This definition is incongruous with the episodes considered independently, because they reveal themselves as essentially disturbing memories. As he revised the spots of time, Wordsworth attempted to mitigate the disturbing nature of the episodes, betraying his need to repress certain undesireable aspects of the early texts.
The following study is a Freudian reading of Wordsworth's spots of time in their various stages of revision. The Introduction to this study addresses some of the problems of interpretation. Chapter One places a Freudian reading of Wordsworth within the context of previous scholarship. Chapter Two is a close reading of the earliest spots of time as informed by Oedipal memories. Chapter Three examines Wordsworth's attempt, through revision, to repress these Oedipal memories.

Wordsworth est l'un des grands poètes romantiques anglais. Au début, il s'enthousiasme pour la Révolution française, mais devant ses excès, il devient pessimiste. Grace à son amitié avec Coleridge, Wordsworth retrouve un nouvel équilibre, après une adolescence difficile. Ses poèmes deviennent simples. Il y introduit le langage quotidien, la nature et l'imagination. Les ballades lyriques dont le thème principal est la misère des opprimés révèlent leurs affinités littéraires. Wordsworth découvre par la suite que le but du poète est la joie de vivre, et son propos le bonheur humain. A la philosophie hautaine qui s'exprimait à l'époque, il voulait substituer sa vision humaniste et, par conséquent, révolutionnaire. C'est donc un art de vivre que Wordsworth veut transmettre : la joie est la raison d'être de l'homme, car tout homme rêve d'être heureux
Wordsworth is one of the great English romantic poets. At first, he was an ardent supporter of the French revolution, but as a result of its excesses, he became a pessimist. Thanks to his friendship with Coleridge, Wordsworth regained his equilibrium, following a difficult and turbulent youth. His poems subsequently became simpler as he infused them with everyday language, nature and imagination. The lyrical ballads, inspired mainly by the sufferings of the oppressed, reveal the literary affinity between the two poets. Wordsworth finally discovered that the poet's quest is "joie de vivre" and his aim human happiness. In place of the lofty philosophy that prevailed at the time, he sought to substitute his humanistic and consequently revolutionary vision. It is therefore an art of living that Wordsworth strives to convey: the "raison d'être" of mankind is joy, for happiness is the dream of every human being

Face au debat esthetique academique du ut pictura poesis, la representation du paysage, chez wordsworth et constable, inaugure une apprehension originale du visible, demarche scientifique doublee d'une aperception entierement subjective de la realite, visant a depasser les limites de l'objectif et du subjectif vers une totale integration, et a abolir la question de la correspondance entre les arts. Peintre et poete partagent, avec le meme mecene, une dette envers le pittoresque, qui leur ouvrit les yeux sur les objets humbles. Leur mode de perception, herite de l'empirisme anglais, oscille dialectiquement entre tyrannie de l'oeil, externe et soumission a une vision interne ; il aboutit a un dualisme qui preserve le sujet en cherchant a ressaisir le monisme de la perception immediate, dans les poemes autour de tintern abbey et les scenes de canaux, ouplasticite des elements, dynamique vibratoire de l'espace, et jeu unifiant de la lumiere, battent en breche les principes de la mimesis. L'isolement de la subjectivite definit au sein du paysage romantique des lieux d'inclusion et d'exclusion symptomatiques du bonheur et du malheur de la conscience, qui tend a se fondre dans les elements aeriens. Cette attitude adaptatrice et mystique insere au paysage un humain solitaire ou errant voue a se naturaliser, faisant coincider espace exterieur et topos de la subjectivite. La presence des schemes castrateurs et schizomorphes de l'angoisse et de la mort se resoud par la moralisation du paysage ; sa spiritualite immanente traverse les etapes de la revelation cathartique jusqu'a la hierophanie apocalyptique des oeuvres fina
As opposed to the academic debate upon ut pictura poesis, wordsworth and constable's representation of landscape initiates an original approach to visible reality. This scientific process, combined with pure subjective aperception, goes beyond the limits of objectivity and subjectivity, and invalidates the question of the correspondence between arts. Both poet and painter had the same patron and were indebted to the picturesque tradition, which taught them how to look at humble objects. Their mode of perception, influenced by english empiricism, varied from the tyranny of the external eye to the submission to inner vision, and reached a kind of dualism in which the subject is saved, and monist immediate perception tentatively recaptured : in tintern abbey and similar poems and in the canal scenes, plastic elements, dynamic treatment of space, unifying light, stand against the principles of mimesis. As the subjectivity grows more and more isolated in their romantic landscapes, places of inclusion and exclusion become significant of how happy or unhappy the ego feels : it keeps trying to identify mystically with atmospheric elements. Human figures, mostly solitaries or wanderers, also tend to adjust the topos of their subjectivities to external space by gradually turning into natural elements. The castrating, schizomorphic structures of anxiety and death that stand out in a number of scenes are neutralized when the landscape becomes moralized

Cette thèse tente la démonstration d'un projet moral de grande ampleur chez Wordsworth, né de sa foi en la valeur éducative de la poésie qui contribue ainsi au progrès moral des hommes. Le volume I présente la genèse des problèmes de création à travers l'étude de la composition de The Excursion et les complexes désaccords avec Coleridge, écrivain métaphysique. De sa crise poétique résultera chez Wordsworth un dilemne artistique perceptible dans l'ensemble de son oeuvre. Les problèmes liés à The Excursion révèlent les sources d'un credo, d'un art moral s'enracinant dans l'acte de perception. Le volume II est consacré à l'étude de plusieurs textes qui couvrent la carrière poétique de Wordsworth. Celle du Prospectus de The Excursion s'attache à montrer les ambigui͏̈tés syntaxiques, la complexité des rôles énonciatifs, la nébulosité des intentions morales. Elle souligne le mélange curieux de style épique miltonien et de moralité rurale wordsworthienne. Ensuite une confrontation de plusieurs manuscrits du livre I de The Excursion met en évidence, grâce à l'étude des métaphores et de la métatextualité, des épiphanies morales. Enfin l'ode tardive "On the Power of Sound", longue gestation de l'écoute créatrice, donne lieu à un examen du réseau sémantique de la musique dans des hypotextes et intertextes afin de montrer comment l'art de Wordsworth transforme plusieurs manuscrits, divers écrits, certains encore inédits, révélateurs de la méthode de travail de Wordsworth, qui contribuent à mettre en relief l'unité de son projet poétique moral
This thesis attempts to demonstrate the existence in Wordsworth's work of a great moral project founded on his belief in the educative value of poetry fundamental to the moral progress of man. Volume I presents the creative problems of The Excursion and the complex conflicts with Coleridge and his metaphysical approach to creation. Due to the resulting poetic crisis between the two poets, Wordsworth had to confront an artistic dilemma in his work as a whole. The creative problems he had with The Excursion reveal the emergence of a credo, a moral art developing in the very act of perception. Volune II is devoted to a close examination of several texts written at the various stages of his career which give convincing proof of the poet's moral intention. A linguistic study of the Prospectus to The Excursion shows that the ambiguity of the syntax, the complexity of the enunciative roles and the deliberately nebulous technique point to an underlying moral art. The grammatical and stylistic approach also highlights the curious mixture of epic Miltonian style and one of Wordsworthian pastoral morality. A detailed comparison between the variants of several metatextuality, the moral epiphanies in Wordsworth's early poetry. At the end of his career, the ode "On the Power of Sound", the result of a long creative gestation of the poet's moral voice, provides the material for a close examination of the semantic field of music in the hypotexts and intertexts. These show how the moral art of Wordsworth blends and transforms several poetic traditions to express his own authentic interior poetic voice. Volume III contains transcriptions of manuscript fragments, some of which are still unedited, that illustrate Wordsworth's method of work, particulary with the intention of bringing the unity of his poetic moral project into relief

La quête du bonheur est une approche optimiste dont le but essentiel est de réaffirmer l'espoir et le bonheur dans le monde d'aujourd'hui. Dans la première partie de cette thèse, nous nous sommes efforcés de montrer que le monde extérieur est une source de souffrance, d'obscurité et de misère à toute époque. Nous avons consacré la deuxième partie de cette recherche à l'étude d'une première quête wordsworthienne du bonheur. Nous avons insisté sur l'idée que le poète semble incapable de transformer son malheur en une joie pour autant qu'il néglige ses forces intérieures, à savoir : la conscience, la volonté et l'imagination. La troisième et dernière partie de cette recherche est une étude approfondie d'un modèle wordsworthien de bonheur. Ici, le poète insiste plus sur les lois véritables de son royaume intérieur qui consistent surtout à intérioriser le monde extérieur et à extérioriser le monde intérieur. Wordsworth semble, en effet, s'appuyer sur une participation active de son choix subjectif et personnel, et soutient que la conscience et la volonté représentent un appui essentiel dans la recherche du bonheur
The quest for happiness is an optimistic approach which aims mainly at reasserting hope and happiness in today's world. In the first part of this thesis, we endeavoured to show how the external world is a source of suffering, obscurity, and misery at any age. The second part of this research is a study of Wordsworth's first journey in quest of happiness. We insisted here on the idea that the poet seems incapable of transforming his sadness into joy in as much as he relegates his inner powers namely consciousness, will, and imagination. Part three of this study is a deep analysis of Wordsworth's contention of happiness. Here, the poet focuses more on the authentic laws of this inner world which consist mainly of internalizing the outer world and externalizing the inner world. As a matter of fact, Wordsworth seems to rely on an active participation of his subjective and personal choice, and asserts that consciousness and will are fundamental backbones to his quest for happiness

La presente investigación parte de dos postulados básicos: primero, la rotunda dimensión cognitiva que cabe asignar al arte; y segundo, la primacía del discurso y la experiencia estéticos frente a los modos epistémicos que dislocan conciencia y realidad por medio de múltiples dicotomías. Nuestro ámbito principal de indagación es la obra del poeta romántico William Wordsworth. Haremos especial hincapié en su producción desde 1797 hasta 1805, o sea, el período en que se perfiló el proyecto filosófico-poético cuyo impulso central es inseparable del movimiento romántico, ya que está vertebrado por los mencionados postulados sobre el valor cognitivo de lo estético y su preponderancia sobre discursos concurrentes.

Así pues, el objetivo de este trabajo persigue elaborar la estructura implícita de ideas que subyace a los postulados antes mencionados y, con ello, determinar sobre qué fundamento es posible encontrar en lo estético una primacía epistemológica como la que Wordsworth y el movimiento romántico en general sostienen como piedra de toque de sus teorías. Para el despliegue de esta investigación hemos planteamos una serie de preguntas que han guiado el desarrollo general de la tesis. Nuestra estructura se ha desplegado alrededor de cuatro cuestiones principales: ¿en qué consiste la visión que otorgan el arte y el modelo de experiencia estética?; ¿en qué sentido la actitud estética deviene agente de esta verdad viva, más amplia, radical y completa?; ¿cómo se operan la comprensión y la asimilación de los modelos cognitivos reductivos de la tradición desde este nuevo modelo?; y también, como reflexión final, ¿se le otorga a la filosofía, en su sentido tradicional, un papel respecto a ello, o por el contrario se le exige una remodelación de raíz en sus modos y sus hábitos más sedimentados?

A través de estas cuestiones y el análisis de los conceptos centrales del romanticismo de Wordsworth como 'imaginación', 'naturaleza', 'poesía', etc., hemos pretendido una explicitación de un modelo cognitivo radical y completo: el modelo estético del conocimiento y del saber. Este modelo asume el carácter no problemático de nuestra participación en los procesos de conocimiento y de realidad, y se estructurará alrededor de cuatro ejes centrales: percepción extensiva, significados abiertos, dinámicos e inagotables, la asunción plena de la lógica de la polaridad, y el postulado de un sustrato primordial, de una fuente o campo indiferenciado del aparecer, inherente a lo aparecido mismo y accesible por un ejercicio de agudeza perceptiva. El análisis de las nociones 'Imaginación' y 'Naturaleza' en Wordsworth nos llevará a la conclusión de su indiferenciación última, puesto que ambas apuntarán en su significa pleno y más amplio a esta realidad original entendida como apertura, como un campo integrado y unificado inherente a los fenómenos, a los cuales anima, realiza y disuelve en un juego interminable de encuentros e interrelaciones, de reciprocidades que disuelven los límites taxativos entre sensaciones, cosas e ideas.
This thesis is based on two fundamental premises: first, the deep cognitive dimension attributable to art; and second, the primacy of discourse and aesthetic experience over epistemological modes which dislocate awareness and reality through multiple dichotomies. Our principal line of inquiry is the work of the poet William Wordsworth. We shall pay special attention to his output from 1797 to 1805, that is, the period in which he outlined his philosophical-poetic project, the main thrust of which is inseparable from the Romantic movement.

Thus, our aim is to construct the implicit structure of ideas underpinning the above mentioned beliefs and, through this, to determine on what basis it is possible to find an epistemological primacy, such as Wordsworth, and the Romantics in general, maintained was the touchstone of their theories, in the aesthetic. The research has been carried out employing a set of questions to guide the general development of the thesis and has been structured around four main questions: Of what does the vision provided by art and the model of aesthetic experience consist? In what sense does the aesthetic stance work as an agent of this broader, radical and complete living truth? How does the comprehension and assimilation of reductive, cognitive models of tradition work within this new model? Finally: is philosophy, in the traditional sense, given a role with respect to that new model, or on the contrary, does it demand a root and branch remodelling of philosophy's most settled modes and habits?

Through these questions and the analysis of the central concepts of Wordsworth's Romanticism as "imagination", "nature" or "poetry", we shall try to form an explicit statement of a radical and complete cognitive model: an aesthetic model of knowledge and knowing. This model assumes our uncomplicated participation in the processes of knowledge and reality, and will be structured around four key concepts: extensive perception; open, dynamic and inexhaustible meanings; the full assumption of the logic of polarity; and the suggestion of a primordial substrate, of a source or an undifferentiated field of appearance inherent in what appears and accessible by exercising acute perception.

Cette étude a pour but de montrer l’importance sous-jacente du double mythe, principalement dans sa version ovidienne, dans les poèmes de Wordsworth. A un niveau littéral, les deux figures sont évoquées par les nombreuses scènes d’auto-contemplation ou d’échos. A un niveau plus figuré, Wordsworth revendique une poésie qui répète la Nature, comme un écho. Connu pour la crise poétique à laquelle il eut à faire face à la fin de sa Great Decade, le poète s’admire dans ses vers à travers des doubles, caractérisés, comme lui, par une perte fondamentale. Enfin, Wordsworth tente de transformer son lecteur en double de lui-même et en écho de sa voix, de lui apprendre à lire ses vers, à lafaçon d’un catéchiste
The point of this thesis is to show the importance of this double myth – mainly in its Ovidian version – in the poems of William Wordsworth. The two figures are implicitly present in the many scenes of self-contemplation and of echoes. Wordsworth also wishes his verse to repeat Nature’s voice, like an echo. He is equally famous for the poetic crisis that affected him after his Great Decade, and he admires himself in his verse through a series of doubles, many of which are characterized by a loss which reads as an allegory of his own. Eventually, Wordsworth aims at turning the reader into a reflection of himself and an echo of his voice

Em seu poema autobiográfico O Prelúdio William Wordsworth relata o modo como os principais eventos de sua vida levaram ao seu desenvolvimento espiritual a fim de tornar-se um poeta. Na chamada poesia de Natureza isso pressupõe a influência da experiência direta e viva com os objetos e elementos do mundo natural. Meu intento nesta tese consiste em investigar a qual ponto a formação individual representada na narrativa é resultado da experiência vivida – estética, moral e intelectual – do sujeito em relação às formas belas e sublimes do mundo exterior em paralelo com a constituição imaginativa de sua consciência; ou da elaboração retórica e associativa de imagens, analogias, metáforas, símbolos, conceitos e concepções tomados de um conjunto de saberes literários, filosóficos, religiosos, psicológicos e científicos da tradição ocidental em voga na época de Wordsworth. Além disso, busquei examinar de que modo a experiência da Natureza se associa ao papel da educação formal e da observação impactante da estrutura social e política advinda das transformações da modernidade, vindo a formar a visão de mundo do poeta e a crença no papel fundamental da poesia como depositária laico-sagrada da sabedoria essencial da humanidade. Os argumentos que dão sustentação à minha interpretação do poema baseiam-se na análise de uma estrutura narrativa de história individual de nascimento em meio ao mundo natural, de criação de laços de pertencimento a este meio, de afastamento da Natureza e de retorno a ela. A região natal de Wordsworth no Disrito dos Lagos Ingleses, no Norte da Inglaterra, é vista como equivalente primeiro da Natureza. Portanto é represetada analogicamente como um parâmetro físico e sensível que fundamenta aquilo que o herói deverá entender como Natureza: primeiro enquanto mundo visível, e a partir deste corolário em suas dimensões sensoriais e sentimentais, intelectuais e emocionais, morais e espirituais. Destarte, esta pesquisa organiza-se em três partes. Na primeira parte, procurei reconstruir as experiências do herói ao longo dos principais eventos de seu percurso autobiográfico, com vistas a reconstituir o seu sentido para a construção (Bildung) da sensibilidade do sujeito, emocional, intelectual e espiritualmente, de acordo como estas experiências tenham sido vividas ou recordadas. Na segunda, tratei separadamente dos tipos de contato empírico do herói com as formas naturais em momentos de observação, contemplação e meditação, dando ênfase à percepção sensorial, especialmente em suas funções visual e auditiva; aos impulsos sentimentais e emocionais ligados à sensibilidade corporal; e finalmente à intuição transcendente e à visão metafísica que acompanha as relações espirituais sentidas na responsividade anímica e espiritual do sujeito – em comunhão tranquila ou êxtase elevado – com a essência mais profunda manifestada na vida das coisas que o rodeiam. Por fim, na terceira parte, voltei-me para a análise dos recursos empregados para a construção estética e reelaboração retórica dos conteúdos da experiência humana representados na narrativa a partir da associação de conteúdos imaginários, metafóricos, simbólicos, conceituais e alusivos que indicam a apropriação de um conjunto de saberes e conhecimentos tomados de empréstimo a uma tradição intelectual e letrada. Enquanto resultado, sustento a tese de que Wordsworth combina dois elementos fundamentais na construção poética de O Prelúdio. De um lado há a expressão emocional dos efeitos interiores causados pela impressão das formas naturais, com base no que se pode conceber enquanto representação realista, ou seja, fiel às formas empíricas da percepção humana e relativa à atenção do sujeito ao ambiente circundante e à cor local. De outro, constatei a reelaboração de imagens, motivos e topói, bem como noções conceituais e alusões que remetem à afirmação de uma visão de mundo cara ao espírito Romântico, assim como a crítica cortante, apesar de velada, a um conjunto de práticas institucionais, sociais e políticas que ameaçam a integridade de um mundo orgânico que o eu-lírico julga ideal para o aperfeiçoamento do espírito humano em condições de harmonia com o universo onde vive – a Natureza.
In his autobiographical poem The Prelude William Wordsworth relates how the main events of his life led to his spiritual development in order to become a poet. In the so-called Poetry of Nature this presupposes the influence of the direct and living experience of the objects and elements of the natural world. My intent in this dissertation consists of investigating to what extent the individual formation represented in the narrative results from the subject’s lived through experience – aesthetic, moral and intellectual – in relation to the beautiful and sublime forms of the outward world paralleled to the imaginative constitution of his consciousness; or from the rhetorical and associative elaboration of images, analogies, metaphors, symbols, concepts and conceptions taken from a body of literary, philosophical, religious, psychological and scientific knowledges of the western tradition in voge during Wordsworth’s age. Furthermore, I sought to examine how the experience of Nature associates to the role of formal education and striking observation of the social and political structure derived from the transformations of modernity, thus forming the poet’s worldview and belief in the fundamental role of poetry as the laic-sacred depositary of humankind’s essential wisdom. The arguments which sustain my interpretation of the poem are based on the analysis of a narrative structure of individual history of birth amid the natural world, of creation of pertainment bonds to this environment, of distancing from Nature and return to her. Wordsworth’s native region in the Lake District in the North of England is seen as the primary equivalent of Nature. Therefore it is represented analogically as a physical and sensual parameter that founds that which the hero must come to understand as Nature: firstly, as the visible world, and up from this corollary in her sensorial and sentimental, intellectual and emotional, moral and spiritual dimensions. Thus, this research is organized into three parts. In the first, I attempted at reconstructing the hero’s experiences along the main events of his autobiographical course, aiming at reconstituting their meaning for the building (Bildung) of the subject’s sensibility, emotional, intellectual and spiritually, according to the way these experiences have been lived or recollected. In the second part, I dealt separatedly with the hero’s types of empirical contact with the natural forms in moments of observation, contemplation and meditation, emphasyzing the sensorial perception, especially its visual and auditory functions; the sentimental and emotional drives linked to the sensibility of the body; and finally to the transcendent intuition and metaphysical vision wich accompany the spiritual relations felt in the subject’s animical and spiritual responsivity – in quiet communion or lofty transport – with the deepest essence manifested in the life of the things surrounding him. Finally, in the third part, I turned my efforts to analyzing the resources employed for the aesthetical construction and rhetorical re-elaboration of the contents of human experience depicted in the narrative out of the association of imaginary, metaphorical, symbolical, conceptual and allusive contents that indicate the appropriation of a set of wisdom and knowledge drawn from an intellectual and literate tradition. As a result, I sustain the thesis that Wordsworth combines two fundamental elements in the poetic textualization of The Prelude. On one hand, there is the emotional expression of the inner effects aroused by the impression of the natural forms based on what might be conceived as a realistic representation, i.e. faithful to the empirical forms of human perception and regarding the subject’s attention to the surrounding environment and the local colour. On the other hand, I testified the re-elaboration of images, motifs and topoi, as well as conceptual notions and allusions which remount to the assertion of a worldview dear to the Romantic spirit, so as a sharp (although veiled) criticism against a number of institutional, social and political practices that menace the integrity of an organical world that the lyrical speaker considers ideal for the perfectioning of the human spirit in conditions of harmony with the universe where man abides – I mean Nature.

Aux dix-huitieme et au dix-neuvieme siecles, le sublime s'est progressivement constitue comme une tradition esthetique et philosophique, en france, en angleterre et en allemagne, autour de grands textes theoriques et poetiques, notamment ceux de diderot, schiller, wordsworth, shelley, hugo et michelet. Du sublime du crime au concept d'humanite ideale, le sublime chez diderot et schiller sous-tend un humanisme conquerant. Avec le romantisme, il devient plus paradoxal en se definissant surtout par son contraire, l'humble et le grotesque. Le sublime devient aussi une experience visionnaire et poetique fondee sur une dialectique entre nature et esprit, monde sensible et transcendance, histoire et mythe. La modernite du sublime, sa valeur d'actualite, vient de cette fonction d'inauguration, de "tabula rasa" poetique, que lui ont assignee les romantiques
During the eighteenth, then the nineteenth centuries, the sublime became an aesthetic and philosophical tradition, in english, french and german literature, particularly in the theoretical and poetical works of diderot, schiller, wordsworth, hugo and michelet. With diderot and schiller, the sublime is not only linked to the burkian "delight", it underlies a concept of ideal humanity. With the romanticism, the sublime becomes more paradoxical, being defined by its contrary - the grotesque, the humble, in hugo and wordsworth - or by a visionary experience (in hugo, shelley, michelet) based upon a dialectic between nature and spirit, sensible universe and transcendance, history and myth

Dans les années 1830-1840, sous les effets conjoints de l'industrialisation et de l'urbanisation massive de l'Angleterre, et de la naissance d'une vision de la nature comme paysage, une conception particulière de l'environnement, que nous avons appelée "sentimentale", voit le jour. Théorisée par Wordsworth, elle est d'abord marginalisée dans le deuxième tiers du XIXe siècle, qui est pourtant une période importante de gestation du mouvement environnemental. C'est à partir des années 1870 que cette conception s'impose, à travers d'éclatantes victoires et la multiplication d'associations de défense de l'environnement, comme le National Trust. Mais ce succès amène le mouvement à s'interroger sur certaines de ses contradictions, et à se scinder en deux ensembles, celui des utopistes, refusant la civilisation industrielle et urbaine, et celui des réformateurs, qui cherchent seulement à en encadrer les effets sur l'environnement
Following the industrialisation and urbanisation of England which started in the mid-18th century, and following the new vision of nature as a landscape, a "sentimental" conception of environment emerged in the 1830s-1840s. It was marginalised until 1870, but this period was nonetheless one of gestation of the environmental movement. From the 1870s onwards, the sentimental conception became pre-eminent in the country, due to the success of the environmental movement and the creation of new environmental organisations, such as the National Trust. But this success led the movement to question its own contradictions, and to be divided into two groups : the utopians, who refused the industrial and urban civilisation, and the reformists, who only wanted to check its impact on environment

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.

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
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

2009 marque le cent cinquantième anniversaire de la mort de Thomas De Quincey. L'auteur romantique resté célèbre pour ses Confessions of an English Opium-Eater se surnomme volontiers lui-même comme le « mangeur d’opium », ce qui oriente la critique vers une attention quasi-exclusive à sa pratique opiomane, les visions l'accompagnant et les conséquences créatrices et médicales. Ainsi que Frederick Burwick le déplore, il serait réducteur d'y voir l'essence de son œuvre, alors que sa contribution aux idées religieuses, pourtant importante, n'a jamais été étudiée dans sa globalité. La présente thèse se propose de combler cette lacune et ouvrir une perspective critique nouvelle en se penchant sur les rapports entre De Quincey, la Bible et ses réécritures protestantes et romantiques; c'est aussi le premier travail de ce genre à porter sur les 21 volumes de l'œuvre complète publiée par Grevel Lindop entre 2000 et 2004. Il montre que par son rapport aux Ecritures et leurs réécritures, Thomas De Quincey « paulinise » le romantisme en même temps qu'il romantise le protestantisme, offre une nouvelle interprétation de l'homme, construit une théodicée originale et propose une nouvelle définition de la littérature
2009 marks the sesquicentennial of the death of Thomas De Quincey. The romantic writer’s enduring association with his Confessions of an English Opium Eater—fuelled by his own habit of referring to himself as such—has steered scholarly attention into the exclusive direction of his opium-eating practice, ensuing dreams and their creative and medical consequences. As Frederick Burwick deplores, it would be restrictive to see in this the quintessence of his work while his yet important contribution to religious ideas has never been studied overall. The present Doctoral dissertation proposes to remedy this lack and to open a new critical perspective by looking at the relationship between De Quincey, the Bible and its rewritings. It is also the first piece of work of this kind to draw on the 21 volumes of the complete works as published by Grevel Lindop between 2000 and 2004. It shows that through his relationship to the Bible and its rewritings, Thomas De Quincey “paulinises” romanticism while he romanticises Protestantism, offers a new interpretation of man, builds an original theodicy and renews the definition of literature

The Italianate Wordsworth is a study of William Wordsworth's enduring interest in Italian literature and culture -- an important aspect of his intellectual life and creativity to which no previous book has been devoted. Of all the first-generation Romantics, Wordsworth was the most influenced by Italian poetry and aesthetics. The roots of his passion for the Italian language stretch back to the earliest stages of his imaginative development and extend throughout his life. His voluminous reading of and recurrent engagement with Italian texts -- as translator and imitator -- began in the late 1780s, when he was under the tutelage of Agostino Isola at Cambridge University. Wordsworth translated works by Petrarch, the paradigmatic Italian sonneteer, in 1789-90; by Ludovico Ariosto, the master of epic romance, between 1789 and 1795, in 1802, and in 1815; by Pietro Metastasio, author of popular songs and melodramas, in 1802-1803; by Michelangelo Buonarroti, the artist, poet, and polymath, in 1804 and again in 1839-1840; and by Gabriello Chiabrera, the epitaphist, in 1809-10 and 1837. Wordsworth's immersion in Italian culture became complete in 1837 when, at the age of sixty-seven, he made an extended visit to Italy. During the four months of this sojourn he was able, after years of dedicated reading and translation of major Italian texts from the foundational Trecento to the pre-Romantic Enlightenment, to realize fully his connection with Italy. In the period that followed, he composed poems that addressed various aspects of Italian history, politics, and culture; and in the last collection of poetry he published in his lifetime, Poems, Chiefly of Early and Late Years (1842), he included a series of twenty-eight poetic reflections entitled "Memorials of a Tour in Italy." This dissertation sheds light not only on Wordsworth's debt to Italian culture but also on our inherited ideas about the English Romantic relationship to Italy. Given the emphasis traditionally placed on the Italianate leanings of the second-generation Romantics, the impact of Italian literature on the mind and writings of a first-generation poet like Wordsworth has been largely forgotten. Thus the "Italianate Wordsworth" comes as something of a surprise. Time and again, he expresses his veneration for the style and sensibility of Italian poets from Dante to Tasso, often going so far as to emulate their techniques and adopt their cadences in his original English verse. As a poet, scholar, translator, and traveler, he is receptive to all that Italian civilization provides.

The aim of this thesis is to show, by means of a chronological study of poverty as treated in the poetry dating from the early 1790's to 1807, that Wordsworth's treatment of this topic was both highly politicized and unusually probing. To look at his treatment of poverty is also to gain some understanding of his changing political and social views over these years. He began writing about poverty and the poor in a period in which picturesque and/or sentimental ways of viewing poverty alternated with moralisitically judgmental ways. His approach and attitudes are soon seen to be different. After a period of fervent protest at the very existence of poverty, he proceeds to probe the more hidden costs, to the indigent, of poverty, an approach which is less overtly polemical. This study seeks to demonstrate that this stage is no less committed, and, indeed, comprises an insightful analysis of the social and psychological damage consequent on poverty, damage now widely recognised as one of the major costs of poverty both to the individual and to the state. Furthermore, Wordsworth becomes concerned with the alienation both from the self and from the other consequent on poverty. It is this that he recognises as a major, yet rarely acknowledged, component of poverty. He recognises too, his increasing inability to understand the impoverished other. Conscious of the divide that separates the privileged from the indigent, he can only wonder at, and acknowedge, the powers of endurance of which some seem capable. From such examples he, in his precarious vocation of poet, can learn much. Such admiration of the reolution and independence apparent in some of the indigent leads him to espouse values and judgments which tend to differentiate clearly between the deserving and the undeserving poor. Although such attitudes become increasingly prevalent in Wordsworth after 1807, the work of the preceding years remains a rare, forceful and multi-dimensional cry of protest against poverty.

此論文探究詩人華茲華斯多種的靈感來源。他的靈感來源主要分為兩種：超自然以及人本的來源。一方面，詩人有古典和傳統的一面，依靠超自然的來源來維持寫作靈感，如異教神明，基督教的聖靈，新古典神祗。除了這些靈感來源以外，我提出，詩人還發明了人本的守護力量，反映了他能離開傳統，自成一格，依靠個人的天才和身邊的群體。
華大部份寫詩的靈感都來自大自然，因此第一章將考究自然如何成為為他帶來靈感的工具。十八世紀崇尚哲學，詩風也有此傾向。華受此詩風影響，對他來說，自然象徵著形而上的真理，是重要的寫作題材。因此，雖然他渴望像他妹妹桃樂西一樣如實描繪自然，最後卻比較著重自然的喻意，多於自然的原始美。
第二章以華的作品《意大利旅行回憶錄》和《歐洲大陸旅行回憶錄》為主，集中討論華詩裡的聖靈。此章宗旨是證明詩人在出外的時候特別依靠聖靈作靈感來源。雖然外地給他陌生的印象和感覺，但透過此靈感來源，他為自己製造了一個安穩的寫作空間。聖物、宗教建築、音樂和不同地方的歷史，觸手可及，為他帶來親切感。
第三章尋索華詩裡的新古典神明。論點是：詩人在詩裡祈求神明庇佑並賜與寫作靈感，是跟隨新古典詩人的傳統，為一種修辭法。新古典時期的代表作家有德萊頓、蒲柏、和詹森， 都是華尊敬的作家。雖然華曾跟隨他們的向神明祈求的修辭法，卻仍與他們這種尋求靈命的手法保持距離。這是因為華覺察到，這種以精英為重的詩，與他對低微農村居民持有的抱負背道而馳。
第四章介紹英國湖區的守護力量。這力量比較其他靈感來源，最得華心。原因是，他從小與湖區已建立起感官和情感上的親切感。即使身在異鄉，他也可透過想象親歷湖區之景，從中找到靈感寫作，所以湖區的力量很可靠。可惜，一個地方的景色，有可能隨著農村發展和工業化而改變甚至遭受破壞。華明白這一點，是以還是開始尋找更長久的靈感來源。
因此，華創造了歷史、文學和人物這三種人本的守護力量，代替前幾種的靈感來源。第五、第六、和第七章會分別討論這三種來源。歷史的守護力量來自華想象出來的一個群體， 這群體裡的人都是英國的人民，價值觀相似，所以特別珍視某些美德。就是這樣一個群體維持著華的靈感的。文學的守護力量也是華想象力的結晶，這群體是由一群作家組成，作家真有其人。華透過引用他們的詩句，在寫詩時找到靈感繼續創作下去。人物守護力量是第三個華透過想象組織的群體，以湖區的農民群體為範本。人物都有華所碰見過的人的影子，他們的生命力來自這群體的關愛和憐恤。這兩種美德也支持著華的創作。
This thesis explores the different sources of inspiration in William Wordsworth’s poetry. These sources, I argue, can mainly be classified into two types: supernatural and human-oriented. The classical and traditional Wordsworth relies on supernatural sources, such as pagan spirits, the Christian spirit, and neo-classical spirits to sustain and inspire his poetry. In addition to these sources, I argue that he has invented human-oriented 'spirits of place', and that his use of these spirits reflects a Wordsworth who is independent of tradition and more reliant on his own genius and the human communities around him.
Because the inspiration of most of Wordsworth’s poems springs from nature, my first chapter will study how nature is instrumental in bringing about this inspiration. Nature is symbolic of those metaphysical truths which he considers important subjects for writing, under the influence of eighteenth-century expectations that poetry be philosophical. As a result, while longing to portray nature 'as it is', as his sister Dorothy does, he nevertheless resorts to the metaphorical meanings of nature rather than its beauty in its basic appearance.
My second chapter will focus on the Christian spirit in Wordsworth’s poetry, especially in Memorials of a Tour in Italy, and Memorials of a Tour on the Continent. It seeks to show how the poet, especially while abroad, depends on it for inspiration. He seems to be creating a safe environment for writing, when his surroundings look and feel foreign. He cultivates a feeling of familiarity through tangible things such as religious relics, architecture, and music, and the Christian history of the places.
My third chapter will investigate neo-classical spirits in Wordsworth’s poetry. I argue that his invocation of them is a rhetorical device employed as part of a tradition among neo-classical poets such as Dryden, Pope, and Johnson, whom Wordsworth highly respects as his poetic predecessors. There will also be a note on his critical stance against this method of obtaining inspiration, as he realises an elitist kind of poetry does not suit that responsibility for the rustic and lowly which he considers his.
My fourth chapter will introduce the genius loci of the Lake District, which to Wordsworth was a preferred source of inspiration, because of the physical and emotional intimacy that he cultivated with the place since childhood. I attempt also to show that the genius loci has sustained his poetry even when he is abroad and imaginatively revisits the place. Despite the strength of this source, he eventually longs for a more sustainable source, one that is not prone to be destroyed due to the possibility of a change of landscape in the locality due to rural development or industrialisation.
As a result of this, Wordsworth invents what I term 'historical', 'literary', and 'embodied' spirits of place, as alternative sources. These three kinds of spirit of place will be discussed in Chapters 5, 6, and 7 respectively. Historical spirits of place are a community imagined by Wordsworth, one in which people share the same valuation of certain virtues that are specific to the British nation. Literary spirits of place are a community in his mind, one that consists of literary figures who are supportive of or foundational for Wordsworth’s writing. He imagines receiving their support through quoting from their poems. Embodied spirits of place are also an imaginary community based on the rural one in the Lake District. They are characters that Wordsworth creates based on real rustic people, and their lives are sustained by the love and sympathy of the community, just as his own poetry is sustained by it.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Au Yeung, Viona.
Thesis (Ph.D.) Chinese University of Hong Kong, 2014.
Includes bibliographical references (leaves 409-423).
Abstracts also in Chinese.

Ng, Chak Kwan.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2009.
Includes bibliographical references (leaves 132-136).
Abstract also in Chinese.
INTRODUCTION
The Necessity of Being Performative:
the Cases of William Wordsworth and T. S. Eliot --- p.1
Chapter CHAPTER ONE --- "Context, Literary Events and the Institution of Literature" --- p.12
Chapter CHAPTER TWO --- Individualism: the Invention of Romantic Subjectivity in William Wordsworth --- p.50
Chapter CHAPTER THREE --- Subjectivity in Crisis: the Invention of Modern Subjectivity in T. S. Eliot --- p.90
"Conclusion ""Change More Than Language"": The Acts of Poetry" --- p.127
WORKS CITED AND BIBLIOGRAPHY --- p.132

Tese de mestrado, Estudos Ingleses, Universidade de Lisboa, Faculdade de Letras, 2009
Although Samuel Taylor Coleridge (1772 1834), an English poet of the Romantic period, is now celebrated as one of the most important public figures of his time, his professional and private lives prove that this status he presently has was widely challenged during his lifetime. He was frequently criticised by his contemporaries, while his poems, Christabel (1816) in particular, were generally misunderstood and rejected as not worthy of his name. This poem, the one we focused on in this thesis, acted as a true nemesis, the key enemy, which happened to be one of the reasons why Coleridge's friendship with his best friend William Wordsworth (1770 1850) began to fade. The following two ideas guided us in writing this thesis. The first idea involves the nature of Coleridge and Wordsworth's friendship. These poets marked the end of the eighteenth and the beginning of the nineteenth century. They became close friends in 1797. Their friendship resulted, among other things, in a joint collection of poems, Lyrical Ballads (1798), whose publication is generally taken as the beginning of Romanticism in England. This complex friendship, with its implications, motivated us to undertake this research. Our second guiding idea is Coleridge's unfinished poem Christabel. It was supposed to conclude the second edition of Lyrical Ballads (1800). Unfortunately, Wordsworth decided to exclude it which devastated Coleridge poetically and psychologically. Profoundly disturbed by Wordsworth's decision, among other reasons, Coleridge turned to opium, lamenting over lost poetic powers. Christabel consequently became a true nemesis for Coleridge, which as some sort of a spell, tormented Coleridge till his death. This dissertation is divided into two parts. The first will explore the nature of Coleridge and Wordsworth's friendship. The second will focus on the analysis of Christabel which initiated the disintegration of the poets'strong friendship and prolific collaboration.
Resumo alargado disponível em português

Tese de doutoramento, Estudos de Literatura e de Cultura (Teoria da Literatura), Universidade de Lisboa, Faculdade de Letras, 2010
Partindo do pressuposto de que a obra de Cesário Verde se assumiu, ao longo da história da crítica literária, como um objecto estranho porque avesso a qualquer acto de catalogação estética, este trabalho apresenta dois instrumentos de leitura alternativos, respectivamente as obras de William Wordsworth e Fernando Pessoa. Mediante a consideração das mesmas pretende-se, não evidenciar a possibilidade de um exercício comparativo, mas antes clarificar os potenciais sentidos de uma poesia que, pela sua complexidade, tem sido sucessivamente remetida para uma posição indefinida. O estado de desactualização da História da Literatura Portuguesa e, simultaneamente, a constatação de uma relativa ineficácia dos estudos críticos no que concerne à obra de Cesário, deram aqui a possibilidade de, através de outras poéticas, se esclarecer o papel crucial que essa mesma obra desempenhou na evolução do nosso pensamento sobre questões relacionadas com Poesia.
Assuming that Cesário Verde’s work has been regarded, throughout the history of literary criticism, as an odd object resisting acts of aesthetic classification, this dissertation presents two alternative reading instruments, respectively William Wordsworth’s and Fernando Pessoa’s works. This is not intended as a comparative exercise, but instead to clarify the potential meanings of a work that, due to its complexity, has been repeatedly left in an undefined position. The obsolete state of Portuguese literary history and, simultaneously, the considerable ineffectiveness of most Cesário criticism, allowed the opportunity to clarify, through other poetics, the crucial role his work had in the evolution of our thinking concerning Poetry.
Fundação para a Ciência e Tecnologia (FCT, SFRH/BD/30243/2006)

Ding Hongwei.
"October 1999."
Thesis (Ph.D.)--Chinese University of Hong Kong, 1999.
Includes bibliographical references (p. [215]-225).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Abstracts in English and Chinese.

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