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1
Tucker, R. L. G. "William Carlos Williams in the 1930s." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1427685/.
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The subject of this thesis is William Carlos Williams and the circle of writers around him in the 1930s. During this decade Williams was a key figure in the formation of an alternative left-wing American canon, and active in a group that included Nathanael West, Louis Zukofsky and Kenneth Burke. This thesis explores the political and aesthetic grounds on which that canon was constructed. The assumption that Williams was already a successful writer after Spring and All (1923) has often led to a disproportionate emphasis on his poetry and the ‘modernist’ aspects of his aesthetics. This thesis makes the case for the significance of Williams’ 1930s prose writings in the growth of the Proletarian Literature movement, and challenges the assumption that ‘Marxist’ literature of the 1930s was at odds with ‘modernist’ literature of the 1920s. I investigate the key concepts of Williams’ own aesthetic philosophy, ‘Objectivism,’ ‘Pragmatism,’ ‘Contact,’ and ‘Localism,’ and show how these concepts became politicized during the 1930s. By exploring the relationship between art and politics, and the ways in which Williams was radicalized by the Great Depression, this thesis attempts to expand critical notions of ‘radicalism’ to include a broader New Deal alliance between traditional democratic liberalism and Marxist economic determinism. Focusing on concepts of ‘Nativism’ and ‘Americanism,’ this thesis also charts America’s burgeoning cultural nationalism during the 1930s, and demonstrates how America’s founding values were challenged by political, economic and social upheaval in the wake of the Depression. By locating Williams’ desire for radical economic change within the context of the Jeffersonian movement, I demonstrate how a historical assessment of America’s past led Williams and the writers mentioned above to question America’s attitudes towards individualism, the redistribution of wealth, the forces of corruption and plutocracy, and the effectiveness of democracy to bring about social justice.
2
Good, James Alexander. "William Carlos Williams and the pastoral tradition." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ27785.pdf.
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Mahfoud, H. I. "William Carlos Williams : Towards a democratic art." Thesis, University of Essex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.235125.
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Hindle, Maurice. "William Godwin's Caleb Williams : a critical edition." Thesis, University of Essex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329841.
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Aji, Hélène. "Ezra pound et william carlos williams : correspondances." Amiens, 1997. http://www.theses.fr/1997AMIE0002.
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A la lumiere de la correspondance entre ezra pound et williams carlos williams, il apparait qu'une comparaison entre leurs oeuvres permet de presenter une synthese sur le developpement de la poesie americaine au xxe siecle. Il s'agit de rechercher, dans certaines de leurs demarches, les points communs et les differences entre les deux poetes qui sont a l'origine des grands mouvements de la poesie americaine contemporaine. Tant ces points communs entre les deux poetes que leurs divergences et leurs desaccords indiquent les enjeux d'un travail poetique fondateur d'une nouvelle tradition americaine. La notion de tradition, d'acceptation et de rejet de l'heritage litteraire, semble a la source de ce que l'on pourrait appeler leur conservatisme revolutionnaire. Leur geste poetique est marque a la fois par une volonte d'innovation et par une volonte d'enracinement dans le passe historique, le present esthetique et un avenir place sous le signe du poetique et du politique. L'heritage que pound et williams ont legue est marque par l'ambiguite d'une critique litteraire qui les place dans une seule tradition cosmopolite, le modernisme, ou encore dans une seule tradition americaine, celle du long poeme, perdant de vue le caractere eminemment social de leur vision poetique. L'incompletude des cantos et de paterson empeche toute vision unitaire : ni oeuvre close, ni oeuvre ouverte, le long poeme serait peut-etre la metaphore par excellence de l'amerique, pris dans l'ecart entre elan et stase, entre creation et conservation, entre action et reaction<br>In ezra pound and william carlos williams's correspondence one can find the foundation for a broader comparison of their respective works leading to a synthesis on the development of american poetry in the twentieth century. The aim is to investigate their various strategies so as to distinguish their points in common as well as their differences, and thus to outline the great tendencies of contemporary american poetry. These common points between the two poets, along with their many disagreements and all that may separate them, show what is at stake in a poetic work aimed at founding a new american tradition. This very notion of tradition. Of acceptance and rejection of their literary inheritance, underlies what can be called their revolutionary conservatism. Their poetic action is marked both by the will to innovate and by the desire to root oneself in the historical past, in the aesthetic present and in a future seen as poetic and political. The pound and williams heritage is deeply affected by the ambivalence of the literary critics who too often place them either in a monolithic cosmopolitan tradition they call modernism, or in the american tradition of the long poem, overlooking the social nature of their poetic vision. Any unifying appraisal of their works is prevented by the fact that both the cantos and paterson are unfinished poems : pound and williams's long poems are neither closed nor open works, but perhaps the metaphor par excellence for america, a form caught in the gap between impulse and stasis, creation and conservation, action and reaction
6
Beck, John. "William Carlos Williams, John Dewey, and American cultural politics." Thesis, University of Cambridge, 1995. https://www.repository.cam.ac.uk/handle/1810/271998.
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Aublet, Anna. "L'oracle en son jardin : William Carlos Williams et Allen Ginsberg." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100083/document.
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La tension analysée par Leo Marx dans son essai The Machine in the Garden: Technology and the Pastoral ideal in America (1964), entre l’Arcadie américaine comme terre de pureté naturelle et le trope de la menace mécanique, sous-tend les œuvres des deux poètes du XXe siècle que nous nous proposons ici d’étudier, William Carlos Williams (1883-1963) et Allen Ginsberg (1926-1997). Leur abondante correspondance est la trace d’une relation poétique mais aussi filiale : Pater-Son, pour jouer sur le titre du long poème de Williams. Cet échange épistolaire vient également remettre en question la périodisation des mouvements littéraires trop souvent conçue comme une série de ruptures. L’état du New Jersey, Garden State, dont ils sont tous deux originaires, jardin dévasté par la révolution industrielle, apparaît comme un terrain fertile au surgissement d’une langue unique et autochtone. Cet espace commun et métamorphique offrira également une échappatoire à l’impasse de la classification des œuvres : du modernisme à la Beat Generation. Il faudra donc revenir sur les délinéaments des tracés cartographiques pour mieux dessiner à notre tour la carte poétique de leur relation littéraire et personnelle. Au gré des passions humaines, extases et tribulations, les poètes arpentent les sillons du vers qu’ils creusent à même le sol de leur New Jersey natal, pour faire sourdre le flot autochtone d’une poésie résolument américaine<br>The tensions analyzed by Leo Marx in his 1964 essay The Machine in the Garden: Technology and the pastoral ideal in America, between the American Arcadia as a land of original purity and the trope of industrial threat is ghostly present throughout the works of both poets at stake in this dissertation: William Carlos Williams (1883-1963) and Allen Ginsberg (1926-1997). In this research I intend to analyze the processes by which the poets manage to claim ownership of their land in spite of the lurking mechanic apocalypse. Writing, each in his own time, both poets endeavor to reclaim the original historical and spatial meaning of their continent, by devising an autochthonous language that would provide a new “point of view” and a new “point of voice”, as means to prophesy a collective future for the nation from their personal “local” anchorage in their natal New Jersey. Striving to “make a start out of particulars” they intend to escape the vastness of the continent by focusing on the minute details surrounding them in their own garden state. The correspondence between the two poets also questions the periodization of literary movements, too often conceived as a series of breaks and schisms. The Garden State, metamorphic space covered with the remnants of industrialization provides us with a way to break free from the shackles of such categorization : from modernism to the Beat Generation
8
Figgis, Sean Edward. "Toward spring and all : the gestation of William Carlos Williams' poetic." Thesis, University of Hull, 1988. http://hydra.hull.ac.uk/resources/hull:15163.
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This thesis argues that Williams struggled against the spectres of nationaI and personal influence in order to make his poetry both original and relevant to the modern American condition. He worked in a context of great cultural upheaval during the first wave of Modernist experimentation, toward self-definition in a state of existential anxiety. It was the defensive strategy he adopted to combat both the threat of insignificance, and imposed European cultural value, which shaped his mature poetic. Section One introduces Williams' quest for identity, working against what he called "the traditionalists of plagiarism". There is also a brief discussion of other texts which have examined this phase of Williams' development. Section Two investigates the cultural milieux, including movements such as Imagism and Dada which had a profound effect on Williams. It examines such figures as Pound, Eliot and Stein whose influence he was unable to avoid. The availability of a native tradition in the work of Whitman and Dickinson is encountered in Section Three, which also provides the opportunity to develop further the argument that WilIiams' need to disguise evidence of influence in his work actually shaped his art. Section Four introduces the surfacing of American Modernism in the pages of such little magazines as Camera Work, Poetry, Others and The Little Review. It presents Williams' growing confidence in the company of such innovative contemporaries as Mina Loy, Marianne Moore and Alfred Kreymborg (editor of Others). Williams' maturity is linked, in Section Five, with the publication of Spring and All in 1923. The collection is examined as a culmination, a confident and conscious exhibition of the poetic as having come of age.
9
Di, Blasio Mariadele <1983>. "L'altro eccezionalismo: William Appleman Williams tra storia, storiografia e impegno civile." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/4791/1/Di_Blasio_Mariadele_tesi.pdf.
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La storiografia statunitense, a partire dagli anni Cinquanta, vide l’affermarsi di una nuova interpretazione della politica estera americana. Archiviata la storia diplomatica come storia dei trattati o storia delle interazioni delle élites dominanti, abbandonata una visione incentrata sull’equilibrio di potenza, il dibattito storiografico si arricchì della cosiddetta interpretazione «revisionista», antitetica rispetto a quella che, fino a quel momento, aveva predominato. Soggetto di analisi storica restava sempre lo Stato ma l’enfasi maggiore era posta sui fattori economici che ne influenzavano l’azione: si metteva in rilievo l’interazione tra l’interesse privato e il soggetto statale. Capofila di questa nuova scuola fu William Appleman Williams.
Questa ricerca si pone l’obiettivo di delineare il contesto storiografico dal quale emersero gli studi di Williams e di cui egli ne roviesciò alcuni assunti fondamentali. Si intende tracciare il suo percorso intellettuale – storiografico e pubblico – al fine di restituire la complessità di un personaggio che divenne un vero e proprio «intellettuale pubblico». I quesiti, a cui questa ricerca vuole dar risposta riguardano l’evoluzione del percorso intellettuale di Williams tanto in ambito storiografico quanto, più in generale, in quello pubblico; il contributo alla ridefinizione dell’identità statunitense e del suo ruolo internazionale; il lascito della sua riflessione nella storiografia.
Prendendo le mosse dall’idea di frontiera proposta da Turner, Williams sostenne che la fine dell’espansione territoriale «interna» aveva obbligato gli Stati Uniti a cercare nuovi mercati per il proprio surplus. Era stata tale necessità a catalizzare la Open Door Diplomacy, guidata da ragioni economiche, che presto identificarono l’interesse nazionale per trasformarsi in una vera e propria ideologia nel XX secolo.L’esito di tale politica estera fu la creazione di un impero non più territoriale ma frutto dell’espansione economica. E proprio questa riflessione sull’impero influenzò, negli anni Sessanta, la protesta studentesca che chiese un ripensamento del ruolo internazionale degli Stati Uniti.<br>The early Fifties saw the emergence of a new synthesis of the American diplomatic history, advanced by a young historian, William Appleman Williams. In the midst of what was called “consensus history” he proposed a different interpretation of American foreign policy, focusing on economic factors. Archiving a diplomatic history conceived as history of treaties or as the interactions between leading élites, abandoning a vision conceiving of the balance of power as the inspiring principle of States’ actions, Williams placed major emphasis on the interplay between the private interest and the State in explaining Us foreign relations.
The aim of this dissertation is threefold:
- To analyze the evolution of Williams’ intellectual career both in the historiographical field and in the public one, where he could be considered a “public intellectual”;
- To evaluate Williams’ contributions to the redefinition of Us identity and of its international role during the Sixties;
- To delineate the legacies of Williams’ ideas and interpretations within the historiographical field.
The evolution of Williams’ intellectual career is interpreted in terms of an analysis of his major books: The Tragedy of American Diplomacy, Contours of American History and Empire As a Way of Life. In all those volumes, it is possible to delineate the main ideas of Williams’ interpretation of US foreign policy, that is, the maintenance of domestic democracy and prosperity was assured by and imperial drive. Nonetheless, I will also analyze his writings both on journals and on newspapers. Part of the thesis is dedicated to the connection between Williams and the student movement of the Sixties. He could be considered an inspiratory of the young dissenters who claim, as Williams did, a new definition of United States’ identity.
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Di, Blasio Mariadele <1983>. "L'altro eccezionalismo: William Appleman Williams tra storia, storiografia e impegno civile." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/4791/.
Texto completoResumen
La storiografia statunitense, a partire dagli anni Cinquanta, vide l’affermarsi di una nuova interpretazione della politica estera americana. Archiviata la storia diplomatica come storia dei trattati o storia delle interazioni delle élites dominanti, abbandonata una visione incentrata sull’equilibrio di potenza, il dibattito storiografico si arricchì della cosiddetta interpretazione «revisionista», antitetica rispetto a quella che, fino a quel momento, aveva predominato. Soggetto di analisi storica restava sempre lo Stato ma l’enfasi maggiore era posta sui fattori economici che ne influenzavano l’azione: si metteva in rilievo l’interazione tra l’interesse privato e il soggetto statale. Capofila di questa nuova scuola fu William Appleman Williams.
Questa ricerca si pone l’obiettivo di delineare il contesto storiografico dal quale emersero gli studi di Williams e di cui egli ne roviesciò alcuni assunti fondamentali. Si intende tracciare il suo percorso intellettuale – storiografico e pubblico – al fine di restituire la complessità di un personaggio che divenne un vero e proprio «intellettuale pubblico». I quesiti, a cui questa ricerca vuole dar risposta riguardano l’evoluzione del percorso intellettuale di Williams tanto in ambito storiografico quanto, più in generale, in quello pubblico; il contributo alla ridefinizione dell’identità statunitense e del suo ruolo internazionale; il lascito della sua riflessione nella storiografia.
Prendendo le mosse dall’idea di frontiera proposta da Turner, Williams sostenne che la fine dell’espansione territoriale «interna» aveva obbligato gli Stati Uniti a cercare nuovi mercati per il proprio surplus. Era stata tale necessità a catalizzare la Open Door Diplomacy, guidata da ragioni economiche, che presto identificarono l’interesse nazionale per trasformarsi in una vera e propria ideologia nel XX secolo.L’esito di tale politica estera fu la creazione di un impero non più territoriale ma frutto dell’espansione economica. E proprio questa riflessione sull’impero influenzò, negli anni Sessanta, la protesta studentesca che chiese un ripensamento del ruolo internazionale degli Stati Uniti.<br>The early Fifties saw the emergence of a new synthesis of the American diplomatic history, advanced by a young historian, William Appleman Williams. In the midst of what was called “consensus history” he proposed a different interpretation of American foreign policy, focusing on economic factors. Archiving a diplomatic history conceived as history of treaties or as the interactions between leading élites, abandoning a vision conceiving of the balance of power as the inspiring principle of States’ actions, Williams placed major emphasis on the interplay between the private interest and the State in explaining Us foreign relations.
The aim of this dissertation is threefold:
- To analyze the evolution of Williams’ intellectual career both in the historiographical field and in the public one, where he could be considered a “public intellectual”;
- To evaluate Williams’ contributions to the redefinition of Us identity and of its international role during the Sixties;
- To delineate the legacies of Williams’ ideas and interpretations within the historiographical field.
The evolution of Williams’ intellectual career is interpreted in terms of an analysis of his major books: The Tragedy of American Diplomacy, Contours of American History and Empire As a Way of Life. In all those volumes, it is possible to delineate the main ideas of Williams’ interpretation of US foreign policy, that is, the maintenance of domestic democracy and prosperity was assured by and imperial drive. Nonetheless, I will also analyze his writings both on journals and on newspapers. Part of the thesis is dedicated to the connection between Williams and the student movement of the Sixties. He could be considered an inspiratory of the young dissenters who claim, as Williams did, a new definition of United States’ identity.
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Ryu, Son-Moo. "Imagining society William Blake, William Wordsworth, and George Eliot /." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3167282.
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Thesis (Ph.D.)--Indiana University, Dept. of English, 2005.<br>Title from PDF t.p. (viewed Dec. 3, 2008). Source: Dissertation Abstracts International, Volume: 66-03, Section: A, page: 1010. Chair: Nicholas Mark Williams.
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MacPhee, Chantelle L. ""All the World's a Stage" : William Blake and William Shakespeare." Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/3467/.
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Shakespeare's presence in Blake's poetry has been virtually unrecognised by scholarly criticism except, of course, for Jonathan Bate's groundbreaking work of 1986. Bate has had no major successors, so this thesis is, then, an attempt to close to lacuna, to restore Shakespeare to the place that was recognized by Blake himself, as a major influence on his work. In my introductory chapter, I offer a brief sketch of the manner in which Shakespeare informed the culture of the later eighteenth century of which Blake was a product. I survey Shakespearean production, staging and acting techniques, and the history of textual reproduction, before turning to an aspect of the Shakespearean tradition of particular importance to Blake, the production of illustrated editions of Shakespeare's work, and the recourse to Shakespearean subject matter of the painters of the later eighteenth century. I end this chapter with an account of Blake's own Shakespearean illustrations. In Chapter 2, I focus on the earliest of Blake's poems to show a clear Shakespearean influence, the dramatic fragments: "Prologue to King John", Edward the Third, and "Prologue to Edward the Fourth". The major model for these early poetic experiments is, of course, the Shakespearean history or chronicle play, but I argue that even in these apprentice works Blake's appropriation of the Shakespearean model is complex. Shakespeare's history plays celebrate the emergence of an England that, as the defeat of the Spanish Armada demonstrated, had emerged as one of Europe's most powerful nation states. The most pressing political context for Blake's dramatic fragments is England's loss of America, its greatest overseas colony. The fragments are addressed, then, not to a confident nation, proud of its newfound position in the world, but to a nation that had very recently suffered a major blow to its confidence. Already evident, too in these early fragments is Blake's distrust of the Shakespearean notion, flamboyantly expressed in a play such as Henry V, that a nation's greatness might appropriately be measured by its military successes, particularly in war against another state.
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James-Fowler, Nina Gibbs. "Landscape into architecture : William Andrews Nesfield and William Eden Nesfield." Thesis, Royal Holloway, University of London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300584.
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Onkal, Guncel. "Reconsidering William Paley." Phd thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12612237/index.pdf.
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The aim of this study is to analyze the arguments from design to intelligent design and to present the main philosophical aspects of design arguments. Without examining the conceptual background of design arguments, it is not possible to understand their roles in philosophy, theology and science. To this aim, first the philosophical usage of the argument is explained into three categories: argument from design, argument to design and intelligent design. Next, in order to provide a deeper analysis, William Paley&rsquo<br>s Natural Theology in its closer relation of the natural sciences and theological discourse are examined. Lastly, through the philosophy and metaphysics of design, the framework of intelligent design is discussed. Consequently, the process of design arguments can be analyzed through the concept of intelligence rather than design in the history of philosophy since it is closely related to the religious and scientific way of understanding of nature. William Paley&rsquo<br>s argument to design is, thus, a fragile point between the classical and contemporary versions of design arguments.
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Hamilton, Mark. "William De Morgan." Thesis, University College London (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287984.
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Gill, Patrick. "The expatriate experience, self construction, and the flâneur in William Carlos Williams' A voyage to Pagany." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1182745707.
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Lawson, Andrew. "The allegory of redemption : William Carlos Williams and the rhetoric of social form." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303556.
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Leicht, Alexander. "The search for a democratic aesthetics : Robert Rauschenberg, Walker Evans, William Carlos Williams." Thesis, University of Nottingham, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.495057.
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If democracy were an artwork, what would it look like? - This project proposes a specific way of conceptualizing the link between democracy and aesthetics. Contrary to previous accounts, which mostly concentrated on understanding democratic as accessible art or on analyzing the role of art in democratic society. suggest that a democratic aesthetics can be properly understood by interpreting specific formal features of artworks as metaphors for particular key elements of democracy as it is framed in important strands of contemporary democratic theory. The project argues, among other things, that a certain kind of loose collage composition stands in a metaphorical relationship with the structure of a pluralist democratic polity. Systematically developed, this account helps better to understand the democratic quality of individual artworks, and also makes plausible how aesthetics can contribute to the discourse of democratic theory.
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Dawson, J. T. "William Harper : a story /." View online, 2010. http://repository.eiu.edu/theses/docs/32211131575059.pdf.
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Schulte, Christoph. "Nachruf. William Hiscott verstorben." Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2013/6702/.
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Am 31. Januar, kurz vor einer Vortragsreise nach Israel, erlitt William Hiscott einen Herzinfarkt, fiel ins Koma und verstarb am 6. Februar 2013 im Herzzentrum in Berlin. Damit verloren wir an der Universität Potsdam völlig überraschend einen engagierten und äußerst beliebten Nachwuchsforscher und jungen Kollegen.
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Farmer, Charmian Alwynne. "William Cowper : writing retirement." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610096.
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Robinson, T. F. "William Roxburgh (1751-1815)." Thesis, University of Edinburgh, 2003. http://hdl.handle.net/1842/4052.
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Refared to as the greatest botanist since Linnaeus and the founding father of Indian botany by his contemporaries, it is surprising that William Roxburgh has never before been the study of a full-length biography. Some of the problems regarding his life and work have been tackled and some solutions found. Lack of accessible archives has meant that Roxburgh’s origins and background are still uncertain, but fEom the time of his matriculation at Edinburgh University in 1771, more information is available. This casts useful light on the education of medical students by John Hope in preparation for them travelling and working in the emerging British colonies as doctors and scientists, with particular emphasis on botany. After his arrival in India, it has been possible to throw light on the ways in which fortunes were made, although there remains a conundrum of the exact relationship between Roxburgh and Andrew Ross. The importance of Gerhard Konig in the development of Roxburgh’s botanical and scientific position is highlighted, building on the foundations laid by Hope. By the time he left the Coromandel Coast in 1793, Roxburgh was deemed to be a figure of some stature in the scientific community in India, further developed once in Calcutta. The problems relating to his family are complicated by all three of his wives having the same Christian name, Mary, compounded by christening two of his sons William, the elder also leaving a son called William. The career of his natural son followed a fhirly standard path for children born to native women and who were educated in India, unlike Roxburgh’s other children who were sent to Britain. Roxburgh’s success was sufficient to leave all his legitimate children well provided: one son having a coat of arms granted. The second part of the thesis considers the scientific work of Roxburgh, both botanically and in a wider field. One of the main fmdings has been the large number of plant species that Roxburgh sent to Kew for cultivation, which needs further study. His botanical drawings are of importance both botanically and artistically, while his publications remain pillars of Indian botany as well as contributing to that of St Helena, and his time spent at the Cape of Good Hope was also of pivotal importance. In a wider scientific context, there are insights into his scientific methodology as well as his connections with the French physiocrats, putting him in a position close to the centre of his contemporary scientific world. The final part of this thesis considers his work in four areas, to show his working methods and gives an insight into his mind. His awareness of his own limitations, yet the necessity for detailed scientific experimental results comes out of a study of his work on dyes to back proposals to the East India Company to accept ideas for new investments and trading of crops. His work on sugar gives a useful medium to consider his thorough approach when looking for suitable new crops, to support his concern to provide work for native farmers and their reliance on cheap, labour-intensive methods of production. Roxburgh’s knowledge of the climate of India and the frequent disasters caused by the failure of the monsoons lead him to suggest a method of canalising the Godavq River. His breadth of practical skills also emerges from this case study, for it was Roxburgh himself who was asked to do the surveying. Finally, there is his work at the Cape of Good Hope, whence he sent major collections of Proteaceae and Ericaceae to Britain, but sadly his notebooks from this period, and indeed fiom his time in India, have not been traced.
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Kwok, Hang-wah Yvonne, and 郭亨華. "William James' psychological philosophy." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B29798462.
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(Uncorrected OCR)
Abstract of thesis entitled
'William James' Psychological Philosophy'
submitted by
Kwok Hang Wah Yvonne
for the degree of Master of Philosophy at the University of Hong Kong
in November 2002
The aim of this thesis is to suggest a way to better understand William James' philosophy by recognising its relation with his evolutionary psychology. In order to clarify James' version of 'evolutionary psychology', I will present it in contrast to Herbert Spencer's biological psychology. In Chapter Two, I will discuss how Spencer establishes his development hypothesis and how he understands the mind as a biological product being modified by environmental changes. In Chapter Three, I will interpret James' argument against Spencer's ideas that the mind operates passively, and that Spencer has overlooked the subjective factors in mental development. Through the discussion, we can understand the main difference between James' and Spencer's evolutionary psychologies. The fourth chapter will focus on James' psychology of the active mind. I will offer a more detailed explanatory account of James' views of three important mental functions, namely 'discrimination', 'association' and 'conception', as well as how they operate to construct experiences. In the last chapter, I will interpret one of the topics in James' philosophical discussions, so as to illustrate his psychological view in his philosophy. The discussion will show James' views of the different
i
roles of perception and conception in life, and his evolutionary concern of the functional use of concepts for experience. I will then explain how these views are related to James' argument against rationalism and his position in his radical empiricism. Through these discussions, I hope to shed light on the connection between James' evolutionary psychology and his philosophical ideas, which ultimately offers a better understanding to James' philosophy.
ii<br>abstract<br>toc<br>Philosophy<br>Master<br>Master of Philosophy
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Soutter, John. "William Gaddis : systems novelist." Thesis, University of Liverpool, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367702.
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Deramchia, Y. "William Faulkner and existentialism." Thesis, University of Essex, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.374716.
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Bowman, Deborah Louise. "William Empson and communities." Thesis, University of Cambridge, 2005. https://www.repository.cam.ac.uk/handle/1810/284045.
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Addison, Joan Elizabeth. "William Mason : a study." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/william-mason-a-study(c6999db0-6aaf-4f9a-958a-f3094d1f5589).html.
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This thesis is an examination of the work of William Mason, an eighteenth-century poet who, though highly regarded in his own time, is little known in ours. The thesis seeks to revalidate Mason as a poet worthy of attention in the twenty-first century. The Introduction contextualises Mason, both socially and culturally. Emphasis is given to the importance of Whig politics in his life and works, and to the influence upon him from an early age of the philosophy of John Locke. Attention is also drawn to Mason’s ability as an innovative adaptor of ancient genres, the importance to him of Milton’s verse, and the relevance of his ‘public’ poetry to modern Britain. The first part of Chapter One provides an overview of Mason’s poetic trajectory, from his popularity in the eighteenth century to his decline in the nineteenth. The general loss of interest in eighteenth-century poetry, and its revival in the twentieth, is considered. In the second part of the chapter, Mason’s youthful poetic claim to be the literary and moral descendant of Milton and Pope is examined in the context of his early monody, and its innovative purpose and style. Attention is drawn to the intertextuality that informs much of the poetry discussed in this thesis. The treatment of the Pindaric ode in the hands of earlier poets, and Mason’s far more authentic one, are subsequently discussed. Examples are given which illustrate Mason’s successful treatment of the genre, and of his concern with the preoccupations of the age. In Chapter Two Mason’s georgic, The English Garden, is examined. Consideration is given to Mason’s choice of Miltonic form, to the poet’s employment of his subject, gardening, as a representation of the state of the nation, and to the poet’s personal involvement in the verse in a variety of manifestations. His success in matching subject to form is demonstrated. Mason’s correspondence with Walpole concerning the American war, his collaboration with William Burgh, and his use of prose as well as poetry for political purposes, are discussed. Chapter Three provides a brief account of the attitudes to satire from the late seventeenth century to Pope’s death, and goes on to look at Mason’s own satire. His satires are discussed in the context of his political and literary relationships with Walpole, Gray, Pope and Churchill, and his concern with the issue of slavery is foregrounded. The individual satires are examined, and examples explored of Mason’s novel and varying employment of the genre in the service of his Whig viewpoint. The Conclusion draws together the points made in the body of the text, and claims a place for Mason amongst the eighteenth-century poets rediscovered by recent scholarship.
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Kaup, Melissa K. "William Wheatley : a retrospective /." Online version of thesis, 1999. http://hdl.handle.net/1850/11885.
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Burke, Daniel E. "From pastorals to Paterson| Ecology in the poetry and poetics of William Carlos Williams." Thesis, Marquette University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3634286.
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<p> Modernist poet William Carlos Williams died in 1962—a landmark year in the history of the modern environmentalist movement. He did not live to see contemporary culture come to the deeper appreciation of humanity's place in the world which we now know as ecology. This dissertation will argue, however, that supporting his entire oeuvre of poetry are philosophical and poetic underpinnings which resonate strongly with—and usefully anticipate—our modern understanding of the <i>interpenetrative</i> relationship between natural and culture, human and nonhuman. </p><p> I begin by tracing the roots of Williams's "ecopoetics" back to the father of Williams's beloved free verse: Walt Whitman. Both Whitman and Williams use nature as subject and trope in their poetry, but the latter pointedly improves upon the work of the former by shifting the voice of his poetry from an anthropocentric (human-centered) perspective to a more ecocentric one—one which breaks down the traditional American Romantic notion of nature as apart from us, instead more readily acknowledging humanity as integral part and parcel of nature's cyclical systems. </p><p> In the middle sections of the work, the focus centers exclusively upon Williams, especially in his earlier poetry and prose collection <i>Spring and All</i> (1921), as well as in his later five-book epic <i>Paterson. </i> In these, I reveal three distinct ecopoetic qualities of his poetry: 1) a continuation of the ecocentric poetic voice; 2) treatment of the "imagination" as a natural force (akin to steam or lightning) which humans harness to generate art; and, 3) an anticipation of modern ideas about the "local" in his use of his native New Jersey landscape as poetic subject. Through close readings, the study highlights these qualities as integral facets of Williams's poetics, marking his as a proto-ecopoet. </p><p> The dissertation closes with a broader historical contextualization of Williams's ecopoetics as contrasted with other Modernists contemporary to his day—specifically Wallace Stevens and Lorine Niedecker. Through formal elements that mirror the previously argued traits of ecopoetics, we find Williams exceeding his peers and, I conclude, ultimately anticipating the kind of poetry we see being written by ecopoets in our own time.</p>
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Brennan, Paul Andrew. "The institution of art as a problem in the poetry of William Carlos Williams." Thesis, Nottingham Trent University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324730.
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Soga, Giulia <1994>. "William Godwin and the Literature of Feeling: an analysis of Caleb Williams and Fleetwood." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15240.
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Lo scopo di questo lavoro è quello di analizzare la relazione tra il filosofo, politico, e scrittore anarchico William Godwin (vissuto in Inghilterra a cavallo tra il Settecento e l’Ottocento) e la letteratura sentimentale settecentesca inglese. Questa tesi si sviluppa in tre capitoli, il primo si apre con una panoramica sul periodo storico e sulla letteratura sentimentale (Age of Sensibility), una corrente letteraria a cavallo tra l’Età Augustea e il Romanticismo, che nasce nel periodo di transizione in cui ci si sposta da una visione puramente razionale dell'uomo a una visione che prende in considerazioni anche le passioni, l'empatia e i sentimenti umani. In questo particolare periodo di transizione la sensibilità umana inizia ad essere studiata anche in medicina e in filosofia, e questo si riflette molto nella letteratura che si produce in quel periodo (che va dal 1730 al 1800 circa). La narrativa sentimentale possiede delle caratteristiche molto particolari, infatti, già a fine secolo ricevette molte critiche e venne presto dimenticata, per poi essere riscoperta a inizio Novecento. Tra i vari critici troviamo proprio William Godwin, il quale però utilizza alcuni aspetti della letteratura sentimentale nei suoi romanzi, in particolare in Caleb Williams e Fleetwood. Il primo capitolo si conclude con la biografia dell’autore, mentre il secondo e il terzo capitolo si concentrano sull’analisi dei due romanzi, soprattutto per quanto riguarda l’aspetto sentimentale delle due opere.
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Ormsby, Bronwyn Ann. "The materials and techniques of William Blake's tempera paintings : William Blake, 1757-1827." Thesis, Northumbria University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275737.
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Jonk, Gerarda Dorothea Mezina. "The maritime supernatural of Frederick Marryat, William Clark Russell and William Hope Hodgson." Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/411253/.
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The ambition of this project is to demonstrate the cultural and literary importance of the maritime supernatural of nineteenth century literature. Addressing literary manifestations of the experience of being haunted at sea, I both expand and adjust the work of key scholars of maritime literature and history, who prioritize adventure narratives over the supernatural and focus on what they argue is the “real” experience and impetus of sea-faring, ranging from labour to adventure to empire-building. However, ghosts, legends and the supernatural are equally indispensable to the “real” experience of sea-faring. This thesis traces the maritime supernatural as a response to the anxieties arising from the imperial, religious and technological formations of the nineteenth century. Chapter one constructs a theoretical framework based on shipboard life and labour and the uncanny. Working within this frame, chapter two considers three key elements of the maritime supernatural – supernatural actor, haunted space and haunting environment – demonstrating the particular ways in which this literary genre overturns maritime lore and challenges norms and conventions. This leads to analyses of works of three popular sailor-authors, Frederick Marryat (1792-1848), William Clark Russell (1844-1911) and William Hope Hodgson (1877-1918). These three authors, well-known in their own time, are now often overlooked in studies of maritime literature, mostly because their narratives do not have the literary quality of canonical works. However, their contemporary popularity does not only indicate their writings resonated with their audiences; their apparent lack of literary quality highlights the immediacy of their concerns. Frederick Marryat’s The Phantom Ship, serialized between 1837 and 1839, seizes the supernatural element in order to interrogate Christianity. After a hiatus in the mid-nineteenth century when no new maritime supernatural narratives were published, William Clark Russell essentially revived the genre with The Death Ship in 1888. Russell’s nostalgic tale both expresses a longing for the past and anxiety for the future of shipboard labour. By the early 1900s, William Hope Hodgson’s early weird fiction gives a new spin to the genre, remythologising the sea into modern tales that reflect contemporary crises of maritime representation. This draws to a conclusion that complicates the notion of the maritime space as unproblematic site of nostalgia, modernity, religion or empire, and shows that a serious consideration of the maritime supernatural genre enriches the current discourse of maritime literature.
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St, Thomas Michael Joseph. ""Words are no good" the curse of signification and the curse of Faulkner's South /." CONNECT TO THIS TITLE ONLINE, 2008. http://etd.lib.umt.edu/theses/available/etd-05162008-132514/.
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Claret, Jean-Louis. "Le traitement de la révélation dans trois tragédies de Shakespeare : "Hamlet, Le Roi Lear et Macbeth : la clairvoyance sublime de l'égarement /." Villeneuve-d'Ascq : Les presses universitaires du Septentrion, 1997. http://catalogue.bnf.fr/ark:/12148/cb37717827p.
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Rock, J. "The life and work of Hugh William Williams [1773-1829], set within a Scottish context." Thesis, University of Edinburgh, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.661327.
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This Thesis considers the life and work of Hugh William Williams [1773-1829]. The work is divided into two main sections; the Thesis itself and a fully illustrated, chronological Catalogue of all the works by the artist in public collections. This includes a Catalogue of all known prints by and after the artist. In this Thesis, the artist's life and career have been examined in detail. The Introduction is followed by a Short Biography of the Artist with a Chronology of known events. The Introduction is followed by the Review of the Literature. Chapter 1 is devoted to the artist's biography. This is divided into sub-sections as follows: 1:1 The Early Years, 1773-1804; 1:2 Education and Training, 1782-1800; 1:3 Acting and Scene Painting, 1790-1800; 1:4 Teaching and Pupils, 1793-1820; 1.5 Exhibitions, 1807-1829; 1:6 The Grand Tour, 1816-1818; 1:7 The National Monument 1819-1829; and 1:8 the Final Years and Aftermath, 1829-1866. Chapter 2 considers Hugh Williams at work. After a preliminary discussion of the difficulties in discussing the work, this is considered under the headings 2:3 Watercolours; 2:4 Drawings and 2:5 Oils. The section on watercolours looks at methods and criticism of the artist's colouring before going on to examine the work under the headings Early Watercolours, 1792-1800; Transitional, 1800-1816; the Grand Tour, 1816-1818; and Exhibition Watercolours, 1818-1829. Reference is made to the Catalogue and to a large group of examples seen in collections in Britain and abroad. Chapter 3 looks at Williams as a printmaker and publisher of prints, considering all the publishing projects with which he was involved. Chapter 4 deals with Hugh Williams' place in the watercolour tradition in Scotland. His precursors, Paul Sandby, Margaret Adam and Jacob More are dealt with in detail. Chapter 5 considers the artist's reputation and influence, specifically at the relationship between Williams and J.M.W. Turner, which is examined in detail. Finally, a Select Bibliography lists all known references to Hugh Williams in published sources and related manuscript material.
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Delazari, Ivan. "Musical experience in fictional narrative: William T. Vollmann, William H. Gass, and Richard Powers." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/487.
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This doctoral thesis contributes to the ongoing scholarly conversation on literary representation of musical sounds, forms, and compositions. My close examination of the tangible presences of Western art music in the fiction of three contemporary American novelists relocates traditional foci of intermediality and word and music studies from referential precision and structural equivalence across the arts to the problem of readerly experience of music through fictional narrative. Exploring a variety of diegetic encounters with music in William T. Vollmann's Europe Central (2005), William H. Gass's Middle C (2013), and Richard Powers's Orfeo (2014), I draw from cognitive narratology and the philosophy of music, among others, to construct a concise model of musical experience and a system of its literary correlatives, which can provide for the reader's enactive response to music-related themes and means in fiction. I discuss the different strategies the writers apply to communicate the presumably elitist experience of Western classical music as suggestive and relevant to their 21st-century readerships, whether big or small. I order my chapters dialectically, regarding the three authors' literary approaches to musical experience as thesis, antithesis, and synthesis. In Chapter I, Vollmann's intermedial transpositions of Dmitri Shostakovich's fictionalized works are shown to be framed by a mimetic bias, under which diegetic music functions as a characterization means for the author's historical preoccupations. The thesis (i) I infer from Vollmann's approach is that music is part of the fictional reality representative/informative/definitive of what that reality is like. Chapter II is devoted to Gass's metafictional distrust of representation, whereupon his novelistic narrative discards diegetic music almost completely and points out ways of experiencing verbal textures musically. Gass's method is thus antithetical (ii) to Vollmann's: music is a metaphor for creativity, indifferent to the subject matter and/or plot, which at representation level may well be a parodic perversion of the very idea of creativity. Powers's balanced treatment of musicalized content and form and his generous supply of multivalent experiential cues are forged to appeal to a broader reading audience, as I argue in Chapter III. In what I see as a synthesis (iii) of Vollmann and Gass, Powers's storyworld contains abundant diegetic music that constructs narrative settings and drives the events of the plot, but is itself graspable through musical metaphors. The findings of the thesis open new directions for research into musico-literary reception. Encouraging a revival of reader-response awareness in literary analysis, musicalized fiction is an untrivial subject for interactive theoretical scrutiny by psychologists and philosophers of music, transmedial narratologists, and cognitive scientists. Empirical studies of actual readers' experience of musicalized prose may prove particularly promising in further investigation of this intersectional phenomenon.
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Monroe, Stephen Michael. "Exposing American shame : the emotional attunement of William Faulkner and Willa Cather /." Full text available from ProQuest UM Digital Dissertations, 2007. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1417800511&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1220899415&clientId=22256.
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North, Richard. "An examination of William Faulkner's use of biblical symbolism in three early novels: The sound and the fury, As I lay dying, and Light in August /." Lynchburg, Va. : Liberty University, 2009. http://digitalcommons.liberty.edu.
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Prince, Kathryn Sarah. "Shakespeare in the Victorian periodicals /." New York : Routledge, 2008. http://catalogue.bnf.fr/ark:/12148/cb41198261b.
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McClellan, Leah. "The psychosexual growth of the poet in The prelude." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1996. http://www.kutztown.edu/library/services/remote_access.asp.
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Conte, Carolina Siqueira. "Bond; a theory of appropriation for Shakespeare's The merchant of Venice realized in film." Ohio : Ohio University, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1113337877.
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LaFantasie, Glenn Warren. "William C. Oates : a biography /." View online version; access limited to Brown University users, 2005. 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:3174631.
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Bourgès, Nicolas. "William law, exégète et polémiste." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040164.
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Cette thèse propose un examen de l’œuvre de William Law (1686-1761) à travers une étude de discours menée selon une approche à la fois polémique et exégétique. Après une première partie consacrée à une typologie du discours de Law, qui cherche à analyser l’articulation entre polémique et exégèse grâce à un recensement des outils rhétoriques récurrents et l’utilisation de sources christocentriques, les deux parties suivantes s’attachent à démontrer que deux séries de notions animent ses textes : le rétablissement de valeurs morales d’une part, la mystique et l’herméneutique biblique d’autre part. Il soumet la société britannique du dix-huitième siècle à une observation très critique, en dénonçant successivement les partisans de la Glorieuse Révolution au détriment de la fidélité à la dynastie Stuart, le matérialisme et une production théâtrale promotrice de mœurs décadentes. Du point de vue religieux, il use de toutes les ressources de la rhétorique polémique afin de faire le procès du déisme et de démontrer les erreurs de ses adversaires en les confrontant à la vérité de l’Évangile. Ce faisant, il appelle ses lecteurs à une réforme spirituelle qui les engage sur la voie mystique de la régénération, pour atteindre l’union avec Dieu. Law met la polémique au centre d’un dispositif argumentatif qui lui permet d’agir comme un guide pour la compréhension, l’interprétation et la mise en pratique du message néotestamentaire<br>This doctoral dissertation offers an assessment of the works of William Law (1686-1761) through a discursive study that hinges on a twofold method, both polemical and exegetical. After a first part devoted to a typology of Law’s discourse, which strives to analyze the link between exegesis and polemics thanks to an inventory of his most frequently used rhetorical tools as well as the use of christocentric sources, the two parts that follow endeavour to demonstrate that his texts come alive with two sets of notions – the restoration of moral values on the one hand, mysticism and biblical hermeneutics on the other. Eighteenth-century British society is subject to a very critical scrutiny, through the successive denunciation of supporters of the Glorious Revolution at the expense of fidelity to the Stuart dynasty, materialism, and a theatrical repertoire that promotes decadent mores. As far as religion is concerned he uses the full potential of polemical rhetoric to criticize deism and display the errors of his opponents by confronting them with the truth of Scripture. In doing so he calls upon his readers to lead a spiritual reformation that will take them up the mystical path to regeneration, before reaching union with God. Law places polemics at the core of an argumentative structure which enables him to act as a guide for his readers to understand, interpret and put into practice the message contained in the New Testament
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au, TLindsey@aapt net, and Travis Barton Lindsey. "Arthur William Upfield: A Biography." Murdoch University, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20051003.113934.
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This dissertation is an exhaustive account of the life and work of Arthur William Upfield (1890-1964). It is presented as a critical biography and narrates the life of the writer, in his socio-cultural milieu, from birth. It also positions Upfield as a writer who dealt with issues of Aboriginality at a time when this was a singularly polemical subject. My work is informed by the theory of Zygmunt Bauman and others and is posited in the context of late-modern biography theory.
English-born, Upfield arrived in Australia in 1911 and took work in the bush, serving overseas with the Australian army at the outbreak of World War I and marrying an Australian army nurse in Egypt. Returning with his wife and son to Australia in 1921 he intermittently carried his swag until he was employed patrolling the Western Australian number 1 rabbit-proof fence for three years to 1931. By that time he had published four novels, including two crime novels featuring his fictional creation, the part-Aboriginal, part-European, Detective-Inspector Napoleon Bonaparte (Bony), arguably the first fully-developed character in Australian popular fiction.
Leaving the fence, Upfield settled with his family in Perth and wrote full-time until joining the Melbourne Herald in 1933. Retrenched, he resumed career writing to be further interrupted by a war-time intelligence posting in 1939. In 1943 the first Bony mysteries were published in America, where Upfields critical success was maintained until his death. In 1945 he left his wife for Jessica Uren, to whom he remained devoted.
Upfields in all twenty-nine Bony novels, many of which have been translated across eleven languages, afforded him notable success both at home and abroad, in good part due to his descriptive gifts and the uniqueness of his fictional character, the part-Aboriginal Bony.
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Lindsey, Travis B. "Arthur William Upfield : a biography /." Access via Murdoch University Digital Theses Project, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20051003.113934.
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Lewis, M. Heather (Muriel Heather). "William Warham, patron of Erasmus." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37716.
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William Warham, Lord Chancellor of England (1504--1515) and Archbishop of Canterbury (1503--1532), was Desiderius Erasmus's most generous and consistent patron; in Erasmus's words a "sacred anchor" for him. The relationship between the two men connected with and contributed to a complex process of historical change. First of all, Warham and Erasmus were both associated with the paradigm shift which we now call the Northern Renaissance. Warham's academic background and his travels on the continent motivated him to support the study of Greek, new research in theology and the revival of classical learning. His money and political support acted as a force enabling Erasmus to get his New Testament work completed and published. Erasmus's New Testament research in turn facilitated the biblical scholarship of the Reformation and definitely motivated William Tyndale, among others. The reform which the collaboration of Warham and Erasmus helped to unleash was hence more radical than either had ever anticipated. Once religious reform started, neither man could control its pace although each made an effort to do so. The aim of this thesis is to show the significance of their relationship to the two individuals themselves, and also, more importantly, to analyze the dynamics of their collaboration and to demonstrate how and why it acted as a catalyst for religious change in England. Books have been written about More and Erasmus and Colet and Erasmus; the absence of a book about Warham and Erasmus has meant that the nature and significance of their relationship have not, as yet, been fully understood.
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Emens, Elizabeth Francis. "William Beckford : sexuality and reputation." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423938.
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Allender, Peter James. "William Hazlitt and The Examiner." Thesis, University of Bristol, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492586.
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Werrell, Ralph Sidney. "The theology of William Tyndale." Thesis, University of Hull, 2001. http://hydra.hull.ac.uk/resources/hull:5625.
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The first part of the thesis (chapters I-V) considers possible sources of Tyndale's theology. There were influences from Lollardy, Erasmus, and Luther, however, Tyndale modified these sources where he disagreed with their theology, rejecting everything he believed was unfaithful to Scripture. The second part of the thesis (chapters VI-XIII) assessed Tyndale's theology. I found it was consistent through all his writings (1525-1536), a biblically based theology uninfluenced by Greek philosophy. A covenant theology made between the Persons of the Trinity; it was unilateral for the Fall was total, man was dead and until born again unable to respond to God's love. God the Father was to be a Father to those elected to life, the elect are born into God's family, which, being through birth, has no place for the legalistic covenant found in Reformed theology. The blood of Christ is essential for Tyndale's theology. It satisfied God's justice enabling the Father to elect his children. The blood of Christ makes every part and every stage of the Christian's life a reality. The Holy Spirit applies the blood of Christ - the elect are born again, have faith and repentance, respond to the gospel, are able to love God and his commandments, love their neighbour and do good works, pray and worship God. Two regiments form society: - The temporal, a creation ordinance to which everyone belongs. The spiritual is the church and post Fall. The elect were a 'little flock' whilst the majority were not born again nor part of the family of God. The papal church broke the covenant, teaching salvation through works. Christians love God and neighbour, the blood of Christ enables them to please God, serving their neighbour by good works to strengthen faith, or to evangelise. Tyndale's theology was consistent, scriptural, spiritual and practical.