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1
Cattle, Simon Matthew James. « Myth, allusion, gender, in the early poetry of T.S. Eliot ». Thesis, University of Edinburgh, 2000. http://hdl.handle.net/1842/8986.
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T.S. Eliot's use of allusion is crucial to the structure and themes of his early poetry. It may be viewed as a compulsion, evident in even the earliest poems, rather than just affectation or elitism. His allusions often involve the reversal or re-ordering of constructions of gender in other literature, especially in other literary treatments of myth. Eliot's "classical" anti-Romanticism may be understood according to this dual concern with myth and gender, in that his poetry simultaneously derives from and attacks a perceived "feminised" Romantic tradition, one which focuses on female characters and which fetishises, particularly, a sympathetic portrayal of femmes fatales of classical myth, such as Circe, Lamia and Venus. Eliot is thus subverting, or "correcting", what are themselves often subversive genderings of myth. Another aspect of myth, that of the quest, is set in opposition to the predatory female by Eliot. A number of early poems place flâneur figures in the role of questers in a context of constraining feminine influence. These questers attempt, via mysticism, to escape from or blur gender and sexuality, or may be ensnared by such things in fertility rituals. A sadomasochistic motivation towards martyrdom is present in poems between 1911 and 1920. With its dual characteristics of disguise and exposure, Eliotic allusion to ritual and myth is itself a ritual (of literary re-enactment) based on a myth (of literature), namely Eliot's "Tradition". Allusive reconfiguration being a two-way process, Eliot's poetry is often implicitly subverted or "corrected" by its own allusions. Thus we are offered more complex representations of gender than may first appear; female characters may be viewed as sympathetic as well as predatory, male ones as being constructed often from representations of femininity rather than masculinity. The poems themselves demonstrate intense awareness of this fluctuation of gender, which appears in earlier poems as a threat, but in The Waste Land as the potential for a rapprochement between genders. This poem comprises multiple layers of re-enactments and reconfigurations of gender-in-myth, centring upon Shakespeare's Venus and Adonis. The Waste Land's treatment of myth should not be seen as merely reflecting a passing interest in anthropology, but as the culmination of concerns with myth and gender dating back to the earliest poetry. The complex interrelation of the two aspects leaves it unclear whether Eliot's allusive compulsion derives principally from a concern with mythologies of literature or from a concern with mythologies of gender.
2
Barker, Simon John. « Probing the god-space : R.S. Thomas's poetry of religious experience, with special reference to Kierkegaard ». Thesis, University of Wales Trinity Saint David, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683109.
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Hoffmann, Deborah. « The spirit of sound prosodic method in the poetry of William Blake, W.B. Yeats, and T. S. Eliot ». Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115657.
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Accompanying materials housed with archival copy.This project focuses on the prosody of three major poets, William Blake, W. B. Yeats, and T. S. Eliot. It explores the relationship between each poet's poetic sound structures and his spiritual aims. The project argues that in Blake's prophetic poems The Four Zoas, Milton, and Jerusalem, in Yeats's middle and late poetry, and in Eliot's post-conversion poetry, the careful structuring of the non-semantic features of language serves to model a process through which one may arrive at the threshold of a spiritual reality.
The introductory chapter situates these poets' works within the genre of mystical writing; establishes the epistemological nature of poetic sound and its relationship to mystical expression; considers the historical and personal exigencies that influence each poet's prosodic choices; and outlines the prosodic method by which their poetry is scanned. Chapter one addresses William Blake's efforts to re-vision Milton's Christian epic Paradise Lost by means of a logaoedic prosody intended to move the reader from a rational to a spiritual perception of the self and the world. Chapter two considers the development of W.B. Yeats's contrapuntal prosody as integral to his attempt to make of himself a modern poet and to his antithetical mystical philosophy. Chapter three explores the liminal prosody of T. S. Eliot by which he creates an incantatory movement that points to a spiritual reality behind material reality. The project concludes with a consideration of the spiritual aims of Gerard Manley Hopkins and H.D. (Hilda Doolittle) and posits a revaluation of Hopkins' sprung rhythm and H.D.'s revisionary chain of sound as prosodic practices intrinsic to their spiritual aims.
4
Adams, Stephen D. (Stephen Duane). « "Looking into the Heart of Light, the Silence" : The Rule of Desire in T.S. Eliot's Poetry ». Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc935756/.
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The poetry of T. S. Eliot represents intense yet discriminate expressions of desire. His poetry is a poetry of desire that extenuates the long tradition of love poetry in Occidental culture. The unique and paradoxical element of love in Occidental culture is that it is based on an ideal of the unconsummated love relationship between man and woman. The struggle to express desire, yet remain true to ideals that have deep sacred and secular significance is the key animating factor of Eliot's poetry. To conceal and reveal desire, Eliot made use of four core elements of modernism: the apocalyptic vision, Pound's Imagism, the conflict between organic and mechanic sources of sublimity, and precisionism. Together, all four elements form a critical and philosophical matrix that allows for the discreet expression of desire in what Foucault calls the silences of Victorianism, yet Eliot still manages to reveal it in his major poetry. In Prufrock, Eliot uses precisionism to conceal and reveal desire with conflicting patterns of sound, syntax, and image. In The Waste Land, desire is expressed as negation, primarily as shame, sadness, and violence. The negation of desire occurred only after Pound had excised explicit references to desire, indicating Eliot's struggle to find an acceptable form of expression. At the end of The Waste Land, Eliot reveals a new method of expressing desire in the water-dripping song of the hermithrush and in the final prayer of Shatih. Continuing to refine his expressions of desire, Eliot makes use of nonsense and prayer in Ash Wednesday. In Ash Wednesday, language without reference to the world of objects and directed towards the semi-divine figure represents another concealment and revelation of desire. The final step in Eliot's continuing refinement of his expressions of desire occurs in Four Quartets. Inn Four Quartets, the speaker no longer carries the burden of desire, but language at its every evocation carries the cruel burden of ideal love.
5
McAlonan, Pauline. « Wrestling with angels : T. S. Eliot, W. H. Auden, and the idea of a Christian poetics ». Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100653.
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This thesis addresses the impact of religious conversion on the later works of Eliot and Auden, and the manner in which they responded to each other as they developed a Christian poetics. Following an introduction which discusses the nature of their relationship as well as their basic theological positions, Chapter One examines their postconversion criticism, and particularly their stance on what is typically formulated as "the problem of belief in poetry," which focuses on how ideology influences a work's creation and reception. Chapter Two considers their transitional poetry, wherein their new religious beliefs figure prominently and their anxiety over the potential conflict between artistic and spiritual values is most acute. Chapter Three looks at their major postconversion poems and specifically at how Eliot's and Auden's understanding of the Incarnation informs their views on time, history, language, and literature, as embodied by these works. Chapter Four centers on their drama, initially comparing their early plays---written when Eliot was a Christian but Auden was not---to show how they employed similar techniques to further different ends, before turning to an examination of Eliot's later verse plays and Auden's libretti. I investigate the ideological motivation behind the adoption of these different dramatic forms, as well as the specific ways in which they affect how belief is conveyed. Throughout the dissertation, the effects of Eliot's and Auden's conversion upon their reputations and the difficulties facing modern Christian artists in general are given particular consideration.
6
Estrade, Charlotte. « " Mythomorphoses " écriture du mythe, écriture métapoétique chez Basil Bunting, T. S. Eliot, Ezra Pound et W. B. Yeats ». Phd thesis, Université du Maine, 2012. http://tel.archives-ouvertes.fr/tel-00770332.
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Les mythologies - gréco-romaine, irlandaise, perse, indienne, japonaise, chinoise -sont omniprésentes dans la poésie de Bunting, Eliot, Pound et Yeats. Les prédilections desauteurs pour certaines mythologies, véritables choix identitaires et politiques, montrenttoutefois une péroccupation commune pour les mythes violents, aux niveaux martial et sexuel.Ce premier niveau thématique se combine avec une réflexion plus distanciée sur le mythe,outil critique qui permet la reformulation de croyances rituelles et spirituelles, et de nouvellesthéories poétiques qui visent à ordonner et donner un sens au monde chaotique du XXe siècle.Le mythe, subversif, permet donc l'articulation de nouvelles spiritualités et denouvelles expériences poétiques. Enfin, matériau vivant et modelable, dont la mention est à lafois un raccourci de récits anciens et un horizon élargi vers d'autres références et réécritures,le mythe est objet linguistique. En traduction, le mythe transfert les contenus thématiques,déplace les rythmes et fait circuler et s'entremêler les arts. En effet, retour fantasmé à uneorigine du langage artistique, le mythe est parfois fiction d'un art total où les figuresmythiques seraient à la fois objet linguistique, représentation imaginaire picturale etmanifestation musicale. De cette vision du mythe émane une poésie polyphonique et hybride,à l'image du centaure et des autres créatures monstrueuses présents dans l'oeuvre poétique deBunting, Eliot, Pound et Yeats.
7
Cole, Merrill. « The other Orpheus : a poetics of modern homosexuality / ». New York [u.a.] : Routledge, 2003. http://www.loc.gov/catdir/toc/ecip042/2003007030.html.
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Nickerson, Anna Jennifer. « Frontiers of consciousness : Tennyson, Hardy, Hopkins, Eliot ». Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/277879.
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‘The poet’, Eliot wrote, ‘is occupied with frontiers of consciousness beyond which words fail, though meanings still exist’. This dissertation is an investigation into the ways in which four poets – Alfred Tennyson, Thomas Hardy, Gerard Manley Hopkins, and T. S. Eliot – imagine what it might mean to labour in verse towards the ‘frontiers of consciousness’. This is an old question about the value of poetry, about the kinds of understanding, feeling, and participation that become uniquely available as we read (or write) verse. But it is also a question that becomes peculiarly pressing in the nineteenth- and early twentieth-centuries. In my introductory chapter, I sketch out some of the philosophical, theological, and aesthetic contexts in which this question about what poetry might do for us becomes particularly acute: each of these four poets, I suggest, invests in verse as a means of sustaining belief in those things that seem excluded, imperilled, or forfeited by what is felt to be a peculiarly modern or (to use a contested term) ‘secularized’ understanding of the world. To write poetry becomes a labour towards enabling or ratifying otherwise untenable experiences of belief. But while my broader concern is with what is at stake philosophically, theologically, and even aesthetically in this labour towards the frontiers of consciousness, my more particular concern is with the ways in which these poets think in verse about how the poetic organisation of language brings us to momentary consciousness of otherwise unavailable ‘meanings’. For each of these poets, it is as we begin to listen in to the paralinguistic sounds of verse that we become conscious of that which lies beyond the realms of the linguistic imagination. These poets develop figures within their verse in order to theorize the ways in which this peculiarly poetic ‘music’ brings us to consciousness of that which exceeds or transcends the limits of the world in which we think we live. These figures begin as images of the half-seen (glimmering, haunting, dappling, crossing) but become a way of imagining that which we might only half-hear or half-know. Chapter 2 deals with Tennyson’s figure of glimmering light that signals the presence, activity, or territory of the ‘higher poetic imagination’; In Memoriam, I argue, represents the development of this figure into a poetics of the ‘glimpse’, a poetry that repeatedly approaches the horizon of what might be seen or heard. Chapter 3 is concerned with Hardy’s figuring of the ‘hereto’ of verse as a haunted region, his ghostly figures and spectral presences becoming a way of thinking about the strange experiences of listening and encounter that verse affords. Chapter 4 attends to the dappled skins and skies of Hopkins’ verse and the ways in which ‘dapple’ becomes a theoretical framework for thinking about the nature and theological significance of prosodic experience. And Chapter 5 considers the visual and acoustic crossings of Eliot’s verse as a series of attempts to imagine and interrogate the proposition that the poetic organisation of language offers ‘hints and guesses’ of a reality that is both larger and more significant than our own.
9
Plasa, Stefan. « Knots und Vortices T. S. Eliots und Uzra Pounds Dichtungstheorie zwischen Tradition und Innovation ». Paderborn München Fink, 2010. http://d-nb.info/994036116/04.
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10
Prothero, James. « The influence of Wordsworth on twentieth-century Anglo-Welsh poets ». Thesis, University of Wales Trinity Saint David, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683327.
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Laver, Sue 1961. « Poets, philosophers, and priests : T.S. Eliot, postmodernism, and the social authority of art ». Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37755.
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This comprehensive analysis of T. S. Eliot's literary-critical corpus provides both a long-overdue reassessment of the nature and extent of his commitment to notions of aesthetic autonomy, and an Eliotic critique of the hypostatization of art that characterizes both philosophical postmodernism and its literary-theoretical derivatives.The broader context for these two primary objectives is the "ancient quarrel" between the poets and the philosophers and its various manifestations in the work of a number of prominent post- and anti-Enlightenment thinkers. Accordingly, I begin by highlighting several fundamental but much-neglected (or misunderstood) features of Eliot's critical canon that testify to his life-long preoccupation with this still resonant issue. Specifically, I demonstrate that there is a logical connection between his sustained opposition to those who seek in literature a substitute for religious faith or at least philosophic belief, his critique of various more or less sophisticated forms of generic confusion, and his robust defence of the integrity of different discursive forms, social practices, and disciplinary domains. In anticipation of my Eliotic critique of philosophical and literary-theoretical postmodernism, I then locate Eliot's account of these characteristic features of "the modern mind" within the context of Jurgen Habermas remarkably congenial The Philosophical Discourse of Modernity.
In successive chapters, I next provide detailed analyses of Eliot's account of the discursive and functional integrity of art, literature, poetry, and criticism. By way of providing additional support for the concept of "integrity," and indicating its relevance to contemporary debates about the relationship between literature, criticism, and philosophy, I advert to the work of a number of other contemporary philosophers, John Searle, Goran Hermeren, Monroe Beardsley, Peter Lamarque, Paisley Livingston, and Richard Shusterman chief among them. I then demonstrate that Eliot's critique of the hypostatizing and levelling tendencies of many of his predecessors and contemporaries can itself legitimately be brought to bear on the similar practices of contemporary postmoderns such as Jacques Derrida and Richard Rorty.
I conclude by suggesting that a return to Eliot's literary critical corpus is both timely and instructive, for it provides a much-needed corrective to some late twentieth-century trends in literary studies, and, in particular, to the influence of philosophical postmodernism upon it.
12
Rayneard, Max James Anthony. « Reading William Blake and T.S. Eliot : contrary poets, progressive vision ». Thesis, Rhodes University, 2002. http://hdl.handle.net/10962/d1007545.
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Many critics resort to explaining readers' experiences of poems like William Blake's Jerusalem and T.S. Eliot's Four Quartets in terms of "spirituality" or "religion". These experiences are broadly defined in this thesis as jouissance (after Roland Barthes' essay The Pleasure of the Text) or "experience qua experience". Critical attempts at the reduction of jouissance into abstract constructs serve merely as stopgap measures by which critics might avoid having to account for the limits of their own rational discourse. These poems, in particular, are deliberately structured to preserve the reader's experience of the poem from reduction to any particular meta-discursive construct, including "the spiritual". Through a broad application of Rezeption-Asthetik principles, this thesis demonstrates how the poems are structured to direct readers' faculties to engage with the hypothetical realm within which jouissance occurs, beyond the rationally abstractable. T.S. Eliot's poetic oeuvre appears to chart his growing confidence in non-rational, pre-critical faculties. Through "The Love Song of J. Alfred Prufrock", The Waste Land, and Four Quartets, Eliot's poetry becomes gradually less prescriptive of the terms to which the experience of his poetry might be reduced. In Four Quartets he finally entrusts readers with a great deal of responsibility for "co-creating" the poem's significance. Like T.S . Eliot, although more consistently throughout his oeuvre, William Blake is similarly concerned with the validation of the reader's subjective interpretative/creative faculties. Blake's Jerusalem is carefully structured on various intertwined levels to rouse and exercise in the reader what the poet calls the "All Glorious Imagination" (Keynes 1972: 679). The jouissance of Jerusalem or Four Quartets is located in the reader's efforts to co-create the significance of the poems. It is only during a direct engagement with this process, rather than in subsequent attempts to abstract it, that the "experience qua experience" may be understood.
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FALCONE, FILIPPO. « MILTON'S INWARD LIBERTY A STUDY OF CHRISTIAN LIBERTY FROM THE PROSE TO PARADISE LOST ». Doctoral thesis, Università degli Studi di Milano, 2012. http://hdl.handle.net/2434/173513.
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Twenty Eleven was a year of revolutions in northern Africa and the Middle East. Rising in Tunisia, the revolutionary wave has spread through Egypt, Libya, Syria and other countries. The common denominator of all insurgencies has been the people’s desire to shake off a long-endured yoke of tyranny which had resulted in a stagnant economy, poor life conditions and poorer public liberties. The word ‘democracy’ has become the catalyst of all aspirations. However, where the overthrowing of the dictator has succeeded, reform has been slow to come to pass, opening the door to new, potentially worse, forms of tyranny.
The revolution John Milton envisioned during the years of England’s Interregnum was itself one of liberty. Toward such end he worked tirelessly for some two decades. He worked to see liberty projected in all areas of social and political life. Criticism has largely read this as the result of Milton’s apprehension of individual liberty as only fully definable within the context of public liberties. The present work argues that liberty is more appropriately seen in Milton as the rightful portion of the Christian man. In other words, liberty is more appropriately defined in Milton as Christian liberty. Liberal laws and institutions might afford relative liberties, through negotiation of individual and collective freedom, but never true liberty, the latter residing within: the man who was inwardly a slave, a slave must remain, irrespective of outward liberties. However, the man who was inwardly free, free must remain, irrespective of outward restraint. Inasmuch as it entails the restoration of mind and conscience from sin to inward liberty, Christian liberty is found setting the terms for the creation of an inward microcosm of rest and authority. If the work of Milton’s left hand is best read as Milton’s attempt at actualizing its pervasive domestic, ecclesiological and political ramifications, failure to see it reflected in his temporal community would alert the poet to the need for man to individually appropriate it, mindful that only the man who was inwardly free would be able to change his world.
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Mooney, Annabelle. « Poetic Primitives : an NSM analysis of the poetry of T.S. Eliot ». Thesis, 1997. http://hdl.handle.net/1885/145305.
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Dudek, Katarzyna. « Vanishing Voices : Silence(s) in the Poetry of Gerard Manley Hopkins, T. S. Eliot and R. S. Thomas ». Doctoral thesis, 2015. https://depotuw.ceon.pl/handle/item/1301.
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The main aim of the dissertation is to analyse the motives of silence in the poetry of the Victorian poet Gerard Manley Hopkins, the repesentative of High Modernism - T. S. Eliot and the contemporary Welsh poet - R. S. Thomas. It seeks not only to contribute to the understanding of the three poets, but also to explore the idea of silence in the poetry of religious experience as well as the dynamics between the textual and structural aspects of silence.Głównym celem mojej dysertacji jest prześledzenie semantycznej i ekspresywnej "wielogłosowości" ciszy w poezji wiktoriańskiego poety Gerarda Manleya Hopkinsa, modernisty T. S. Eliota oraz współczesnego walijskiego poety R. S. Thomasa, ze szczególnym naciskiem na dynamikę pomiędzy tematyczym i struturalnym aspektami ciszy.
16
Kourie, Alex. « Who is she ? : the search for the feminine in the poetry of T.S. Eliot, with special reference to The Waste Land and the Four Quartets ». Thesis, 2014. http://hdl.handle.net/10210/9485.
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« R.S. Thomas and the poetics of incarnation ». Thesis, 2011. http://library.cuhk.edu.hk/record=b6075461.
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Li, Chit Ning.Thesis (Ph.D.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves 208-218).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract also in Chinese.
18
Saunders, Andrew Preston. « From the doomed West to the timeless city : poetics of turbulence, 1869-1934 ». Thesis, 2001. https://eprints.utas.edu.au/21501/1/whole_SaundersAndrewPreston2002_thesis.pdf.
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Eliáš, Petr. « Překlady a poezie členů Skupiny 42 ». Doctoral thesis, 2020. http://www.nusl.cz/ntk/nusl-437070.
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The thesis focuses on texts written and translated by members of Group 42, Jiřina Hauková and Jiří Kolář, specifically. It begins with a description of 1940s' literary context, incorporating poetical principles stated by Jindřich Chalupecký, the leading theorist of the Group 42. The research section of the thesis begins with an analysis of Jiřina Hauková's Přísluní and Cizí pokoj and Jiřího Kolář's Křestný list, Ódy a variace and Limb a jiné básně, poetry collections directly influenced and heading towards the poetic principles of the Group 42. This is followed by an analysis of the translations of poems by Dylan Thomas, Carl Sandburg and T. S. Eliot, the key being a comparison of various published versions. In case of Thomas and Sandburg, these are versions by the same translator published in different selections; in case of Eliot, these are versions by different translators. The thesis is concluded by the answer to the question whether and to what extent Jiřina Hauková and Jiří Kolář fulfil the poetic requirements of the Group 42 and to what extent their own poetics are present in the translations.