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Perito, Carl C. "T.S. Eliot and music". Thesis, Hong Kong : Unviersity of Hong Kong, 2003. http://sunzi.lib.hku.hk/hkuto/record/B31953803.
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Romer, S. C. M. "T.S. Eliot : post-symbolist". Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.355282.
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Bartlett, Jami Lyn. "The Victorian T.S. Eliot". Honors in the Major Thesis, University of Central Florida, 1998. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/22.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
English; Literature
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Gray, Will. "T.S. Eliot among the Metaphysicals". Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3123.
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Eliot's admiration for the poetry of the seventeenth century is well known. However, the several documents that explore the subject (thinly scattered across decades) fail to constitute a full account. Drawing on manuscript and print sources, and tracing particularly Eliot's prose poetics, this thesis redresses the scholarly need for a nuanced account of Eliot's role among the Metaphysical poets. The relationship ran in both directions, most famously in Eliot's championing of the poets and his urging that they find a new readership. His part in the revival of Metaphysical poetry, though, has been greatly exaggerated and the record is here faithfully adjusted. He was not in any way responsible for that revival, though he is its most important product, as is shown by a careful reconstruction of turn-of-the-century transcontinental publishing and reception. Eliot's criticism tells its own, largely unexplored story about the Metaphysicals and their influence on his critical and poetic sensibility. Most scholars, for instance, know that Eliot loved Donne, but few know the origin of that interest, let alone its brief nature or the personal reasons that drove him to appreciate the poet's audacity. Most also know the Modernist dicta of Tradition, objective correlative and the dissociation of sensibility, but not the fact that each owes something to Eliot's thinking about Donne. Engaging with Harvard class notes, under-consulted textbooks and a close study of Eliot's articles from the 1910s, two separate chapters investigate his education and early prose, along with their delicate dance between impersonality and confessional criticism. 1921-1926 marks a crucial stage in Eliot's writing, both for his poetry and his criticism. The Metaphysicals provide the clearest barometer of that change as well as the space where he approached conversion. This thesis is the first to trace the poets throughout Eliot's criticism, one of the first to engage with his Metaphysical-themed Clark Lectures, and the first to move far past Eliot's conversion, interpreting George Herbert as typical of his late mindset. In 1961 Eliot claimed no one had been as influenced by the Metaphysical poets as he had been. What this thesis offers is not only a more nuanced portrait of that influence but also a glimpse into the educational, critical and reading cultures of the early 1900s.
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Bahbahani, A. "The invisible wagnerite : T.S. Eliot". Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264554.
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The present thesis is about aspects of Wagnerism in the works of T.S. Eliot, in terms of both influence and affinities. The opening chapter offers a brief historical background to Eliot's familiarity with and relation to Wagner, as well as an account of the principal issues to be discussed in the following chapters. The two artists' volumes of criticism mostly show in theory how they work in practice. One key theme there is the maintenance of the idea of tradition and at the same time that of revolutionizing the arts (poetry, opera and drama). Eliot's interest in music, notably in the use of the Wagnerian leitmotif, is one of the highlights of this study. Then, Eliot's concern for myths: his 'mythical method' is discussed in a separate chapter for comparison with Wagner's way of handling myths in his operas. Other important topics feature drama, the Greeks and Shakespeare, and poetry, especially Dante's, the Romantics' and that of the French Symbolists. Certain themes common in both (like salvation and love) are tackled in more than one chapter because of their relevance throughout, but a selection of motifs is singled out in a separate chapter. The study also investigates Eliot's and Wagner's relation to art and life from religious (Buddhism and Christianity) and philosophical (Schopenhauer and Nietzsche) paints of view. Where relevant, some biographical data shedding light on their arts are touched upon--e.g. their personal (including marital) experiences and their anti-Semitism. The concluding chapter rounds off the subject by mainly offering some possible reasons for Eliot's obscure and neglected Wagnerism.
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Holmes, John Steven. "George Eliot and political reform". Thesis, Cardiff University, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.254509.
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Murayama, Haruho. "George Eliot and the Bible". Thesis, University of Newcastle Upon Tyne, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251996.
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Fontes, Janaina Gomes. "George Eliot : a maternidade ressignificada". reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/15531.
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O presente trabalho objetiva analisar o tema da maternidade nos romances da escritora inglesa do século XIX Mary Ann Evans, que publicou sua obra sob o pseudônimo de George Eliot. Embora a maternidade seja um tema constante em sua produção ficcional, ela não tem sido suficientemente explorada nos inúmeros estudos críticos que identifiquei sobre a obra da escritora. O foco desses estudos quase nunca se volta para suas personagens femininas, para suas experiências, apesar de os romances de Eliot nos apresentarem uma rica variedade de mulheres de diversas classes sociais da sociedade vitoriana, com diferentes e complexas experiências, inclusive a da maternidade. Eliot, que optou por não ter filhos, retrata mães em diversas situações, apresentando desde aquelas mulheres que exercem o papel de mães tradicionais, até mulheres que se tornam transgressoras dos valores da época e desafiam esse papel. Objetivo analisar a representação da maternidade em seus sete romances – Adam Bede (1859), Silas Marner (1860), The Mill on the Floss (1861), Romola (1863), Felix Holt, The Radical (1866), Middlemarch (1874) e Daniel Deronda (1876) – desenvolvendo novas leituras de sua produção ficcional, a partir da perspectiva dos estudos feministas e de gênero. Com esse estudo, espero contribuir para novas perspectivas sobre esse tema e para a problematização e desconstrução de valores e mitos patriarcais. ______________________________________________________________________________ ABSTRACT
The present work aims to analyze the theme of motherhood in the novels of the 19th century English writer Mary Ann Evans, who published her writings under the pseudonym George Eliot. Although motherhood is a recurrent theme in her fictional production, it has not been sufficiently explored in the innumerable critical studies I identified about her work. The focus almost never is on her female characters, on their experiences, though Eliot’s novels present a rich variety of women of diverse social classes of Victorian society, with different and complex experiences, including motherhood. Eliot, who opted against having children, portrays mothers in different situations, presenting those women who perform the role of traditional mothers and women who become transgressors of the values of the epoch and defy this role. I intend to analyze the representation of motherhood in her seven novels – Adam Bede (1859), Silas Marner (1860), The Mill on the Floss (1861), Romola (1863), Felix Holt, The Radical (1866), Middlemarch (1874) e Daniel Deronda (1876) – developing new readings of her fictional production, from the perspective of the feminist and gender studies. With this study I hope to contribute to new perspectives of this theme and to the problematization and deconstruction of patriarchal values and myths.
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Rosaye, Jean-Paul. "Thomas Stearns Eliot, poète-philosophe". Lille 3, 1995. http://www.theses.fr/1995LIL30017.
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L'aventure intellectuelle de T. S. Eliot offre une perspective double dans l'histoire des idees au vingtième siècle. Elle révèle une réaction parmi tant d'autres sur fond de ce qu'il est convenu d'appeler "la crise des valeurs", et elle fait remonter à la surface un développement type de la pensée occidentale, que nous avons désigné sous le terme de poète-philosophe. Cette thèse est une étude de typologie génétique dont le but est d'expliquer à la fois la vie et l'oeuvre de T. S. Eliot et les raisons et le sens de la convergence de la poésie et de la philosophie à l'époque moderneT. S. Eliot's intellectual quest shows two major tendencies of western thought in the twentieth century. It articulates a reaction to the so-called "crisis of values" and reveals a development of western thought, incarnated in a type which has been termed the poet-philosopher. This dissertation is a study in typology aiming at an understanding of T. S. Eliot's life and works, and also exploring the reasons and the meaning of the modern convergence of poetry and philosophy
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Toda, K. "T.S. Eliot and Renaissance drama". Thesis, University College London (University of London), 2015. http://discovery.ucl.ac.uk/1463322/.
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The crucial importance of non-Shakespearian Renaissance dramatists to T.S. Eliot is evident in both his poetry and his prose. Eliot himself drew attention to this: he credited his own ‘poetic formation’ to the ‘minor Elizabethan dramatists’, and when reviewing his ‘critical output for the last thirty-odd years’ in 1951, he confessed himself ‘surprised to find how constantly I have returned to the drama, whether by examining the work of the contemporaries of Shakespeare, or by reflecting on the possibilities of the future.’ As C.S. Lewis disapprovingly wrote, Eliot’s ‘sympathy with depraved poets (Marlowe, Jonson, Webster) is apparent’. This thesis will trace Eliot’s engagement with these dramatists; it is a topic that has been comparatively neglected despite the central role it played in the evolution of his poetic and critical sensibility. The first section, which is largely biographical, explores Eliot’s background and education for clues to the development of his great interest in Renaissance drama, as well as detailing the ways in which he pursued this interest when he moved to England. The second comprises a detailed study of Eliot’s many essays on Renaissance dramatists. The last section examines his poetry, from the juvenilia to The Waste Land of 1922, when the outward signs of his ‘saturation’ were particularly prominent. In my conclusion I discuss how his engagement with Renaissance drama evolved in his post-1922 poetry and culminated in the composition of his own verse plays. The aim of this thesis is to explore the nature of the ‘profound kinship’ Eliot shared with Renaissance dramatists; their work appealed to him because it combines erudition with emotion, refinement with savagery, levity with the macabre and squalid. This appeal was so strong that it powerfully shaped both his poetic ideals and his vision of modernity.
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Fletcher, Nancy Helen. "Yeats, Eliot, and apocalyptic poetry". [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002483.
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Koo, Seung-Pon Simpkins Scott. "The politics of sympathy secularity, alterity, and subjectivity in George Eliot's novels /". [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/ark:/67531/metadc12145.
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Hesse, David Maria. "George Eliot and Auguste Comte : the influence of Comtean philosophy on the novels of George Eliot /". Frankfurt am Main ; New York ; Paris [etc.] : P. Lang, 1996. http://catalogue.bnf.fr/ark:/12148/cb376314668.
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Tang, Sheung-wo. "The poet as cultural critic : an investigation of aspects of T.S. Eliot's critique of modern culture in his poetry and prose /". Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19537384.
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Bowen, Leslie E. H. "Vocation, marriage and "The Woman Question" in George Eliot's Middlemarch". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1995. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 1995.Source: Masters Abstracts International, Volume: 45-06, page: 2841. Typescript. Abstract precedes thesis as preliminary leaves. Includes bibliographical references (leaves 89-91).
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Freeh, John Edward. "Eliot, Shakespeare and the 'ultra-dramatic'". Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326838.
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Gott, Henry Michael. "Ascetic modernism in Eliot and Flaubert". Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/3906/.
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This thesis describes Eliot and Flaubert’s shared fascination for the figure of the ascetic saint, with special attention given to The Waste Land and La Tentation de saint Antoine. I examine how the structure, style and themes of these two works in particular show the authors updating into a modernist context the model of the trial they inherit from saintly literature. I explore in detail the varied connotations that the saint attracts, structuring my analysis on the basis of dialectical tensions which allow me to trace the relation of the saint’s experience to the theory and praxis of the two authors: the contrasting forms of discourse within each text, scientific and religious thought as distinct but potentially complicit approaches to knowledge, or the contrapuntal relationship of desert and city, allow me to illustrate the texts’ enactment of a central paradox of the ascetic’s via negativa – where the comprehensive vantage point to which they aspire is only achieved through loss. I give extensive attention to the techniques and structure of each work, in which I elaborate the operative significance of the saint’s emblematic status. My analysis culminates in a reading of the Tentation and The Waste Land that stresses their relation to an ascetic paradigm, which not only inheres through the recurrence of various motifs in the work of Eliot and Flaubert but is characteristic of modernism more generally. On the one hand expanding on undeveloped hints in Eliot criticism, regarding both the influence of Flaubert and The Waste Land’s relation to the saint’s trial, whilst on the other allowing Flaubert’s Tentation to benefit from the greater critical scrutiny given to its more canonical counterpart, the thesis enhances our understanding of both the individual authors and the broader intellectual climate to which they belong.
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Asciuto, Nicoletta. "T.S. Eliot : turning darkness into light". Thesis, Durham University, 2015. http://etheses.dur.ac.uk/11007/.
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This thesis examines the use of light and dark imagery throughout T. S. Eliot’s literary career; in his poetry (Inventions of the March Hare, Prufrock and Other Observations, The Waste Land, Ash-Wednesday, Four Quartets) and in his dramatic works (The Rock, Murder in the Cathedral, The Family Reunion). The aim of this thesis is twofold. Firstly, it aims to show how, by an attentive analysis of light and dark imagery in Eliot’s works, it is possible to discern a continuous pattern of light and dark correlation and opposition throughout his oeuvre, which can be interpreted in historical, biographical, and existential terms. Secondly, this thesis seeks to explain poetry qua poetry, with the light and dark imagery proving a remarkable path of investigation, in which to understand Eliot’s poetry and its important relationship with his own literary “debts”. If, on the one hand, many critics have considered the importance of light and dark imagery in Eliot’s most significant poetical work after his religious conversion, Four Quartets, as an important turn to mysticism and religion, this has too often been perceived as a sudden change in his beliefs and in his poetics, rather than as a gradual development. The presence of light and dark images in Eliot’s early poetry, as well as in his earlier masterpiece The Waste Land, shows how Eliot had consciously imagined a path of light throughout his oeuvre, demonstrating his own preoccupations with regard to soul, rationality, and religion from his very early years as a poet. This thesis thus wants to fill a gap in the field of Eliot studies, where the importance of light and dark imagery in Eliot’s early poetry, as well as in his drama, and the connection of light and dark in Four Quartets with his other literary works, has been underestimated by previous scholars.
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Hadjiafxendi, Kyriaki. "George Eliot, the literary market and sympathy". Thesis, University of East Anglia, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442540.
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Working at the intersection between the scholarly fields of affect, gender and print media, my thesis argues that George Eliot's conception of art as a means of extending sympathy was integral to her authorship during 1851-64. Eliot's authorial formation as a promoter of sympathetic feeling was, to a large degree, a product of and a critical response to a burgeoning print culture. Her concern with sympathy during the early years of her journalistic and literary careers permeated both her writing and her relationship with critics, editors, publishers and readers. It is the diverse meanings that such discourse acquired for her in the nineteenthcentury literary market-place that this thesis examines. Eliot's attempt to build sympathetic ties amongst her readers without being intimate with them is another example of her ambiguous relationship to the woman question. Rather than focusing on the well-known emotive rhetoric in her fiction, my aim is to see how she aspired to control the feelings she incited in her readership, partly through her male pseudonym and partly through her realism. By looking into her publishing policies and reading habits, in addition to the familiar concerns with genre and style, I intend to treat her development into the pseudonymously-signed realist author `George Eliot' as a distinct gendered formation within the history of sentiment. Through close readings of her reviews, poetry and early fiction, my thesis explores the gap between her self-fashioned authorial figure and popular constructions of her authorship. In addition to looking into her relationship with her male predecessors and contemporaries (Walter Scott, William Wordsworth, John Ruskin), it traces her interest in sympathetic women of the past (Mary Wollstonecraft), popular fiction writers (Mary Elizabeth Braddon) or campaigners for women's rights (Bessie Rayner Parkes).
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Frendo, Maria. "T.S. Eliot and the music of poetry". Thesis, Durham University, 1999. http://etheses.dur.ac.uk/4565/.
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This thesis is a study of T.S. Eliot's poetry in the light of the different ways in which it can be considered 'musical'. Two concerns central to the thesis are: (1) Eliot's enduring interest in the musical quality of poetry; (2) the critical usefulness and viability of drawing analogies between his poetry and music. The thesis considers three important related topics: (1) Eliot's preoccupation with language, its inevitability and its inadequacy; (2) the figure of the seeker in his poetry; (3) his interest in mysticism. The thesis begins by exploring affinities between music and literature in the context of Wagner’s ideal of the 'Gesamtkunstwerk' and its influence on French Symbolist writers. It goes on to trace the development of T.S. Eliot's poetic style as influenced by the French Symbolist poets, by Dante and the mediaeval mystics, and by the music of Wagner, Stravinsky and other composers. Throughout, Eliot's poetry presents variations on the theme of detachment and involvement in relation to the figure of the seeker: consciousness is most engaged and challenged when it journeys. In the early poetry, music serves to emphasize failed relationships: the closer the physical proximity between protagonists, the greater the psychological distance. From The Waste Land on, Eliot makes use of myth and leitmotif to portray consciousness in the role of seeker urged on by the need for meaning. After his conversion to Anglo-Catholicism in 1927, Eliot's characters embark on a journey inward, where music, now "unheard", no longer signifies neurosis and despair, but becomes the only language for the ineffable.
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Gattamorta, Lorenza. "Luzi, Eliot and Dante : language and experience". Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268804.
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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.
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Novak, Matthew Wayne. "T.S. Eliot criticism a dynamic Web interface /". View online record:, 2000. http://srproj.lib.calpoly.edu/projects/engl/Novak%5FMatthew.
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Cardoso, Denise. "A sociologia das profissões de Eliot Freidson". Florianópolis, SC, 2005. http://repositorio.ufsc.br/handle/123456789/101579.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro Sócio-Econômico. Programa de Pós-graduação em Serviço SocialMade available in DSpace on 2013-07-15T22:43:10Z (GMT). No. of bitstreams: 1 220930.pdf: 283100 bytes, checksum: 91c41ec4ed742d9859312accb233f41d (MD5)
O presente estudo foi concebido com o intuito de analisar a obra do sociólogo norte-americano Eliot Freidson, principalmente do ponto de vista de suas potenciais contribuições para ampliar a compreensão atual do serviço social como profissão no Brasil contemporâneo. A sociologia das profissões teve um notável desenvolvimento durante a segunda metade do século XX, e seu impacto positivo sobre a produção de conhecimento nas ciências sociais brasileiras resulta inquestionável. No entanto, a penetração dessa perspectiva nas análises sobre o serviço social como profissão revela-se quase inexistente. Isto não significa, obviamente, ausência de trabalhos sobre a construção social do campo profissional do serviço social. Sem negar as valiosas contribuições de um conjunto significativo de trabalhos realizados a partir de uma ótica na qual predomina a auto-análise da profissão, a presente dissertação pretende identificar, na abordagem freidsoniana das profissões, dimensões e categorias de análise que ainda não foram integradas às pesquisas nacionais sobre o tema. Assim, coloca-se a ênfase na definição de profissão como uma construção social e, portanto, nas imbricadas, complexas e nem sempre evidentes relações entre profissões, cultura e sociedade. Resgata-se na obra de Freidson a importância crucial do conceito de instituição, principalmente como elemento mediador nessas relações e, ainda, como aspecto central na construção sócio-histórica das profissões. Na presente proposta de análise discutem-se alguns dos conceitos mais relevantes da sociologia das profissões de Freidson, quais sejam as noções de monopólio e autonomia profissionais; o problema da burocratização e proletarização dos profissionais e a questão da divisão do trabalho nas sociedades modernas. Porém, e em função de sua contribuição para a análise do serviço social como profissão, privilegiam-se duas dimensões de análise, uma diretamente extraída do arcabouço de Freidson e outra elaborada para fins do presente estudo. A primeira refere-se ao processo e condições estruturais de institucionalização das profissões, onde se procuram as bases de legitimação de uma ocupação como profissão. A segunda dimensão remete ao problema dos tipos de racionalidade (clínica, gerencial, acadêmica) que determinam a existência de diferentes maneiras de ser, pensar e agir entre os integrantes de um mesmo corpo profissional. A aplicação destas dimensões de análise ao caso do Serviço Social abre novas possibilidades para interpretar os processos de construção social dos campos profissionais e, particularmente, os desafios, tendências e trajetória histórica do Serviço Social.
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Sallis, E. K. "Looking to death for what life cannot give : the Waste Land and F.H. Bradley /". Title page and contents only, 1991. http://web4.library.adelaide.edu.au/theses/09ARM/09arms168.pdf.
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Roberts, Heidi Francie. "The moment in the garden spiritual autobiography and T.S. Eliot's Four quartets /". Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.
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Böhler, Wilfried. "Der Literat als Vermittler ökonomischer Theorie : T.S. Eliot im Criterion, 1922-1939 : T.S. Eliot in the Criterion, 1922-1939 /". Frankfurt am Main ; Bern ; New York : P. Lang, 1985. http://catalogue.bnf.fr/ark:/12148/cb361475697.
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Tucker, Joshua. "Words that we couldn't say the narrator's search for meaning in Middlemarch /". Diss., Connect to the thesis, 2004. http://thesis.haverford.edu/89/01/2004TuckerJ.pdf.
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Leane, Elizabeth. "Landscape imagery in the poetry of T.S. Eliot /". Title page, contents and introduction only, 1994. http://web4.library.adelaide.edu.au/theses/09AR/09arl437.pdf.
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Da, Sousa Correa Delia Gwendolen. "George Eliot and music in nineteenth-century literature". Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358448.
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Dalamitrou, Maria. "T.S. Eliot : modernism and the necessity of distance". Thesis, University of Essex, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.605153.
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It would only be reasonable for Modernists to invest in ideas of losing, leaving or escaping, as they really did with their own countries. The actual experience of emigration reinforced in them the necessity of distance in order to write. T. S. Eliot dwelled on the idea of distance to form his poetic and critical works. Modern poetry was frequently poetry about poetry. As, in psychoanalysis, the child-mother separation antedates speaking and language, so in Modernism did the necessity of distance facilitate self-referentiality in poetics. Language, as a system, employs the idea of separation betv.-een signifier and signified and presupposes the absence of the thing it refers to. Modern poetry speaks of language, which speaks of desire, which signifies loss, which is the subject's lot in postmodern times. The thesis reads Modernism as a major consequence of large-scale homeleaving and as a tradition of exile. Exile was necessitated by actual circumstances and was replayed in the language of poetry, whenever form was exiled from the traditional artistic conventions. If twentieth century art reached self-referentiality, this was not irrelevant of the fact that twentieth century art was formed mainly by dislocated artists. By thematizing the medium, or language, Modernism showed that loss and the necessity of distance is behind artistic creation
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Popat, Manish. "T.S. Eliot and spirituality : the poetry of surrender". Thesis, University of Warwick, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322690.
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Davis, J. "Visionary realism : From George Eliot to Doris Lessing". Thesis, University of Liverpool, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375137.
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Platt, Alison M. "George Eliot and the revolutions of the mind". Thesis, University of Liverpool, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366406.
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Boll, Thomas Alan. "Octavio Paz and T.S. Eliot : a literary relation". Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1445325/.
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This thesis applies a Reception Studies approach to the relationship between the works of T. S. Eliot and Octavio Paz. Although my introduction considers the influence theory of Harold Bloom and Julia Kristeva's 'intertextuality', it finds the methodology of Hans Robert Jauss a more appropriate model for the analysis of a literary relationship that spans two different languages and cultures. The study is divided into two parts. Part One, 'Mexican Horizons', asks what were the translations that first introduced Paz to Eliot and to which precursors and contemporaries in Mexico could Paz compare Eliot's work. Writers such as Ramon Lopez Velarde and Salvador Novo, while unaware of Eliot, shared influences with him, and so created a context in which he could be understood. Paz also read Eliot as a counterpart to St.-John Perse, whose Anabase appeared in Spanish translation in the Mexican literary magazine, Contempordneos, shortly after translations of The Waste Land and The Hollow Men. Part Two, '1930-1948', analyses Paz's use of Eliot in his own poems. It pays particular attention to the role that Eliot played in Paz's ambivalent relationship with the group of writers that contributed to Contempordneos. Paz's own poems experience a constant struggle between scepticism and the assertion of pseudo-religious political belief. He makes use of Eliot on both sides of this struggle. My conclusion takes Paz's last prose comments on Eliot as evidence of the final extent and limits of the relationship between the two authors. Paz continues to interrogate Eliot for conceptual expressions of belief, yet he acknowledges an experience of Eliot's poems which lies beyond the clarity of such formulations. Three appendices supplement the reception history with accounts of Eliot's role in Paz's reading of surrealism, his first substantial work of poetic theory, El arco y la lira, and his later poems.
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Seichepine, Marielle. "Le temps dans les romans de George Eliot". Paris 4, 1996. http://www.theses.fr/1996PA040123.
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Je me propose, en me fondant sur les théories du philosophe Paul Ricœur, d'apporter un éclairage général sur l'aspect temporel de l'œuvre eliotienne. En fait, la romancière souscrit aux nouvelles conceptions philosophiques du début du dix-neuvième siècle, qui se caractérisent par un dynamisme mesure, et qui reposent sur la notion de continuité et de développement progressif. Le temps, parfois mythique et statique, revêt généralement un caractère organique, illustrant que Paul Ricœur nomme la "répétition du même" à travers l'évocation de l'histoire naturelle, mais aussi "historique" par la prise de conscience de l'importance de l'héritage. Au plan individuel, le temps est synonyme de nostalgie, et d'évolution ou régénération par la souffrance. En fait, George Eliot retourne constamment au passé (nostos), et privilégie la notion de mais elle tente aussi d'accélérer le temps, en appelant de ses vœux le progrès social, économique, politique et scientifique. En réalité, elle souhaite surtout décrire la vie quotidienne de ses contemporains. En ce qui concerne les personnages eliotiens, certains souffrent du décalage entre temps privé et public ou "monumental", d'autres jouissent du moment présent et ou se tournent vers l'avenir, d'autres encore privilégient le passé (liens biologiques, sociaux organiques, …). ; L'œuvre montre également que l'homme est soumis au temps (aux "récurrences du temps cosmique") ou tente de le transcender en produisant une œuvre, ou en faisant bénéficier la communauté de ses visions. Quant à la temporalité narrative, elle s'inscrit dans une certaine mesure dans la tradition, car histoire et récit se développent parallèlement devient dynamique lorsque le narrateur a recours aux discordances anachroniques et anisochroniques entre "le temps raconte" et "le temps du raconter". Ainsi, le lecteur, appelé à s'interroger sur le concept de temporalité, annonce déjà le lecteur du vingtième siècleMy aim is to study time in all George Eliot’s novels. The novelist actually appropriated the organicist philosophy based on continuity and progressive development. Time in her work is sometimes mythical and static, but is generally organic natural history) and it is also what the philosopher Paul Ricœur would call "historic" (man gets aware of the importance heritage). For the individual, time is synonymous with nostalgia as well as evolution or regeneration through suffering. George Eliot both clings to tradition and wishes for social, economic, political and scientific progress, but she is interested in her fellowmen's everyday life. As regards her characters, some of them suffer from the gap between private public time, others enjoy the present and prepare the future, others still are faithful to the past (through biological, and social ties). Man is submitted to cosmic time, but he also attempts to transcend it through creation and visions. La not least George Eliot challenges the conventions of temporal continuity in fiction. The reader therefore has to cope with more dynamic narrative structure, and in doing so he anticipates the twentieth-century reader
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Vitaglione, Daniel. "George Eliot and George Sand : a comparative study". Thesis, University of St Andrews, 1990. http://hdl.handle.net/10023/15069.
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The thesis is a comparative study of George Eliot and George Sand. Numerous references to Sand in Eliot's correspondence, as well as in Lewes's criticism, show that the link between the two female authors was more profound than suspected. Lewes and Sand met and corresponded for a few years and his art theory is greatly indebted to Sand's novels. Sand also exerted a profound influence on Eliot's intellectual and artistic development before Eliot met Lewes. Sand was her "divinity." However, it is Lewes who encouraged Eliot to follow in Sand's footsteps. The thesis is thematic and compares first the impact of Sand's religious novels such as Spiridion and Lélia. Then their social thought is examined, with novels such as Le pêche de Monsieur Antoine and Felix Holt, the Radical. The third part deals with their conception of art, with special attention to the doctrine of Realism and to Sand's rustic novels. Their conception of women is also examined as well as their position on the question of woman's liberation. Finally, I compare their views of the complex relationship between femaleness and literature, in the light of recent feminist criticism.
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Mahfoud, Bassima. "Spiritual development in the poetry of T.S. Eliot". Thesis, Sheffield Hallam University, 2009. http://shura.shu.ac.uk/20000/.
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Spiritual development is a major theme in Eliot's poetry. Most previous criticism, both that focused on the life and that focused on the poetry has represented his spiritual biography either as being purely Christian or as being divided into two stages (atheist and Anglican respectively). Other criticism has highlighted non-Christian influences in Eliot's poetry, but without considering how they interact with his Christianity. In fact, Eliot developed two kinds of belief: the first an exoteric belief which presents him formally as an Anglican, and the second an esoteric, more private spirituality, expressed through his poetry in which Eliot incorporates multiple beliefs into one new whole. Even after conversion, Eliot's poetry continues to present Christian and non-Christian themes which show continuity with his earlier poetry. This thesis argues that Eliot's belief, as developed through his poetry, is a highly unconventional version of belief which constructs a new spirituality from elements of Unitarianism, Hinduism, Buddhism, Sufism and Anglicanism. Eliot started his spiritual journey at an early stage. Although his early poems do not give a clear idea about his beliefs, they show the initial shaping and incorporation of multiple themes. The early chapters of this thesis examine the shaping of Eliot's unconventional belief. In early poems, Eliot uses the method of observing places and people and relating episodes as well as experimenting with the poetic forms in order to convey his spiritual views. He also presents modem civilisation and urban aspects, like traffic, as hostile to any spiritual experience. The sixth and seventh chapters investigate how Eliot develops the same themes of earlier poems such as Indie concepts of karma, reincarnation, Nirvana; Sufi images of travel and symbols of spirituality; Christian themes of Original Sin and Incarnation and Unitarian interests in people's everyday life rather than afterlife, using fewer episodes and more wisdom-like method. The final chapter, in particular, shows that, by Four Quartets, the urban landscape is used by Eliot as a possible host for meditation and enlightenment. It also examines Four Quartets as Eliot's complete spiritual statement which marks the culmination of his unique experience of constructing his individual unorthodox belief. The main focus in this thesis is on the themes. However, an examination of the form is provided whenever the form particularly highlights the themes.
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Mandal, Umesh Chandra. "Religious thoughts in T S Eliot`s poetry". Thesis, University of North Bengal, 1992. http://hdl.handle.net/123456789/1150.
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Strandberg, Åke. "The Orphic voice : T. S. Eliot and the Mallarmean quest for meaning /". Uppsala : [Uppsala universitet], 2002. http://catalogue.bnf.fr/ark:/12148/cb39284572t.
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Cassidy, Alison Ross. "T.S. Eliot and Charles Peirce : a study of the influence of Peircean philosophy on the philosophy, poetry and criticism of T.S. Eliot". Thesis, University of Dundee, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319469.
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This is a study of the relationship between the philosophy of Charles Peirce and the philosophy, criticism and poetic methodology of T.S. Eliot. I begin by considering Peirce's connections with Harvard University, and the effects of Peircean philosophy on the ideas and teaching methods of the philosophers who taught Eliot at Harvard between 1907 and 1914. I discuss Peirce's sign-theory of cognition, and consider ho~ this theory may have influenced Eliot's choice of a poetic method - his choice, that is, to write a poetry of 'signification'. I argue that the choice of such a method by Eliot evidences a Peircean conception of reality. I consider the Pragmatism of Peirce, and argue that Eliot' ~ poems consistently present a 'pragmatistic' view of reality, a Vl~ of reality as dependent upon, or identifiable with, actio] ('practice'). Conversely, ~eality in the poetry of Eliot i: frequently represented in terms of a failure of practice, the fail ure to act. Central to Peirce's Pragmatism is the theory that a experience of the world as 'real' requires the sense of continuit in experience. I discuss this theory as it is found in the work 0 Peirce and William James, and argue that in the poems and plays c Eliot reality is consistently represented as directly dependent upc continuity and coherence in experience. Associated with the Pragmatism of William James is the VlE that our 'habits' of perception and behaviour are what literal] determine the identity (and thus the reality) of objects. I discu~ the extent to which 'habits' of various kinds (including Freudic , ceremonials') are represented in Eliot's poems as that In which reality in same sense inheres. I discuss finally Peirce's conception of the crucial function of 'Doubt' in the quest for knowledge specifically in the 'scientific method' of inquiry. I argue that doubt plays a crucial role in Eliot's poetry, and performs an essentially Peircean function in Eliot's quest for reality and truth.
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Johansson, Miranda. "Det öde landet : En undersökning av förhållandet mellan textlig förlaga och musikalisk slutprodukt". Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-68857.
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I detta arbete har jag undersökt det förhållande jag upplever mellan en text och det musikaliska resultat som kommer av att bearbeta denna text. Detta kom sig av ett livslångt intresse för både text och musik, och en önskan att fördjupa mitt kunnande i ämnet. Arbetet gick till så att jag valde en text – ”The Waste Land” av T.S. Eliot – och skrev ett tjugo minuter långt, instrumentalt musikverk med texten som förlaga. Jag bearbetade texten från olika vinklar och med varierande grad av trogenhet, från att följa språkrytmen stavelse för stavelse till att försöka återge den övergripande känslan av ett parti text i min musik. På så sättfick jag ett flertal perspektiv på min kreativa process, vilket kom att vara mycket hjälpsamt i analysfasen. När jag var klar analyserade jag de fem olika kompositionsprinciper jag använt och försökte identifiera för- och nackdelar med dem. I diskussionsdelen drar jag slutsatser om min kreativa process, och den kreativa processen i stort. Jag talar mycket om begränsningar, och hur det kommer sig att begränsningar kan vara så inspirerande trots sina negativa associationer.
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Yee, Sin-cheung. "Sleepwalkers in the cities of Dostoevsky and T.S. Eliot". Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31579541.
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Sze, Wai-yeung Venice. "The crisis of experience James Joyce and T.S. Eliot /". Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31633821.
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Rion, Rosanna. "El profetismo en la obra literaria de T.S. Eliot". Doctoral thesis, Universitat Pompeu Fabra, 2006. http://hdl.handle.net/10803/7433.
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La interpretación que este trabajo hace de la obra eliotiana ve en los profetas bíblicos no sólo una fuente de inspiración o un referente de ciertas citas, sino una estética, un estilo y el tratamiento de unos temas, propios de la escritura profética. Esta tesis quiere demostrar que la estética profética es la que predomina en la obra literaria de Eliot y como ésta marca su estilo y su temática. Esta estética, siguiendo al teólogo Tillich, se entiende como la que pregona un cambio en la sociedad, una mejora colectiva que provendrá del acercamiento entre Dios y los hombres. Para ello se analizarán tanto la poesía como el teatro eliotiano, puesto que una y otro se complementan y refuerzan, confirmando y explicando las afirmaciones que se propondrán. La obra crítica del poeta también tendrá su lugar en este estudio, ya que en ella se encuentran aclaraciones pertinentes la visión que queremos transmitir.The interpretation this thesis does of the work of Eliot sees in the biblical prophets not only a source of inspiration or the reference to certain quotations but an aesthetics, a style and a treatment of the subjects similar to that of the prophetical writings. What is meant to be stated is that the prophetic aesthetics is the one prevailing in the literary works of Eliot and that it influences its style and subjects. This aesthetics, following Tillich, is understood as the one which proclaims a change in society, a collective improvement which will come from the nearing between God and man. To study this, Eliot's poetry and theatre will be analysed, as one complements and strengthens the other, explaining the assertions which will be stated. Eliot's essays will also find their place in this study, because in them we can find explanations relevant to the view which will be asserted.
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Richards, Joshua. "Aspects of asceticism in the poetry of T.S. Eliot". Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3658.
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This thesis examines asceticism in T. S. Eliot's poetry by recapitulating his education in mysticism and theology then applying both the texts and doctrines to Eliot's poetry. Harvard's Houghton Library contains a record of approximately thirty books that he read during his graduate study, and a partial list appeared in Lyndall Gordon's 1977 biography T. S. Eliot's Early Years. Yet, these works have received little critical attention, and this is the first study to examine these works significantly. Intense reading of these neglected sources composes a large portion of the research for this thesis and offers original insight into the theme of asceticism. Eliot's poetry frequently displays broad ideals of asceticism—often in the form of discipline and purgation, but the nature of the asceticism is not consistent. In the poems before his conversion, Eliot engages significantly with his education by portraying ascetic failures and their consequences. After Eliot's conversion, the asceticism becomes more orthodox in nature, and the doctrines encountered early in life are openly espoused.
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Jaleel, Nuzhat. "The metaphysician in the dark : T.S. Eliot consciousness art". Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275746.
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Cooper, Ian David. "Poetry, idealism and religious thought from Hölderlin to Eliot". Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.614248.
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余善翔 i Sin-cheung Yee. "Sleepwalkers in the cities of Dostoevsky and T.S. Eliot". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31579541.
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施惠揚 i Wai-yeung Venice Sze. "The crisis of experience: James Joyce and T.S. Eliot". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31633821.
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