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1
Emig, Rainer. "The end of modernism in English poetry." Thesis, University of Oxford, 1992. http://ora.ox.ac.uk/objects/uuid:c02149d4-6f3b-4368-b20e-d8e669514ccf.
Повний текст джерелаАнотація:
'End' as 'goal' and 'limit' is explored in signs, symbols, metaphors, metonymies, and myths in the works of G.M. Hopkins, Yeats, Eliot, and Pound, before the study examines the aesthetics of modernist poetry which - through psychoanalysis, economy, and language philosophy - presents itself as one facet of the 'modernist project'. Modernist poetry struggles with its material, the lacking motivation of signs, the unstable connection of signifier and signified. Already in Hopkins this creates tensions between mimetic endeavour and construction. Appropriation and distancing as compensation strategies prefigure modernism's tendencies of simultaneous expansion and reduction. They produce impasses, evident in attempts to signify the self: absence, dissolution, and submission to myth, recurring limits in modernist poetry. Yeats's poems avoid mimetic tensions by focussing on opaque signifieds of symbols, intertextuality rather than empiricism. Yet the excluded 'outside' in the shape of history questions works and their creator. Again, silence, dissolution, or superhistoricism become refuges, leading to dissolution of symbols into metaphors and metonymies or their sublimation in myth. Eliot's poems seemingly return to realism. Yet their focussing on everyday life disguises the internalisation of reality in psychological landscapes. Difficulties of drawing borderlines between subject and object(s) result: objects become threatening and characters mutilated in reifications, processes expressed in shifts from metaphor to metonymy. Pound's stabilising strategies reify language itself. His personae try to legitimise poems by incorporating histories of others, but produce overcharge and disintegration. Imagism refines modernism's reductive move, but creates monadic closure. Attempts at impersonality and superhistoricism lead to the dominance of the suppressed. Vorticism's construction/destruction dialectic does not tolerate 'works'. Only the ideogrammatic method achieves the shift to signifiers only which enables poems to 'include' reality and history at the cost of blindness towards themselves. Psychoanalysis displays analogies in its holistic concepts and simultaneous internal delineations, its distrust of signs and incomplete and lacking constructs deriving from them. Modernist poetry's struggle with tradition in order to legitimise its existence mirrors the individual's subjection to the 'law of the father'. Individuation is achieved by mutilation; the return to imaginary wholeness preceding it, although Utopian goal, remains impossible; it appears in poems as self-destruction. The economy of modernist poems shows their fight against expenditure, creation of artificial value through symbols, eventually a reductio ad absurdum in poems producing only themselves in reification. Work and subject become borderlines when reality shifts into the text altogether and the signified is eliminated. Language philosophy reproduces the positions of modernist poems towards reality, admitting the separation of language and objects: Nietzsche in disqualifying truth, Wittgenstein uncovering language's impotence. Again the excluded appears as the mystical which Heidegger re-integrates by setting up language as reality's creator and receptacle of Being. The nominalist upside-down turn of his linguistic universe is analogous to modernism's myth of itself. Adorno criticises the closed nature of works as statements and advocates a 'true' modernism in the fragmentation of the work and openness towards heterogeneity. Like Baudrillard, he stresses the riddle of art which permits its orbital position, neither detached from societal conditioning nor completely subjected to it, thus capable of unveiling the relativity of master-narratives. The 'true' modernist poem displays its tensions and 'sacrifices itself in order to remind its reader of the damages of existence.
2
Ni, Xia Jia. "From imagism to informationism :a study of 20th century experimental poetry in English." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953521.
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3
Maxwell, Catherine. "Looking and perception in nineteenth century poetry." Thesis, University of Oxford, 1990. http://ora.ox.ac.uk/objects/uuid:8f4ff9be-6c07-4060-b777-6a7402d024c7.
Повний текст джерелаАнотація:
The thesis examines a series of nineteenth century poets whose poems are concerned with complex relations of looking and perception, and concentrates on Shelley and the poets he influenced: Browning, Rossetti, Swinburne, and Hardy. It focusses on poems dealing with the visual arts and aesthetic modes of perception, and concludes with a study of Walter Pater - an unrecognised follower of Shelley - and his notions of artistic character. An emphasis on the way face and bodily form are scrutinised, in poems concerning painting, sculpture and portraiture, leads to the hypothesis that the way the poet pictures essence or character through corporeal form is correlative to the essence or character of his own poetry. The particular spatial relations and visual representations of the poetry provide an index to specific patterns of reading. At the heart of this examination is a Shelleyan conception of the "unsculptured image", the characterising force and pre-given perspective of a poet's poem, which has a primary shaping effect on his language and representations, and continues to exert itself in the poem's reading. As this "image" is an imaginative rather than purely linguistic force, the analyses of selected poems avoid reduction to considerations of language and rhetoric alone, seeking rather to engage with the question of what constitutes a writer's own essence or particularity and what gives a strong poem its compulsive power. The thesis draws on the work of the French literary critic Maurice Blanchot to inform its ideas of poetic space and depth, and to produce an understanding of the poetic text very different from that given by a classical reading; and so alter the way one perceives the poem as literary object. In addition to this, certain nineteenth century and earlier aesthetic writings, and the prose works of the poets themselves, establish the critical basis of the arguments advanced. The thesis also endeavours to follow through the arguments of traditional scholarship in order to provide critique on distinctions or departures made. Chapter I examines Shelley's 'On the Medusa of Leonardo da Vinci in the Florentine Gallery'; Chapter II deals with portraiture in Browning's 'My Last Duchess' and Rossetti's The Portrait'; Chapter III turns to the sculpture of the hermaphrodite in Swinburne's early lyric 'Hermaphroditus'; Chapter IV looks at Thomas Hardy's poems about sketches and shades; Chapter V is an epilogue in which the work of Walter Pater draws together the ideas developed in the rest of the thesis.
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Moore, Natasha Lee. "The unpoetical age : modern life and the mid-Victorian long poem." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610158.
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Hazzard, Oli. "Trying to have it both ways : John Ashbery and Anglo-American exchange." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:87f922c5-79dc-4fd5-85dd-50c4a7661015.
Повний текст джерелаАнотація:
This dissertation explores John Ashbery's interactions with several generations of English poets, during a period which ranges from the late 1940s to the present day. It seeks to support two principle propositions: that Ashbery's engagements with contemporaneous English poets had a decisive influence on his poetic development; and that Ashbery's own poetic and critical work can be employed to revise our understanding of mid-to-late 20th century English poetry. The dissertation demonstrates that Ashbery's relationships with four English poets - W.H. Auden, F.T. Prince, Lee Harwood and Mark Ford - occurred at significant junctures in, and altered the course of, his poetic development. Ashbery's critical and poetic engagements with these poets, when read together, are shown to constitute an idiosyncratic but coherent re-reading of the English poetry of the past and present. The dissertation addresses the ways in which each poet theorises the difficulties posed, and opportunities afforded, by perceived changes in Anglo-American poetic relations at different points during the 20th century. Chapter one re-evaluates Ashbery's relationship with Auden. It traces the legacy of Auden's coterie poetics in The Orators for Ashbery and Frank O'Hara, offers a revisionary reading of The Vermont Notebook as a strident response to Auden's late-career conservativism, and reads in depth Ashbery's unpublished, highly ambivalent elegy for him, "If I had My Way, Dear". Chapter Two attends to the extensive correspondence between Ashbery and Prince, argues that Prince's work provided a model for Ashbery's "encrypted" early lyrics addressing his homosexuality, and reads "Clepsydra" as an early elaboration of Ashbery's conception of a reciprocal influential model. Chapter Three examines Lee Harwood's "imitations" of Ashbery, and considers the latter's first critical formation of an English "other tradition" through his association of Harwood with the work of John Clare. Chapter Four portrays Ashbery's relationship with Mark Ford as a successful enactment of reciprocal influence, a form of engagement which allows Ashbery a means to "shake off his own influence" and to retain his status as a "major minor writer".
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Bennett, Sarah. "The American contexts of Irish poetry, 1950-present." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669957.
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Cox, Octavia. "Pope's poetic legacy, 1744-1830." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:236ec8eb-4d21-43c6-b4eb-8c7b349447ef.
Повний текст джерелаАнотація:
Jerome McGann observes that 'Deceptive apparitions haunt romantic writing'. This thesis investigates one such haunting apparition; it analyses the ways in which selected eighteenth- and early nineteenth-century poets engage with the poetry of Alexander Pope. The received view of "Romantic" anti-Popeanism is expressed in comments such as that of William Hazlitt's 'I do not think there is any point of sympathy between Pope and the Lake School: on the contrary, I know there is an antipathy between them'. There is plenty of evidence to suggest some Romantic writers had an aversion to the previous literary age. In a letter to his brother and sister-in-law in March 1819, for example, Keats reviews a play by mocking that it 'was bad even in comparison with ... the Augustan age'. Pope had been the pre-eminent figure of Augustan poetry. Hence, the argument runs, Pope was rejected wholesale by Romantic poets. Such an understanding of literary history is, however, too dogmatic. Rather than accepting the view that the progression from Pope's era to the Romantic period involved a sudden pivot in taste, I explore how Popean poetic principles filtered into the development of his successors' literary aesthetics and ideas about poetry. The central questions I ask are how, and in what ways, Pope's successors used Pope's poetry to formulate their own poetic visions. I address these questions in four main chapters. In the first, I analyse Joseph Warton's An Essay on the Writings and Genius of Pope. I show that Warton's Essay on Pope should not be taken as a denigration of Pope's poetic achievement, and suggest ways in which Pope's work permeates his, and his brother Thomas', poetry. In the second, I examine the response to Pope's Iliad, a text which prompted conflicting reactions among his successors. In particular, I appraise William Cowper's response to Pope's translation, not only as contained in his prose discussion of it, but also as revealed by his own translation. My third chapter considers ways in which Wordsworth plays with Pope's poetic legacy, and acknowledges Pope's contribution to the formulation of his own ideas of what constitutes good poetry. In the final chapter, I illustrate that even in the poetry of Keats - who, at times, vociferously rejects Pope as a mere handicraftsman - there is a sympathy in song between brother-poets. Literary criticism has often stressed the prominence of authors such as Lord Byron, Erasmus Darwin and George Crabbe in Pope's poetic reception and legacy. Yet Pope haunts other writers in subtler, but no less compelling, ways. As Samuel Taylor Coleridge observes, in Biographia Literaria, 'many ... formed ... their notions of poetry, from the writings of Mr. Pope'. What I try to give colour to here are some of the ways in which subsequent 'notions of poetry' were 'formed' from 'the writings of Mr. Pope'.
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Louw, Denise Elizabeth Laurence. "A study of the numinous presence in Tennyson's poetry." Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1005891.
Повний текст джерелаАнотація:
From Preface: A reader looking to this study for a charting of the diverse religious views held by Tennyson at different periods in his life may be disappointed. My primary concern has been not with religious forms, but with the numinous impulse. However, though I approached the topic with a completely open mind, I find my own Christian convictions have been strengthened through the study of Tennyson's poetry. As the title indicates, I have not attempted to deal with the plays. To explore both the poetry and the plays in a study of this length would have been impossible. I have perhaps been somewhat unorthodox in attempting to combine several disciplines, especially since I cannot claim to be a specialist in the areas concerned. However, I felt it necessary to approach the subject from a number of points of view, and to see to what extent the results could be said to converge on some sort of central "truth". When I have despaired of being able to do justice to a particular aspect within the imposed limits, I have sometimes found comfort in the words of Alan Sinfield (The Language of Tennyson's "In Memoriam", p.211): "We can only endeavour continually to approach a little closer to the central mystery; the ma j or advances will be infrequent, but most attempts should furnish one or two hints which others will develop. "
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Holmgren, Michele J. "Native muses and national poetry, nineteenth-century Irish-Canadian poets." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq28493.pdf.
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McDermott, Lydia Eva. "Gerard Manley Hopkins's poetic art as "current language heightened" : (with reference to selected sonnets and in the light of contemporary stylistic theory)." Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1002019.
Повний текст джерелаАнотація:
The aim of this thesis is twofold: To examine Hopkins's writings on poetics and to relate these to modern theories of poetic stylistics; and to show, through an examination of two sets of Hopkins sonnets, the ways in which Hopkins's writings on language and poetics are reflected in his verse (Introductory outline, p. 5)
11
Brammall, Sheldon. "Translating the Prince of Poets : the politics of the English translations of the Aeneid, 1558-1632." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283905.
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Lokash, Jennifer Faith. "In sickness and in health : romantic art therapy and the return to nature." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82920.
Повний текст джерелаАнотація:
This thesis explores the network of relationships among health and healing, the natural environment, and poetry during the Romantic period in Britain, and thus offers a new perspective on the Romantic relation to Nature. The context for this study is both the long and varied history that links literature to ideas of health and disease, and the intersection of the late 18th- and early 19th-century discourses of holistic science and healing that emphasize the synergy between self and world and recognize that our living environments can be either hostile or congenial to body and spirit. For many Romantic poets, illness was a painful reality that became vital to their thoughts about poetry and creativity in general. Through Wordsworth's partnership with Coleridge, a vocabulary of health and disease emerges in relation to poetic production and reception that has influenced critics of the period. It constructs the "natural" as a source of health, and establishes Wordsworth and his poetic celebrations of the therapeutic potential of nature as the often problematic legacy both for Coleridge and for second generation poets like Byron and Shelley. While composing Childe Harold's Pilgrimage Canto III, Byron tests Wordsworth's notion that immersion in the natural world can be spiritually therapeutic from the point of view of poetic production. The intensity of Byron's bodily existence, however, prevents him from fully experiencing the spiritual and metaphysical aspects of Wordsworthian nature. As his attempts to disengage the spirit from the body by meditating on nature actually have the reverse effect of bringing him more in touch with his physical identity, he must reject Wordsworth's methodology as a possible vehicle for healing. In refiguring Wordsworth's ideas about "taste," Shelley conceives of his poetry as healthy food for thought. His frequently used metaphors of "literature as food" have their source in his attitudes towards intake first exp
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Phillips, Malcolm. "Experiment and representation : the domestic surreal in contemporary British and American poetry." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/14707.
Повний текст джерелаАнотація:
In order to counter what I regard as premature and reductive formulations of a 'native' British postmodernism, I identify a specific tendency in contemporary writing which I name the domestic surreal, and which I trace through the poetry of John Ashbery, Frank O'Hara, Roy Fisher, Christopher Middleton, John Ash, Peter Didsbury and Ian McMillan. Through close reading and a comparative approach, I uncover key preoccupations with idiosyncratic perception, shared experience, urban space and poetic play. I also describe a network of allegiances and influence among these writers which reveals the domestic surreal to be one of the contemporary manifestations of an imaginative tradition which stretches back through the Surrealist and Cubist movements to Baudelaire and Rimbaud. For the poets of the domestic surreal, engagement with an aesthetic tradition is inextricably linked with their response to contemporary conditions. Drawing on dialectical and poststructuralist perspectives, I propose that the domestic surreal attempts to resist the constraints of social and aesthetic consensus in Britain and America in the period following the Second World War.
14
Mair, Olivia. "Merchants and mercantile culture in later medieval Italian and English literature." University of Western Australia. English, Communication and Cultural Studies Discipline Group, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0088.
Повний текст джерелаАнотація:
[Truncated abstract] The later medieval Western European economy was shaped by a marked increase in commerce and rapid urbanisation. The commercialisation of later medieval society is the background to this research, whose focus is the ways in which later medieval Italian and English literature registers and responds to the expanding marketplace and the rise of an urban mercantile class. What began as an investigation of the representation of merchants and business in a selection of this literature has become an attempt to address broader questions about the later medieval economy in relation to literary and artistic production. This study is therefore concerned not just with merchants and their activities in literature, but also the way economic developments are manifested in narrative. Issues such as the moral position and social function of the merchant are addressed, alongside bigger economic issues such as value and exchange in literature, and to some extent, the position of the writer and artist in a commercialised economy. The study is primarily literary, but it adopts a cross-disciplinary method, drawing on economic and social history, literary criticism, art history and sociology. It begins with an assessment of the broader socio-economic context, focusing on ecclesiastical and social responses to the growth of … This chapter discusses the thirteenth-century Floris and Blauncheflur (c. 1250), and the late fourteenth-century Sir Amadace, Sir Launfal, Octavian and Sir Gawain and the Green Knight in relation to the commercialised economy and with reference to late medieval thought concerning value, exchange and the role and function of merchants. Geoffrey Chaucer’s Canterbury Tales (c. 1380s) is the subject of the third and final chapter, “Narrative and Economics in Chaucer’s Canterbury Tales”. Chaucer treats commerce and merchants with a complexity very close to Boccaccio’s approach to commerce. Both writers are acutely aware of the corruption to which merchants are susceptible, and of the many accusations levelled at merchants and their activities, but they do not necessarily perpetuate them. Rather than discussing exclusively the tales that deal extensively with merchants and commerce, or that told by the Merchantpilgrim, this discussion of the Canterbury Tales focuses on the Knight’s Tale, the Man of Law’s Tale and the Shipman’s Tale and the way they relate to broader ideas about the exchange and the production of narrative in the Canterbury Tales as a whole.
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Goodland, Giles. "Modernist poetry and film of the Home Front, 1939-45." Thesis, University of Oxford, 1992. http://ora.ox.ac.uk/objects/uuid:cbc4f071-0e64-4a07-866d-ba83359262cb.
Повний текст джерелаАнотація:
This thesis is an exploration of the links between modernist literature and film and society at a period of historical crisis, in Gramscian terms a moment of national 'popular will'. In general, these works are informed by a greater organicity of form, replacing the previous avant-garde model of a serial or mechanical structure. This organicity, however, maintains an element of disjunction, in which, as with filmic montage, the organicity is constituted on the level of the work seen as a totality. Herbert Read's aesthetics are shown to develop with these changes in the Thirties and the war years. The work of H.D. and T.S. Eliot is explored in the light of these new structural elements, and the formal questioning of the subject through the interplay of 'we' and montages of location and address in the poems. The pre-war years are portrayed in these works as a time of shame, and the war as a possible means of redemption, perhaps through suffering, or through the new subjectivity of the wartime community. The documentary movement provides an opportunity to trace these formal changes in a historical and institutional context, and with the work of Dylan Thomas, the relations between mass and high culture, film and poetry, are investigated, as well as the representation of the Blitz, in which guilt is sublimated into celebratory transcendence. These aspects, and the adaptation of a European avant-garde to meet British cultural needs, are examined in the work of the Apocalyptic movement. The last structure of feeling is reconstruction, which is related to Herbert Read's thought, but shown to inform all these other works and to be a linking-point between ideology and the structure of the text, formed as an organic unity that promises a reconstructed post-war society.
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Moore, Lindsay Emory. "The Laureates’ Lens: Exposing the Development of Literary History and Literary Criticism From Beneath the Dunce Cap." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822784/.
Повний текст джерелаАнотація:
In this project, I examine the impact of early literary criticism, early literary history, and the history of knowledge on the perception of the laureateship as it was formulated at specific moments in the eighteenth century. Instead of accepting the assessments of Pope and Johnson, I reconstruct the contemporary impact of laureate writings and the writing that fashioned the view of the laureates we have inherited. I use an array of primary documents (from letters and journal entries to poems and non-fiction prose) to analyze the way the laureateship as a literary identity was constructed in several key moments: the debate over hack literature in the pamphlet wars surrounding Elkanah Settle’s The Empress of Morocco (1673), the defense of Colley Cibber and his subsequent attempt to use his expertise of theater in An Apology for the Life of Colley Cibber (1740), the consolidation of hack literature and state-sponsored poetry with the crowning of Colley Cibber as the King of the Dunces in Pope’s The Dunciad in Four Books (1742), the fashioning of Thomas Gray and William Mason as laureate rejecters in Mason’s Memoirs of the Life and Writings of William Whitehead (1788), Southey’s progressive work to abolish laureate task writing in his laureate odes 1813-1821, and, finally, in Wordsworth’s refusal to produce any laureate task writing during his tenure, 1843-1850. In each case, I explain how the construction of this office was central to the consolidation of literary history and to forging authorial identity in the same period. This differs from the conventional treatment of the laureates because I expose the history of the versions of literary history that have to date structured how scholars understand the laureate, and by doing so, reveal how the laureateship was used to create, legitimate and disseminate the model of literary history we still use today.
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Simmonds, Clive. "Publishing Swinburne : the poet, his publishers and critics." Thesis, University of Cambridge, 2013. http://www.repository.cam.ac.uk/handle/1810/245120.
Повний текст джерелаАнотація:
This thesis examines the publishing history of Algernon Charles Swinburne during his lifetime (1837-1909). The first chapter presents a detailed narrative from his first book in 1860 to the mid 1870s: it includes the scandal of 'Poems and Ballads' in 1866; his subsequent relations with the somewhat dubious John Camden Hotten; and then his search to find another publisher who was to be Andrew Chatto, with whom Swinburne published for the rest of his life. It is followed by a chapter which looks at the tidal wave of criticism generated by Poems and Ballads but which continued long after, and shows how Swinburne responded. The third and central chapter turns to consider the periodical press, important throughout his career not just for reviewing but also as a very significant medium for publishing poetry. Chapter 4 on marketing looks closely at the business of producing and of selling Swinburne’s output. Finally Chapter 5 deals with some aspects of his career after the move to Putney, and shows that while Theodore Watts, his friend and in effect his agent, was making conscious efforts to reshape the poet, some of Swinburne’s interests were moving with the tide of public taste; how this was demonstrated in particular by his volume of Selections and how his poetic oeuvre was finally consolidated in the Collected Edition at the end of his life. The thesis shows that popular interest was mainly on his earlier poetry, and suggests his high contemporary reputation (which was not fully reflected in sales) was maintained by the periodical press.
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Falconer, Marc Stuart. "A study of Tennyson's Idylls of the King." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002280.
Повний текст джерелаАнотація:
This thesis is a study of themes and genre in Tennyson's Idylls of the King. I have not attempted to present a survey of the body of critisicm on the cycle, nor have I attempted a comprehensive comparison of the poem with any of Tennyson's sources. The first chapter is based on A. Fowler's study of genres and I follow the implications of his work in my reading of the Idylls. Tennyson blends various generic strands in his cycle, in particular allegory, epic, dramatic monologue and the Alexandrian idyll, to create a complex psychological allegory of epic scope which both draws on traditional genres and extends them. I believe the Idylls should be read as a cycle and in the order in which Tennyson finally presented them; the ordering process is as much part of the creative process as the actual act of composition. I have adopted Priestley's sensible division of the twelve poems which he says "falls naturally into three groups of four, corresponding closely to the three acts of modern drama" (1960, p.252-254)" The second chapter begins the sequential examination of the first four "spring" and "summer" poems beginning with the symbolic The Coming of Arthur. This idyll begins Tennyson's Arthurian mythopoeia, creating a poetic kingdom of the mind. The "act" closes with the Geraint and Enid idylls, all four works in this section ending happily. The third chapter deals with the idylls which plot the corrupting and ever-widening influence of the adulterous relationship of Lancelot and Guinevere, one cause of the destruction of the institution of the Round Table. Other causes of the demise of Arthur's order are the pernicious influences of the evil Vivien and Modred and the meaningless and sterile spirituality that prompts the quest of The Holy Grail. The last four idylls chart the final collapse of Arthur's realm, the utter disillusionment of individual idealism - personified by Pelleas, an anachronistic spring figure who appears in Camelot's bleak and hostile winter - and the complete social decay which is demonstrated by the fiasco of The Last Tournament. The tragic denouement of the cycle, on both individual and social levels, is evident in Guinevere, in which Arthur's wretched and traitorous queen understands Arthur's vision, but too late to save Camelot from ruin. In the final framing idyll, The Passing of Arthur, Tennyson's myth is elevated to the level of universal significance, the Idylls of the King becoming "not the history of one man or one generation but of a whole cycle of generations" (Memoir, ii, p.127).
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Brooks, Scott A. "To move, to please, and to teach : the new poetry and the new music, and the works of Edmund Spenser and John Milton, 1579-1674." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5034.
Повний текст джерелаАнотація:
By examining Renaissance criticism both literary and musical, framed in the context of the contemporaneous obsession with the works of Plato, Aristotle, and Horace, among others, this thesis identifies the parallels in poetic and musical practices of the time that coalesce to form a unified idea about the poet-as-singer, and his role in society. Edmund Spenser and John Milton, who both, in various ways, lived in periods of upheaval, identified themselves as the poet-singer, and comprehending their poetry in the context of this idea is essential to a fuller appreciation thereof. The first chapter addresses the role that the study of rhetoric and the power of oratory played in shaping attitudes about poetry, and how the importance of sound, of an innate musicality to poetry, was pivotal in the turn from quantitative to accentual-syllabic verse. In addition, the philosophical idea of music, inherited from antiquity, is explained in order elucidate the significance of “artifice” and “proportion”. With this as a backdrop, the chapters following examine first the work of Spenser, and then of Milton, demonstrating the central role that music played in the composition of their verse. Also significant, in the case of Milton, is the revolution undertaken by the Florentine Camerata around the turn of the seventeenth century, which culminated in the birth of opera. The sources employed by this group of scholars and artists are identical to those which shaped the idea of the poet-as-singer, and analysing their works in tandem yields new insights into those poems which are considered among the finest achievements in English literature.
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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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Boykin, Dennis Joseph. "Wartime text and context Cyril Connolly's Horizon /." University of Sydney, 2007. http://hdl.handle.net/2123/1959.
Повний текст джерелаАнотація:
Doctor of Philosophy (PhD)This thesis examines the literary journal Horizon, its editor Cyril Connolly, and a selection of its editorial articles, poems, short stories and essays in the context of the Second World War, from 1939-45. Analyses of these works, their representation of wartime experience, and their artistic merit, serve as evidence of a shared and sustained literary engagement with the war. Collectively, they demonstrate Horizon’s role as one of the primary outlets for British literature and cultural discourse during the conflict. Previous assessments of the magazine as an apolitical organ with purely aesthetic concerns have led to enduring critical neglect and misappraisal. This thesis shows that, contrary to the commonly held view, Horizon consistently offered space for political debate, innovative criticism, and war-relevant content. It argues that Horizon’s wartime writing is indicative of the many varied types of literary response to a war that was all but incomprehensible for those who experienced it. These poems, stories and essays offer a distinctive and illuminating insight into the war and are proof that a viable literary culture thrived during the war years. This thesis also argues that Horizon, as a periodical, should be considered as a creative entity in and of itself, and is worthy of being studied in this light. The magazine’s constituent parts, interesting enough when considered separately, are shaped, informed, and granted new shades of meaning by their position alongside other works in Horizon. Chapters in the thesis cover editorials and editing, poetry, short stories, political essays, and critical essays respectively. Analyses of individual works are situated in the context of larger concerns in order to demonstrate the coherence of debate and discourse that characterised Horizon’s wartime run. In arguing that Horizon is a singular creative entity worthy of consideration in its own right, this thesis locates itself within the emerging field of periodical studies. Further, by arguing that the magazine demonstrates the value of Second World War literature, it articulates with other recent attempts to reassess the scope and quality of that literature. More specifically, this thesis offers the first focused and in-depth analysis of Horizon’s formative years.
22
Kershaw, Alison. "The poetic of the Cosmic Christ in Thomas Traherne's 'The Kingdom of God'." University of Western Australia. School of Social and Cultural Studies, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0085.
Повний текст джерелаАнотація:
[Truncated abstract] In this thesis I examine the poetics of Thomas Traherne’s often over-looked Christology through a reading of The Kingdom of God. This work, probably written in the early 1670s, was not discovered until 1997, and not published until 2005. To date, no extended studies of the work have been published. It is my argument that Traherne develops an expansive and energetic poetic expressive of the theme of the ‘Cosmic Christ’ in which Christ is understood to be the source, the sustaining life, cohesive bond, and redemptive goal, of the universe, and his body to encompass all things. While the term ‘Cosmic Christ’ is largely of 20th century origin, its application to Traherne is defended on the grounds that it describes not so much a modern theology, as an ancient theology rediscovered in the context of an expanding cosmology. Cosmic Christology lies, according to Joseph Sittler,“tightly enfolded in the Church’s innermost heart and memory,” and its unfolding in Traherne’s Kingdom of God is accomplished through the knitting together of an essentially Patristic and Pauline Christology with the discoveries and speculations of seventeenth century science: from the infinity of the universe to the workings of atoms. … The thesis concludes with a distillation of Traherne’s Christic poetic The Word Incarnate. The terms put forward by Cosmic Christology are used to explicate Traherne’s intrepid poetic. In his most remarkable passages, Traherne employs language not only as a rhetorical tool at the service of theological reasoning, but to directly body forth his sense of Christ at the centre of world and self. He promises to “rend the Vail” and to reveal “the secrets of the most holy place.” Scorning more “Timorous Spirits,” he undertakes to communicate and “consider it all.”
23
Ghosh, Hrileena. "John Keats's medical notebook and the poet's career : an editorial, critical and biographical reassessment." Thesis, University of St Andrews, 2016. http://hdl.handle.net/10023/8247.
Повний текст джерелаАнотація:
This thesis explores the significance of John Keats's medical Notebook, and his time at Guy's Hospital (October 1815 – March 1817), for the poet's career. As a primary contribution, it offers a new transcription of Keats's medical Notebook (Appendix 1). The transcription reproduces Keats's text and indicates the layout of his notes, but is neither a facsimile, nor a new edition: the visual form of Keats's notes is not reproduced, nor do I offer critical annotations; commentary follows in subsequent chapters. The achievements, limitations and influence of the only edition of Keats's medical Notebook — Maurice Buxton Forman's from 1934 — are the subject of the first chapter, which also considers accounts of Keats's medical career in Keats biography and criticism. Chapter two focuses on the poems Keats wrote while at Guy's to show that the two aspects of his life — medicine and poetry — were mutually influential. Chapter three considers Keats's medical notes in comparison to a fellow-student's, indicating how some characteristics of Keats's note-taking prefigure aspects of his mature poetry. Chapter four finds Endymion suffused with medical knowledge and imagery, and argues that this was a vital aspect of the poem's depiction of passion. Chapter five suggests that the publication of Keats's 1820 volume was greatly influenced by questions of health, medicine, and disease; concerns reflected by the poems in it, which also reveal the extent of Keats's continued awareness of, and interest in, contemporary medical thought. In sum, the thesis argues that the origins of Keats's poetic achievement can be traced in his medical Notebook and ‘hospital' poems, and that the ability to infuse his poetry with medical knowledge was a vital component of Keats's poetic power and achievement.
24
Lynch, Éadaoín. "'This may be my war after all' : the non-combatant poetry of W.H. Auden, Louis MacNeice, Dylan Thomas, and Stevie Smith." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16566.
Повний текст джерелаАнотація:
This research aims to illuminate how and why war challenges the limits of poetic representation, through an analysis of non-combatant poetry of the Second World War. It is motivated by the question: how can one portray, represent, or talk about war? Literature on war poetry tends to concentrate on the combatant poets of the First World War, or their influence, while literature on the Second World War tends to focus on prose as the only expression of literary war experience. With a historicist approach, this thesis advances our understanding of both the Second World War, and our inherited notions of 'war poetry,' by parsing its historiography, and investigating the role critical appraisals have played in marginalising this area of poetic response. This thesis examines four poets as case studies in this field of research-W.H. Auden, Louis MacNeice, Dylan Thomas, and Stevie Smith-and evaluates them on both their individual explorations of poetic tone, faith systems, linguistic innovations, subversive performativity, and their collective trajectory towards a commitment to represent the war in their poetry. The findings from this research illustrate how too many critical appraisals have minimised or misrepresented Second World War poetry, and how the poets responded with a self-reflexivity that bespoke a deeper concern with how war is remembered and represented. The significance of these findings is breaking down the notion of objective fact in poetic representations of war, which are ineluctably subjective texts. These findings also offer insight into the 'failure' of poetry to represent war as a necessary part of war representation and prompt a rethinking of who has the 'right' experience-or simply the right-to talk about war.
25
Ricci, Roslyn Joy. "Changing approaches to interpretation: twentieth century re-creations of classical Chinese poetry." 2006. http://hdl.handle.net/2440/37853.
Повний текст джерелаАнотація:
This thesis explores changes in approaches to the interpretation of the genre of classical Chinese poetry re-created as English poetry during the twentieth century. This genre, produced by two literary cultures - Chinese and English - is subjected to critical scrutiny in both its original and re-created forms and this study discusses the extent to which critical theories resulted in shifts in the interpretive approaches of twentieth century translations of the genre. Interpretive changes are exposed by comparative analysis of publications of the genre by Ezra Pound and Arthur Waley, Burton Watson and Gary Snyder, James J. Y. Liu and Stephen Owen and Pauline Yu and Haun Saussy. This involves a discussion of how their formative years, environmental factors and critical pressures influenced their approaches to interpretation of the genre. The study found that changes to interpretative approaches for the genre rested on two key experiences of translators and readers. Primary influences - family, education and personal pursuits - did affect interpreters of the genre but secondary influences - critical theories, literary trends, political, religious and social movements - had greater impact on interpretive change. Isogesis, an unavoidable factor of cultural interpretation, insidiously influenced how the genre was interpreted and that the increased use of montage and anthology late in the twentieth century attempted to reduce the effect of isogesis and, even more importantly, returned the genre to its cultural roots, the Shijing, the earliest Chinese classical anthology of poetry. This study illustrates three areas of importance. Firstly, it shows that biographical and environmental factors affecting translators caused shifts in approach to interpretation of classical Chinese poetry re-created as English poetry. Secondly, choices of what to re-create and print - made by translators, editors and publishers - affect reader response to the genre. Thirdly and finally, it suggests the possibility that the interpretive approaches of these eight translators can be employed as poetic montage in the third millennium to reduce the effect of misinterpreting of the genre.Thesis (M.A.)--School of Social Sciences, 2006.
26
Bishop, Christopher Damien Clifford. "Literature and society in tenth-Century Wessex." Phd thesis, 2006. http://hdl.handle.net/1885/150472.
Повний текст джерела
27
Gray, Denise. "The challenge of the lyrical voice in 'unlyrical' times : a study of Ingrid de Kok's poetry." Thesis, 2010. http://hdl.handle.net/10413/4645.
Повний текст джерелаАнотація:
This study places the poetry of Ingrid de Kok in a critical context that is strongly
influenced by the political climate.
Unlike political rhetoric, the nature of the lyrical poem is personal and complex,
arguably rendering it defunct in a democracy that seeks to serve majority interests.
De Kok’s challenge is to be a lyrical poet in the public sphere, to contain and
represent the public interest within the personal form. I will examine how she rises to
the historical occasion and extends her medium to incorporate the public event.
At the same time, if she is to retain her voice as a lyrical poet, she must guard the
privacy of its expression and the intimate spaces it seeks to delineate. In this way she
asserts the validity of every-day concerns and of spaces traditionally designated as
female.
By interrogating the categories of personal and public I hope to project a complex
vision of the possibilities of the lyric within contemporary South Africa.Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2010.
28
Dalldorf, Tamaryn J. "The victimisation of genius : Mary Robinson's idealisation of the female author in sensibility literature during the decade of the 1790's." Diss., 2017. http://hdl.handle.net/10500/22689.
Повний текст джерелаАнотація:
Mary Robinson’s perceived entrapment within masculine discourse has led to a somewhat distorted portrayal of this author as ‘victim’: critical focus on how she and eighteenth-century society may have constructed her authorial identity, reflecting her primarily as a historical and cultural product, has contributed indirectly to diminish due recognition of the level of autonomy she attained within her own writing. However, recent political interpretations of Robinson’s work have largely challenged these views, acknowledging her considerable influence within the public realm of the ‘masculine’ Romantic. In this dissertation, I aim to build upon, and argue beyond, those readings which have explored Robinson’s political uses of victimisation, as well as those which have studied her promotion of female authorship. I will argue that, by exploring Robinson’s own portrayal of the female philosopher and author, as well as her manipulation of victimisation within sensibility literature, we may be able to better interrogate modern feminist thinking around the concept of the eighteenth-century female philosopher, and thus begin to situate the value of Robinson’s work within a firmer literary compass. I will focus upon the following novels: Walsingham (2003 b), The False Friend (1799), and The Natural Daughter (2003 a). While I will root my arguments in the abovementioned approach, I will avoid contributing further discussion to Robinson’s use of radical politics and defence or fostering of female authorship. First because these are relatively well explored issues around her writing, and secondly because it is wise to be cautious when affirming Robinson’s radical politics, as ultimately this impulse ties into a modern yearning to portray her as a radical feminist. Robinson certainly adopted a radical political stance in some of her novels; yet, I will argue, we cannot value her writing primarily in terms of its political bent, however tempting this approach may be.English Studies
M.A. (English Studies)
29
Regan, Christine Majella. "The Rimbaud of Leeds : a contextual study of the politics of Tony Harrison's poetry 1970-1985." Phd thesis, 2011. http://hdl.handle.net/1885/150435.
Повний текст джерелаАнотація:
The Rimbaud of Leeds is a literary contextual study of the political meanings of important poems by the Leeds poet Tony Harrison (1937- ). It is based on an examination of Harrison's non-dramatic original poetry that appears in The Loiners (1970), The School of Eloquence (1978-81), and the separately published v. (1985). Reference is made to other germane works and to Harrison's account of his work in interviews and prefaces. The principal focus of the thesis is the political character of the poetry. The poems selected for examination are exemplars of what I argue is Harrison's radical humanist and republican poetic, and of how issues of class and colonialism are interrelated in the poetry. The thesis locates the works in previously unnoticed or neglected contexts, and shows the critical importance of history for understanding the poems. It reveals Harrison's detailed engagement with the politics and history of England and Africa in particular. New contextual information necessary for understanding the political, historical, biographical and literary references in the poems is offered in this study. This dissertation attempts to sketch the key political and aesthetic features of the poetry. For the first time in Harrison scholarship, his poetry is seen as presenting an entwined biographical and political mythology for the Northern English working class. Harrison is here interpreted as a cosmopolitan Leeds poet whose Northern working{u00AD}class background, education and travels are the empirical materials of a highly cultured poetry of place. He emerges as a partisan political poet whose poems draw critical attention to an unequal relationship, in literature and in history, between the North and South in Britain. It is shown that an internationalist humanist sense of fraternity between the working class in the North of England and colonized peoples past and present suffuses the poetry. Particular attention is accorded to the presence in Harrison's political poetry of the poets John Milton (1608-74) and Arthur Rimbaud (1854-91). Milton is especially important for Harrison as a great republican poet. Rimbaud is of the first importance for Harrison's idea of himself as a poet. The significance of the life and work of Rimbaud has not been recognized in the scholarship on Harrison. This study seeks to illuminate Harrison's elective affinity with Rimbaud, and to show how Rimbaud haunts his imagination. This study argues that Harrison's political convictions and literary elective affinities have been consistent across the fifteen year span of the poetry selected for examination. This thesis indicates the dense allusive fields of the poetry and attends to the political and literary histories that enrich it. The aim in the thesis is to offer the first fully detailed contextual account of these remarkable poems and their politics.
30
Van, der Watt Gerhardus Daniël. "The songs of Gerald Finzi (1901-1956) to poems by Thomas Hardy." Thesis, 1996. http://hdl.handle.net/10500/16287.
Повний текст джерелаАнотація:
This study consists of two volumes. Volume II contains the analysis of fifty-one songs by Gerald
Finzi (1901-1956) to poems by Thomas Hardy (1840-1928). The analysis is based on a preconceived
model which focuses on a critical examination of the texts and considers the basic elements of music
in each song. Certain stylistic features are apparent from this study and are reflected in Volume I.
After a biographical sketch of each artist and a discussion of the texts, a sample of the analysis is
presented. The basic elements of music are then discussed: timbre, duration, pitch organization,
dynamics, texture, structure, mood and atmosphere. Volume I concludes with a general statement
on the stylistic features of the composer and considers the artists' genius in the light of the study.
Finzi's setting of such a comparatively large number of Hardy poems is a result of the former's intense
interest in English literature and sympathy with much of Hardy's personal philosophies such as the
uselessness of suffering which fills an indifferent world. Finzi's settings are firmly embedded in tonal
traditions but he explores a great variety of subtle atmospheres within the confines of tonality. The
declamation of the texts is of superior quality and the composer achieves an individual language of
expression unparalleled in the song-writing of the first half of the twentieth century in EnglandHierdie studie beslaan twee volumes. Volume II behels die analise van een-en-vyftig liedere van Gerald Finzi ( 1901-1956) na tekste van Thomas Hardy ( 1840-1928). Die analises is gebaseer op 'n vooraf ontwrepte model op grond waarvan die tekste krities geevalueer, en die basiese musikale elemente bestudeer is. Sekere stilistiese tendense wat uit hierdie studie blyk, word in Volume I weergegee. Na 'n kort biografiese skets van beide kunstenaars en 'n bespreking van die tekste, word 'n uittreksel van die analise aangebied. Hiema volg 'n ondersoek na die basiese elemente van musiek: toonkleur, toonduur, toonhoogte, toonstrekte, tekstuur, struktuur en die skep van atmosfeer. Volume I sluit af met 'n samevatting van die stylkenmerke en 'n slotbeskouing van beide kunstenaars se geniale bydrae. Finzi se toonsetting van 'n relatief groot aantal gedigte van Hardy spruit uit sy intense belangstelling in die Engelse letterkunde en sy vereenselwiging met die persoonlike filosofee van Hardy - veral die gedagte van onnodige lyding in 'n apatiese wereld. Finzi toonset hoofsaaklik in 'n tonale styl, maar ondersoek 'n groot verskeidenheid delikate atmosfeerskeppinge binne die tonale raamwerk. Sy deklamering van tekste is van hoogstaande gehalte en die komponis bring 'n pesoonlike uitdrukkingsvorm, ongeewenaar in die liederkuns van die eerste helfte van die twintigste eeu in Engeland, tot stand
D.Mus. (Musicology)
31
Hurley, Martin. "And the Word was made Flesh : Anthropomorphism in the poetry of W.H. Auden." Diss., 2016. http://hdl.handle.net/10500/22171.
Повний текст джерелаАнотація:
And the Word Was Made Flesh: Anthropomorphism in the poetry of WH Auden examines the reasons for the neglect of Auden’s prolific deployment of anthropomorphism by examining the poetry’s critical reception with a view to understanding what larger purpose, what ‘strategy of discourse’ (Ricoeur 2003, The Rule of Metaphor: 5-9), Auden may have had in mind when he revived a trope traditionally regarded as retrograde.
Anxious not to be mistaken for a Modern, yet unable to find a social rhetoric to suit his purposes, Auden elected upon a new style of poetry which questioned the very foundations of language by placing anthropomorphism, the ascription of agency and sentience to voiceless entities, at its centre. The study explores anthropomorphism from historical and theoretical perspectives in an attempt to explain the reasons for its demise, at least, within the academy.
This study emphasises the importance Auden placed on the everyday activity of reading, the principal focus for the poet’s ‘cultural theory’ (Boly 1991 and 2004: 138). Auden, 'eager to create a tradition of its own' (Emig 2000: 1), abjuring propaganda, hoped to educate the reader to resist the different ideologies which were vying for ascendency during the 1930s. This study will demonstrate that anthropomorphism, with its capacity to suggest alternative words to ‘re-describe reality’ (Ricoeur 2003: 5), played a pivotal role in Auden’s project for cultural renewal.
This study demonstrates that the lasting benefit of Auden’s use of anthropomorphism is to have recognised with prescience what critics now recognise as a 'revolutionary and potently counter-cultural tactic of cultural appropriation' (Paxson 1994: 173), a trope that 'engenders within its semiotic structure a hidden critique of Western culture' (Paxson: 50). Evidence from recent linguistic theory is marshalled in support of the trope’s rehabilitation.
This study examines a selection of Auden’s four hundred published poems, and it also offers a provisional taxonomy to initiate the complex process of classifying instances of personification and its co-ordinate tropes in poetry.English Studies
M.A. (English)
32
Slaska-Sapala, Kalina Irena. "Negotiating fate : John Milton's recreation of the Homeric and Virgilian model of divine intercession." Master's thesis, 2012. http://hdl.handle.net/1885/149841.
Повний текст джерелаАнотація:
At the beginning of Book 3 of John Milton's English Christian epic Paradise Lost, God is depicted sitting high on his celestial throne in heaven, an image that in its 'ambrosial fragrance' (PL. 3. 135) recalls the pagan Olympus. The Father, an anthropomorphic character in the poem, turns to the Son, foretells the imminent fall of Adam and Eve, and foresees its consequences for the fate of all mankind. The Son intercedes on behalf of man, ensuring the eventual redemption of the human race. This scene has been recognized as modelled on the epic concilium deorum. Revising existing scholarship on this scene, I argue that Milton is specific about the type of the epic concilium he recreates for the dialogue between the Father and Son in heaven. Whether full assemblies where Zeus presides over the gods, or more intimate dialogues between Zeus and the goddesses Thetis, Athene, and Here, the Olympian scenes in epic were problematic to Homer's ancient commentators due to their portrayal of Zeus bowing to the arguments of lesser deities. In recreating a specific model of the epic concilium deorum, Milton, I argue, is following a tradition of decorum-based criticism of Homer, according to the master of epic aemulatio - Virgil. A learned reader of the epic tradition, Milton, like Virgil, would have been aware of the history of criticism surrounding the dialogue at Iliad 16 in particular, where Zeus not only yields to the arguments of Here, but also seems to bow to fate. The language of the Father's prophecy in Paradise Lost reworks the poetic of Christian prophecy in Vida's Renaissance epic, the Christiad, by tracing it back to Virgil's language of fate in Aeneid 1. Finally, the Son's appeal to the Father on behalf of fallen mankind revises the scenes of intercession by the Olympian goddesses (Thetis and Athene in Homer and Venus and Juno in Virgil) on behalf of their favourite mortals. Milton follows the pattern of reproach and reassurance that occurs in these exchanges, revising it to reflect the Christian theology and theodical aim of Paradise Lost. The arguments of the Son become the enactment of the Father's will, thereby reconciling the competing claims of justice and mercy, and rendering the Son, in turn, a figure that harmonizes the divine and human spheres of epic. By drawing on recent work on Milton's theology in De Doctrina Christiana, I will challenge the idea that Milton's concerns as poet and theologian are mutually exclusive. I will show that the manner in which the poet attempts to reconcile his use of ancient models with the demands of a Christian theodicy demonstrates a complex engagement with the epic tradition in light of contemporary debates about the depiction of the divine sphere in Renaissance Christian epic. -- provided by Candidate.
33
Pillay, Ivan Pragasan. ""Could it be madness - this?" : bipolar disorder and the art of containment in the poetry of Emily Dickinson." Thesis, 2007. http://hdl.handle.net/10413/827.
Повний текст джерелаАнотація:
This dissertation engages in a critical analysis of the poetry of Emily Dickinson which, to me, suggests that the poet suffered from a type of manic-depression known specifically in psychiatric parlance as bipolar disorder. I argue that although Dickinson experienced much pain and suffering she learnt, through time, to address, understand and contain adversity - that ultimately, she transformed these experiences into the raw materials for poetic creation. Dickinson's poetic achievements are often obscured by a misunderstanding of her mental and emotional constitution. This thesis provides an alternative to the views of those commentators who maintain that Emily Dickinson was insane, neurotic or delusional. I intend, ultimately, to offer the reader a fresh insight into Emily Dickinson's poetry by reading it from the assumption that she suffered from bipolar disorder.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2007.
34
Keim, Charles Andrew. "Milton’s God and the Sacred imagination." Thesis, 2004. http://hdl.handle.net/2429/15835.
Повний текст джерелаАнотація:
The poetic effectiveness of Milton's God is a fundamental critical issue in Paradise
Lost, and the thesis addresses this concern by first surveying the various representations of
God contained in the Hebrew scriptures. To speak of the biblical God, one must first
understand the tremendous diversity o f his portrayals: he meets with some people in human
form, and with others as a voice, a light, or an awesome presence. Milton's God shares less
with the God o f Genesis than he does with the God of the prophets; yet Milton's
representation demonstrates that though Eden will be lost, God will continue to manifest
himself to those who seek his face. The cosmology of the epic reveals both the immensity o f
creation and the intimacy o f its Creator, since the entire world is filled with the glory o f God,
and yet the garden where Adam and Eve live is an archetypal sanctuary and their bower a
type of Inner Temple. Milton's justification o f God's ways rests upon the timelessness of
God; events that appear anachronistic at first are used to establish a context that looks beyond
the strict limits of human time. On the one hand, the Incarnation, Resurrection, and
Apocalypse are separate events that have not yet come to pass; but on the other hand, Milton
shows how these events are simultaneously present and completed in God's presence. From
God's throne, we participate in a cosmic perspective where the categories of past, present,
and future are compressed into one time: we are before and beyond time. Such a transcendent
perspective engenders a powerful truth: before Adam and Eve have been tempted, God's
grace and mercy have found them out and they have been restored. Though Eden must be
lost, the paradise of God's presence will remain. Adam and Eve will fall and the legacy of
their rash act will be paradoxically for all time, but not forever. God will restore his people
and wipe away their tears, and, in the context of Milton's depiction of God, that time of
redemption is now.Arts, Faculty of
English, Department of
Graduate
35
Giles, Roy James. "The religious crisis in the poetry of Gerard Manley Hopkins." Diss., 2003. http://hdl.handle.net/10500/2103.
Повний текст джерелаАнотація:
Gerard Manley Hopkins produced poetry in the Victorian era which was noted for its originality of syntax and form. The essence underlying a large body of his poetry was his Catholic religion. His early religious poetry utilized nature-based metaphors to express his love of Christ and trace the immanence of God within nature. He borrowed heavily from the aesthetics of Pater and the philosophy of Duns Scotus. The dissertation explores these early influences and assesses their contribution to the formation of a unique religious interpretation of life and the formulation of an aesthetic congruent with this religion. The dissertation dissects early symptoms of religious doubt within his poetry and finally analyses his `Terrible Sonnet' phase in detail to ascertain whether the crisis so often described as occurring during this period was religious or merely reflected a loss of creative ability.English Studies
MA (English)
36
Keep, Carol Julia. "Insubstantial pageants fading : a critical exploration of epiphanic discourse, with special reference to three of Robert Browning's major religious poems." Diss., 1994. http://hdl.handle.net/10500/17061.
Повний текст джерелаАнотація:
This dissertation examines the nature of epiphanic discourse in
three of Robert Browning's religious poems, namely, 'Christmas-
Eve', 'Easter-bay' and 'La Saisiaz'.
Chapter 1 investigates epiphany from religious, historical
and theoretical perspectives, followed by a discussion of
Browning's developing Christian beliefs. Chapters 2 and 3
explore the epiphanic moment in the companion poems, 'Christmas-
Eve' and 'Easter-Day'. Chapter 4 explores how the double epiphany
initiated from Browning's personal experience recounted in 'La
Saisiaz', finds its resolution in 'The Two Poets of Croisic'.
Browning's 'good minute' or 'infinite moment' originates
in Romanticism and reverberates into the twentieth century mainly
in the writing of James Joyce, who first used the word 'epiphany'
in its literary sense.
Because Browning's faith allowed continual interrogation of
Christian doctrine, his experience and reading of epiphanic
moments avoid any attempt at closure. Thus they offer the reader
both a human image for recognition and a coded legend for
individual interpretationM.A. (English Studies)
M.A. (English)