Relevant bibliographies by topics / Hopkins, Gerard Manley, Versification

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Academic literature on the topic 'Hopkins, Gerard Manley, Versification'

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Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Hopkins, Gerard Manley, Versification"

1

Loomis, Jeffrey B. "Gerard Manley Hopkins." Victorian Poetry 41, no. 3 (2003): 412–19. http://dx.doi.org/10.1353/vp.2003.0035.

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Loomis, Jeffrey B. "Gerard Manley Hopkins." Victorian Poetry 42, no. 3 (2004): 381–90. http://dx.doi.org/10.1353/vp.2004.0053.

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Loomis, Jeffrey B. "Gerard Manley Hopkins." Victorian Poetry 43, no. 3 (2005): 359–67. http://dx.doi.org/10.1353/vp.2005.0037.

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Fennell, Frank. "Gerard Manley Hopkins." Victorian Poetry 54, no. 3 (2016): 372–84. http://dx.doi.org/10.1353/vp.2016.0020.

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Grafe, Adrian. "Gerard Manley Hopkins." Victorian Poetry 55, no. 3 (2017): 382–90. http://dx.doi.org/10.1353/vp.2017.0022.

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Grafe, Adrian. "Gerard Manley Hopkins." Victorian Poetry 56, no. 3 (2018): 332–41. http://dx.doi.org/10.1353/vp.2018.0021.

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Grafe, Adrian. "Gerard Manley Hopkins." Victorian Poetry 57, no. 3 (2019): 407–19. http://dx.doi.org/10.1353/vp.2019.0022.

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Grafe, Adrian. "Gerard Manley Hopkins." Victorian Poetry 58, no. 3 (2020): 350–61. http://dx.doi.org/10.1353/vp.2020.0022.

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Sawyer, Joy. "For Gerard Manley Hopkins." Christianity & Literature 43, no. 1 (December 1993): 36. http://dx.doi.org/10.1177/014833319304300104.

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Thornton, R. K. R., and Catherine Phillips. "Gerard Manley Hopkins: Selected Letters." Modern Language Review 87, no. 2 (April 1992): 447. http://dx.doi.org/10.2307/3730699.

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Dissertations / Theses on the topic "Hopkins, Gerard Manley, Versification"

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Keller, Sarah. "Inscape, the inshape of the trinity : a genetic analysis of Gerard Manley Hopkins' "God's Grandeur" and "The Windhover"." Master's thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/27275.

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Les théories poétiques de l’inscape et du sprung rhythm établies par le poète britannique Gerard Manley Hopkins (1844-1889) ont dérouté les critiques des années durant. La plupart d’entre eux se sont appuyés sur les poèmes publiés en quête d’indices quant à la signification de ses théories. Cette thèse approfondit l’analyse mise de l’avant en révélant que la genèse de la théorie de l’inscape provient des notes de Hopkins — alors étudiant de premier cycle — sur le philosophe présocratique Parménide, et est influencée par les commentaires sur l’oeuvre De la nature du philosophe. Un examen des lettres de Hopkins à ses collègues poètes Robert Bridges et Richard Watson Dixon révèle que le sprung rhythm découle de l’inscape, sa théorie de base. La technique du sprung rhythm consiste donc en l’application de l’inscape au schéma métrique de la poésie. Cette étude établit d’abord une définition opérationnelle de chacune de ces théories pour ensuite les appliquer aux manuscrits afin de déterminer dans quelle mesure Hopkins y adhérait et les exploitait lors de la rédaction de deux de ses poèmes canoniques, God’s Grandeur et The Windhover. L’étude s’inscrit ainsi dans le champ de la critique génétique, une approche mise au point en France, particulièrement à l’Institut des textes et manuscrits modernes (ITEM). Ce sont donc sur des oeuvres littéraires françaises ou sur des textes en prose qu’ont porté la majorité des analyses à ce sujet. Suppressions, ajouts, substitutions et constantes entre différentes versions témoignent de ce qu'étaient les priorités de Hopkins dans sa quête pour atteindre l’effet désiré. Par conséquent, cette thèse s’efforce de dévoiler la signification des théories poétiques de Hopkins en établissant leur genèse et leur application respectives dans deux de ses poèmes selon une perspective de critique génétique. Elle contribue également à enrichir la critique génétique en l’appliquant à des oeuvres littéraires écrites en anglais et sous forme de poésie plutôt que de prose. Enfin, son objectif ultime est de raviver l’intérêt pour le poète Hopkins en tant que sujet viable d’étude, et de favoriser l’appréciation de ses prouesses tant comme théoricien poétique que comme poète.
The poetic theories of inscape and sprung rhythm developed by British poet Gerard Manley Hopkins (1844-89) have baffled critics for years. Most critics have relied upon the published poems for clues to their significance. This study advances the analysis further by revealing the genesis of the theory of inscape to be Hopkins’ undergraduate notes on the pre-Socratic philosopher Parmenides and is influenced by commentaries on Parmenides’ work “On Nature.” A study of Hopkins’ letters to fellow poets Robert Bridges and Richard Watson Dixon reveals that sprung rhythm emanates from his overarching theory of inscape; sprung rhythm is, thus, the application of inscape to the metrical patterns of poetry. After determining a working definition of both poetic theories, this study applies these terms to the manuscripts to determine to what extent Hopkins’ adhered to and developed the theories when writing two of his canonical poems: “God’s Grandeur” and “The Windhover.” It thus fits in the field of genetic criticism, a critical approach developed in France and centered at the Institut des Textes et Manuscrits Modernes (ITEM). Most analyses conducted have thus been done on French works and to prose. Deletions, additions, and substitutions, as well as the consistencies from one version to another, reveal Hopkins’ priorities as he strove to attain the desired effect. Therefore, this study endeavours to unveil the meaning of Hopkins’ poetic theories by determining their geneses and their application to two of his best known poems, “God’s Grandeur” and “The Windhover, ” through the practice of genetic analysis. It contributes to genetic criticism in applying it to works written in the English language and to poetry rather than prose. The hope is to renew interest in Hopkins as a viable poet to study and to incite further appreciation in his prowess as both poetic theorist and poet.
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Parham, John. "Gerard Manley Hopkins and ecocriticism." Thesis, University of East London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298082.

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Dargan, James Thomas. "Gerard Manley Hopkins: poetry and music." Thesis, Boston University, 2006. https://hdl.handle.net/2144/27629.

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Boston University. University Professors Program Senior theses.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
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Horne, Andrew. "Gerard Manley Hopkins, the poet at Penuel." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0032/MQ38381.pdf.

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Stroker, Anthony Noel. "The Victorian aesthetic of Gerard Manley Hopkins." Thesis, University of Liverpool, 1994. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262331.

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Gutman, Laura A. "Gerard Manley Hopkins and the music of poetry." Thesis, University of St Andrews, 1988. http://hdl.handle.net/10023/2625.

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This study attempts to correlate two facts about Gerard Manley Hopkins: that he was an avid musician, who theorised about and composed music; and that his poetry is characterised by its highly complex, evocative sounds and by its relation of form to meaning, sound to sense. This study is an attempt to prove that Hopkins is a "musical" poet in a specific and literal sense--that his musical knowledge and interests influenced his poetry in specific and discernible ways, making his work "musical" in a sense that other poetry of his age is not (or to an extent that other poetry is not), and resulting in much of what we consider to be characteristic in his verse. The study is divided into two parts, the first (I-III) analysing the role music plays in his theoretical writings, the second (IV-VI) tracing these musical influences through to the musical and poetic art itself. In Part One, Chapter I presents Hopkins the musician, the biographical details and philosophical background behind his musical interest; Chapter II relates this to Hopkins as priest and theologian, demonstrating music's role as central to his Scotus-based position; Chapter III then shows this musical philosophy in more detail in his theories of language and art, resulting in an ideal art of song epitomised by the art of Hopkins' favourite composer, Henry Purcell. Part Two then looks at Hopkins' art itself, shown as following this Purcellian musical ideal: Chapter IV differentiates the requirements of songs from those of poetry, and demonstrates the particular aims and techniques of Hopkins' own songs; Chapter V reveals principles of musical or song-structure behind Hopkins' concepts of sprung rhythm and other characteristic poetic devices; finally, Chapter VI analyses the poems to discover their radically musical nature. The study concludes with a brief question on the nature of "the music of poetry" generally.
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Lecomte, Jean-Marie Chardin Jean-Jacques Riley Philip. "Les composés poétiques dans l'écriture de Gérard Manley Hopkins (Poèmes 1876-1889)." Nancy : Université Nancy 2, 2001. http://cyberdoc.univ-nancy2.fr/htdocs/docs_ouvert/doc229/2001NAN21014_1.pdf.

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Bruederlin, Gerhard. "It strikes like lightnings to hear him sing" : the pattern of contrast and union in Gerard Manley Hopkins' work and its relation to poetic creativity and religious mimesis /." Zurich : G. Bruederlin, 1987. http://catalogue.bnf.fr/ark:/12148/cb349359719.

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Westover, Daniel, and William Wright. "The World Is Charged: Poetic Engagements with Gerard Manley Hopkins." Digital Commons @ East Tennessee State University, 2016. https://www.amzn.com/1942954204.

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The discovery of Gerard Manley Hopkins's poetry in the twentieth century was a revelation for postwar poets, who discovered in both Hopkins's style and subject matter a voice seemingly bottled for their own time. This influence has not faded in the twenty-first century; in fact, it has grown all the more pervasive as poets from many backgrounds and nations have found, in the voice of this nineteenth-century Jesuit, a revolutionary way of addressing contemporary concerns relating to human imagination, ecology, "green" ethics, the role of art, and individual spirituality. The poets collected in The World Is Charged: Poetic Engagements with Gerard Manley Hopkins engage with Hopkins in diverse ways. Some mention Hopkins or address some aspect of his life. Others channel his innovative poetics or address important Hopkinsian themes. All demonstrate the centrality of his influence in contemporary poetry. Unfortunately, critics have mostly neglected the importance of Hopkins as a contemporary model, instead pinning his influence to the early twentieth century. In a climate where high modernism, Whitmanic free verse, and the confessional lyric are often held up as contemporary poetry's dominant forerunners, this book proposes a more complex genealogy, tracing back to Hopkins and his influential early admirers current strands of emotional and spiritual openness, pleasure in word play and sonic textures, and veneration of the dynamic material world.
https://dc.etsu.edu/etsu_books/1156/thumbnail.jpg
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Knowles, Robert. "The sacramental vision of Gerard Manley Hopkins and David Jones." Thesis, Queen Mary, University of London, 1990. http://qmro.qmul.ac.uk/xmlui/handle/123456789/28953.

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This thesis examines the nature of what I have termed "the sacramental vision" of Gerard Manley Hopkins and David Jones: it is an exploration of the mutually sustaining relationship between poetry and religion; or, as Jones puts it, between art and sacrament. The key to the relationship is to be found in language: the inherited language of theologian and poet is saturated with metaphor, sign and symbol, linguistic forms of a particularly resistant and irreducible kind. In literature, as in religion, such forms represent ultimate points of vision, to which in trust we assent, and from which we infer belief, that is, we are required to convert what begins as "an impression upon the Imagination" into a belief which may be tested by reason. The poet's renewal of such sacramental signs is a necessary exercise of the religious imagination if each generation is to remake the beliefs it has inherited. The opening chapter is an examination of the origins of Hopkins's and Jones's use of the sacramental sign and the subsequent chapters scrutinise the value of sign-making to the development of the poetic method of both poets. I suggest that this method is best elucidated through three controlling principles: the Coleridgean view of the sacramental potential of language helps to define the verbal content of the poem; the Thornist sacramental schema instresses the form of the poem; and the Newmanesque process of notional and real assent determines the grammar or inscape of the total oeuvre as a chronicle of the development of the poet's spiritual growth. Hopkins and Jones deepen our understanding of a grammar common to faith and belief, shared by poet and theologian, by claiming that poetry should be the tranforming crucible of the encounter between the experience of the poet, the reader and the divine.
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Books on the topic "Hopkins, Gerard Manley, Versification"

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Sheehan, Sean. Gerard Manley Hopkins. London: Greenwich Exchange, 2005.

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Gerard Manley Hopkins. Tavistock, Devon, U.K: Northcote House in association with the British Council, 2004.

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Hopkins, Gerard Manley. Gerard Manley Hopkins. Oxford [Oxfordshire]: Oxford University Press, 1986.

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Roberts, Gerald. Gerard Manley Hopkins. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23350-2.

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Mariani, Paul L. Gerard Manley Hopkins. New York: Penguin Group USA, Inc., 2008.

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Watson, J. R. Gerard Manley Hopkins, the poetry of Gerard Manley Hopkins. London: Penguin, 1989.

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Casey, William Van Etten. Gerard Manley Hopkins, SJ. [Chicago, Ill: American Jesuits, 1989.

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Hopkins, Gerard Manley. Poems of Gerard Manley Hopkins. Nevada City, Calif: H. Berliner, 1986.

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Lord, Christina Mary. Gerard Manley Hopkins and Wales. Birmingham: University of Birmingham, 1987.

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Gerard Manley Hopkins: A life. New York: Viking, 2008.

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Book chapters on the topic "Hopkins, Gerard Manley, Versification"

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Martin, Brian. "Gerard Manley Hopkins." In The Nineteenth Century (1798–1900), 596–612. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20159-4_59.

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Watt, R. J. C. "Gerard Manley Hopkins." In Selected Poems of Gerard Manley Hopkins, 1–8. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-18830-7_1.

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Füger, Wilhelm. "Hopkins, Gerard Manley." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8769-1.

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Roberts, Gerald. "The Road to Parnassus." In Gerard Manley Hopkins, 1–7. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23350-2_1.

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Roberts, Gerald. "Oxford." In Gerard Manley Hopkins, 79–86. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23350-2_10.

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Roberts, Gerald. "At Bedford Leigh." In Gerard Manley Hopkins, 87–92. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23350-2_11.

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Roberts, Gerald. "Liverpool." In Gerard Manley Hopkins, 93–105. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23350-2_12.

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Roberts, Gerald. "Glasgow." In Gerard Manley Hopkins, 106–8. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23350-2_13.

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Roberts, Gerald. "Training Completed." In Gerard Manley Hopkins, 109–14. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23350-2_14.

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Roberts, Gerald. "At Stonyhurst." In Gerard Manley Hopkins, 115–23. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23350-2_15.

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