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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.
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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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Camargo, Luis Gonçalves Bueno de. "Tradução comentada da poesia e da prosa de Gerard Manley Hopkins." [s.n.], 1993. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269134.
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Orientador: Eric Mitchell SabinsonDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-07-19T04:10:04Z (GMT). No. of bitstreams: 1 Camargo_LuisGoncalvesBuenode_M.pdf: 6765925 bytes, checksum: f45f7523aa56762aba15b06dd8913295 (MD5) Previous issue date: 1993
Resumo: Uma leitura crítica está na base deste trabalho de tradução comentada da poesia e da prosa de Gerard Manley Hopkins (1844 1889). A análise da obra do inglês parte da identificação do grau de convencionalismo a que chegara a poesia vitoriana. Embora afastado do convivi o intelectual mais efetivo, por ser padre católico, Hopkins é o poeta que mais questiona o padrão geral da literatura do periodo. Do ponto de vista estético, ele privilegia a variação sobre a regularidade. Essa visão estética se embasa numa intrincada visão religiosa, cujas fontes aqui identificadas são o cardeal Newman, o escolástico Duns Scot e Santo Inácio de Loiola. Para Hopkins, a presença de Deus neste mundo se revela bem concretamente nos seres naturais e em suas atitudes, através .da individualidade. Com isso ele chega a uma "mistica" da concre¬ tude. Esta radução propôs como objetivo básico preservar essa visão religiosa através do esforço de recuperar toda a complexa rede de recursos formais que o poeta criou, como marca de sua própria individualidade
Abstract: Not informed.
Mestrado
Teoria Literaria
Mestre em Letras
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Foti, Belligambi Valentino. "Bellezze cangianti : Beppe Fenoglio traduttore di G. M. Hopkins /." Milano : Ed. Unicopli, 2008. http://catalogue.bnf.fr/ark:/12148/cb41319942x.
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Lecomte, Jean-Marie. "Les composés poétiques dans l'écriture de Gerard Manley Hopkins (Poèmes 1876-1889)." Nancy 2, 2001. http://docnum.univ-lorraine.fr/public/NANCY2/doc229/2001NAN21014_1.pdf.
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Les composés poétiques et les structures synthétiques à traits d'union de Gerard Manley Hopkins ont largement contribué à la spécificité de son style original. Ils sont ici répertoriés dans un corpus exhaustif, classés par catégories et types et commentés sous divers aspects (lexicogénétiques, syntaxiques et thématiques) pour en faire ressortir leurs fonctions stylistique et littéraire. Ils n'illustrent pas un nœud thématique en particulier, mais sont à l'origine d'une multiplicité d'effets qui tendent à resserrer le langage poétique dans un filet formel, et d'enjeux sémantiques qui dévoilent une imagination littéraire uniqueGerard Manley Hopkins's poetic compounds and hyphenations stand out as significant features of his original style. In this dissertation, they are collected in a comprehensive corpus, sorted by categories and types and commented upon from different angles (lexicogenetic, syntactic and notional) in an attempt to bring out their stylistic and literary function. They do not illustrate a single theme but they represent word cruces that, on the one hand, raise poetic language to the level of verbal artefact and, on the other, unveil a unique literary imagination
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Peng, Su Soon. "Lexical ambiguity in poetry : with illustrations from the poetry of Gerard Manley Hopkins." Thesis, Lancaster University, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315471.
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Hurley, Michael Dominic. "'Dancing in chains' : patterns of sound in the poetry of Gerard Manley Hopkins." Thesis, University of Cambridge, 2004. https://www.repository.cam.ac.uk/handle/1810/284034.
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In his 1973 essay ‘Reflections on Meaning and Structure’, B.F. Skinner asks ‘what is gained from dancing in chains’: he wonders why poets ‘submit to the restrictions imposed by a prior specification of form or structure’. Through an examination of the poetry and poetics of Gerard Manley Hopkins, this thesis offers an answer to Skinner’s inquiry. Hopkins is an especially appropriate subject for such a study because the ‘restrictions’ that he submits to, both metrical (sprung rhythm) and non-metrical (his dense phonetic parallelisms), are particularly severe. The complicated and uncertain basis for Hopkins’s prosody provokes questions about the nature of metricality, and so the first chapter concerns itself with a general appraisal of prosodic theory. The principles argued for here provide the conceptual foundation for the subsequent analysis of sprung rhythm. Chapter 2 explores Hopkins’s wider aesthetic, focusing on his conviction that artistic success requires not only symmetry, but also variety; and that, crucially, this variety must be met by, and subordinated to, a corresponding strictness. His non-metrical effects are also considered through an extended comparisons with nonsense poetry, which yields the radical suggestion that in Hopkins’s poetry (in an inversion of the traditional rubric) sense may seem an echo to the sound. Chapter 3 examines Hopkins’s account of his prosody and finds that he has been widely misunderstood, from Bridges to the present day, notably regarding his recommendations for scansion. Learning from this, the final chapter investigates the metrical character of sprung rhythm in order to assess if it really is, as Hopkins insisted, ‘stricter, not looser than the common prosody’. Quantitative and stress-based restrictions are considered, rendering two, complementary explanations: that sprung rhythm is isochronous; and that this ‘strictness’ is further refined by rules pertaining to the ‘length or strength’ of syllables within the so-called ‘weak’ and ‘strong positions’ of his lines. In vindicating Hopkins’s claim to metrical ‘strictness’, these interpretations challenge the predominant critical opinion that sprung rhythm is merely an unbuttoned, and idiosyncratic, expression of simple accentual metre.
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Simkin, Stephen John. "Gerard Manley Hopkins : critical perceptions of his relation to poetic tradition to 1970." Thesis, University of St Andrews, 1992. http://hdl.handle.net/10023/15092.
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The aim of this thesis has been to make an accurate assessment of the developments in Hopkins criticism up until 1970, with overriding emphasis on perceptions of his relation to poetic tradition. The chosen methodology involves a chapter by chapter discussion of Hopkins' perceived relation to individual poets or groups of poets. Generally, each chapter opens with an examination of Hopkins' published correspondence, scrutinizing his own criticism of the poet or poets in question, and proceeds in a chronological survey of the ways in which critics and reviewers have related him to the predecessor in question. Material covered in the thesis includes major published works on Hopkins; articles and reviews in scholarly periodicals, as well as more popular journals and some newspapers; and other critical works where Hopkins receives some degree of attention. The 'cutoff' point of this study is 1970, although a final chapter has been appended with a less detailed survey of the developments from 1970 to the present day. On certain occasions, I have ventured to investigate more fully some areas of Hopkins' literary genetics that seem not to have received the attention they deserve. In general, however, the focus of the thesis is upon the perceptions of the critics, and attempts are made to assess the ways in which Hopkins' fluctuating critical standing has altered these perceptions and vice versa. One of the most frequently recurring demands has been the need to try and determine why Hopkins has been related to different poets and different poetic traditions at different times. To provide a more 'three-dimensional' perspective, two chapters are devoted to exploring the ways in which Hopkins has been perceived as an influence on twentieth century poetry, in general terms, and in specific cases. In conclusion, a 'map' of the territory of Hopkins' criticism charting the perceived relations between his oeuvre and poetic tradition is proposed. And, with a necessary emphasis on the provisional (particularly with the post-1970 study taken into account), some suggestions are made for new directions in this area of study.
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Dunleavy, Hannah Victoria. "The naked eye : vision and risk in the work of Gerard Manley Hopkins." Thesis, University of York, 2010. http://etheses.whiterose.ac.uk/870/.
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This thesis takes as its subject vision and risk in the work of Gerard Manley Hopkins, 1844-1889. Because Hopkins's poetry displays so evident a fascination with the particulars of language, it is unsurprising that the critical tradition on his work has thus far been heavily dominated by matters of sound: by the verbal, the rhythmic, the musical, and the aural. However, in this thesis I move from the sounded to the seen, identifying in Hopkins's work a central preoccupation with the visual, with looking and seeing, and the possibilities and dangers inherent in each. Here was a man driven to look for beauty, yet this compulsion to look was matched only by a desperate desire to look away. I shall argue that it is this dichotomy, and the excitement of the many and various possibilities it engenders, that so characterises Hopkins's engagement with the visual world. Born into a rapidly-changing late Victorian world, Hopkins was fascinated by sight and by the increasingly problematic act of seeing. He frequently characterises himself in explicitly visual terms, and his poetry is littered with numerous references to eyes, eyeballs, eyelashes, eyelids, and eyesight, in addition to many metaphors of sight in its various forms. He demonstrates a recurring notably obsessive anxiety over the health of his eyes and the acuity of his sight, yet repeated medical reassurance does nothing to quell his fears over his perceived loss of vision. Counter to, but inextricably linked with, this fear for the loss of sight is an intense awareness of the danger of sight. This paradox is central to Hopkins's conception of himself and of his roles as both poet and priest. Chapter One considers Hopkins's engagement with the intensely visual Victorian cultural environment. Hopkins was a keen draughtsman and painter in his youth and for a while considered becoming a professional poet-painter like Dante Gabriel Rossetti, with whose family he was well acquainted. Although he decided to relinquish his artistic ambitions in favour of the priesthood, he remained a keen critic of art and architecture throughout his life. His diaries and journals, littered with sketches and accounts of visits to galleries and exhibitions, are fascinating for what they reveal of this intensely eye/I-driven individual, and the acute anxieties he experienced when confronted by beauty, in whatever form. Chapter Two continues this concern with beauty and its inherent dangers, but now moves to consider Hopkins's often anxious visual encounters with other people. As a vigilant social observer, his writing ranges from delightedly detailed depictions of other individuals, particularly young men, to deeply uneasy descriptions of massed crowds and formless groups of people. This chapter shows a particular concern, as Hopkins did, with the purpose of mortal beauty, and the dangers and challenges it could pose. Chapter Three develops the concerns of the previous chapter, by pursuing the additional dimension of people looking. In this chapter I consider a group of Hopkins's strangest and yet most celebratory poems, united by a concern with people looking at others who are themselves looking. With the uneasy concept of the voyeur never far away, this chapter raises questions about the moral, psychological and social dimensions of seeing within Hopkins's work, and thus I assess the meaning of licit and illicit sight, whether on the part of the benevolent or neutral observer, the systematic enquirer, the voyeur or the enlightened seer. This chapter argues that the dynamic nature of this relationship between perceiver and object, the seer and the seen, is central to his endlessly complex dialectic of vision and visuality. It closes by moving to consider the ultimate unseen seer, God. In the figure of Christ we find the ultimate exemplar of mortal beauty, and the chapter returns to the concerns explored in Chapter Two, now from a Christological perspective. In Chapter Four, the concluding chapter, the concerns elicited in the previous chapters are pulled together in a discussion of Hopkins's longest and greatest symphonic poem, The Wreck of the Deutschland (1875-1876). This poem has at its heart an intense concern with seeing and the seeing of seeing, with the act of witness, and the role of the martyr, while foregrounding the reciprocal qualities of beauty and danger. The thesis concludes with a close reading of this electrifying poem about vision and sight in the many senses explored in the course of the study as a whole.
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Jennings, Maude M. J. "Studies in the poetry : the prosody and the poetic theory of Gerard Manley Hopkins." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/473721.
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This dissertation studies the prosody, poetic theory, theme, and affective nature found in the poetry of Gerard Manley Hopkins. The prosody, striking in his time, is still controversial; the theory employs the rhetorical principle of parallelism extensively, and the theme (which is the reason for the affective nature of his work) deals always with Christ: Christ in nature and Christ in man.The study lays emphasis on Hopkins' religious vision. These insights pervade all his work and are prime factors in his poetry. The vision gained from his religion appears throughout all his work.Although recent critics have suggested that the material of his great ode, "The Wreck of the Deutschland" was "recalcitrant" and that his symmetry was "laboured," explication of the poem reveals his early intense voice, sprung rhythm, and his use of the techniques of cynghanedd and dysfalu. His prosody reveals his sense of parallel structure (noted in his art work and in his journals as symmetry) which increased with "number and distinctiveness" with the rise of passion.His "dark night," noted in the sonnets written during 1884-85, have caused some readers to suspect a crisis of faith occurring. Hopkins experienced trauma, but the prolonged depression suggested by the present numbering of the sonnets is inconsistent with his unquestioned faith. The night becomes less dark if chronology is followed.Hopkins' deepest message was delivered in his poetry and throughout his life. As a Catholic priest, teacher, and poet, he sought Christ. Common knowledge informs us that emotional and physical hardships follow such seekers. Teilhard de Chardin's philosophy as ennobling is certainly applicable to any study of Hopkins' life and works. This philosophy provides supplementary confirmation of the poet. Hopkins' achievements surpass the prescriptive condemners of his art.
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Kossick, Kaye. "The poetics of difference : woman, death, and gender in the work of Gerard Manley Hopkins." Thesis, University of Newcastle Upon Tyne, 1995. http://hdl.handle.net/10443/862.
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This thesis considers the representation of women and the gender principles in the work of Gerard Manley Hopkins and situates his perceptions of "masculinity" and "femininity" within a cultural, historical and literary context. A selection of his less canonical poems and prose is discussed and re-evaluated in the light of feminist and psychoanalytieal theory. In particular, the binarisms that fracture the representation of woman in Victorian art and literature and the issue of woman's alterity and subsequent association with death are identified and analysed. The thesis is organized into a tripartite introductory section, ten chapters and a conclusion. The first section of the introduction offers a broadly-based sociohistorical and theoretical examination of the gender principles and their origin. Part 11 of the introduction focuýSp s on Hopkins and his society, examining Victorian cultural views of gender diff6rence and the construction of masculinity. The third introductory section gives specific attention to Hopkins's theory of creativity and its relation to the gcndering of genius and aesthetic production. Chapters 1,2, and 3, offer detailed critical consideration of the deep psychosexual ambivalence towards woman, and the carnal materiality she embodies, in Hopkins's early poems: "ll Mystico", "A Voice from the World", "Hcaven-Havcn", "I must hunt down the prize", and "A Vision of the Mermaids". Chapter 4 gives a contextualized consideration of asceticism as an expression of the masculine will-to-power, and examines Hopkins's attraction to violence and the suffering of martyrs. The following three chapters explore the themes of death, violence and martyrdom, with particular emphasis on the issues of female sexual purity and masculine aesthetic vifility in Hopkins's verse drama on the murder of St. Winefred, St. Winefred's Well, and its accompanying chorus: "The Leaden Echo and the Golden Echo". The final three chapters of the thesis elucidate Hopkins's aesthetic and personal response to the Virgin Mary and the "feminine" pyschological characteristics and virtues she represents. Chapter 8 assesses the status of the Roman Catholic Church and the Virgin Mary in nineteenth century England, and also suggests that the image of the Madonna and the fictive "angel in the house" arc symbolically conjoined in opposition to the Tennysonian view of "Mother Nature" as a monstrous destroyer. This is followed, in Chapter 9, by a consideration of the view of Mary presented in Hopkins's prose. Chapter 10, the final chapter, presents a detailed analysis of Hopkins's Marian poem, "The Blessed Virgin Compared to the Air we Breathe", in which the ambivalence and anxiety that surround his concepts of selfhood, masculinity and the body of the mother arc examined. In conclusion, I argue that Hopkins's aesthetic and spiritual vocations are intimately linked with his notion of actual selfhood and are subject to the profoundly damaging influence of conflicting role expectations and mythic paradigms of masculinity and femininity which cannot be reconciled, either within the individual psyche, or in the society in which they are nurtured.
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Scott, Suzanne Muir. "The prophetic muse : the didactic imperative of Gerard Manley Hopkins, R.S. Thomas and William Blake." Thesis, University of Glasgow, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439188.
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Draper, Michèle. "Restitution de la poésie ˸ la portée des écrits théoriques dans l'œuvre de Gerard Manley Hopkins." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA137.
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L’introduction rappelle l’importance et l’intérêt des proses des Journals, des Oxford Essays and Notes, et des écrits dévotionnels, qui doivent être lus en continuité avec la poésie. Le chapitre I se consacre à la restitution des phénomènes naturels et perceptifs chez Hopkins, à la description et à l’analyse des termes d’inscape et d’instress dans les Journals, à la pratique de la prose descriptive chez Hopkins. Le chapitre II examine l’héraclitéisme de Hopkins dans le poème That Nature is a Heraclitean Fire and of the Comfort of the Resurrection. La résurrection est l’autre nom de la restitution (ou apocatastasis) qui donne la première explication de notre titre. Nous y observons le traitement de la description dynamique de la nature, en liaison avec les Journals, et l’ensemble des essais théoriques des années 1863-68, puis leur résonance sur la vingtaine d’années d’activité du poète. Le chapitre III se consacre à l’examen de l’essai « Parmenides » de 1868 qui permet de comprendre l’origine des termes essentiels d’instress et d’inscape dans la traduction commentée du Poème de Parménide, et l’emploi ultérieur de ces termes dans les définitions de la poésie. Le chapitre IV examine la définition de la poésie selon Hopkins, la constitution dialectique de la poésie, en fonction d’un triple trajet, confrontant les Essais d’Oxford, les poèmes et la tradition philosophique. On y relie de manière croisée l’interprétation de la dialectique de Platon, le réalisme d’Aristote à la question de l’imagination, de la fantaisie et de la voix. Ces éléments permettent l'analyse des liens entre langage poétique, vérité et réalité. Le chapitre V se consacre à l’analyse de la place de l’homme singulier dans cette pensée, aux définitions de la poésie, en confrontant les premiers essais d’esthétique aux usages plus tardifs des théologies hypostatiques et eucharistiques ainsi qu’à l’écriture des poèmes. La lecture de Duns Scot conduit à examiner les notions de pitch et de sake, considérées comme autant d’étapes pour parvenir à une définition poétique de l’homme. Le chapitre VI se consacre au développement de la notion d’imagination rythmique et à l’analyse du rythme bondissant, la clef de voûte de la pensée et de la pratique de Hopkins, par un examen des poèmes, des liens avec les poétiques de Wordsworth et de Coleridge, la métaphysique, la pensée du théâtre, la tradition pindarique. La conclusion tente de montrer qu’avec Hölderlin, et Coleridge, Hopkins est une des figures majeures de la pensée de la poésie, ce qui explique l’influence de ses écrits sur la poésie et la poétique du XXe siècleHopkins’ Oxford Essays and Notes as well as his prose writings are of particular relevance for the understanding of his work at large. Chapter I analyzes Hopkins’ Journals and the restitution of natural phenomena and sensations, as well as the use of inscape and instress in descriptive contexts. Chapter II analyzes Hopkins’ Heracliteanism in the poem That Nature is a Heraclitean Fire and of the Comfort of the Resurrection. Resurrection is a synonym for restitution (or apocatastasis in Greek, explaining our choice of the title). We concentrate on the dynamic description of nature in the Journals and the resonance of the Oxford Essays over the twenty years of Hopkins’ activity as a writer and poet. The third chapter is devoted to the 1868 essay « Parmenides », in which we trace the origins of the key-terms of inscape and instress as translations from the Greek of Parmenides’ Poem. Chaper IV examines the import of these notions in Hopkins’ definitions of poetry, the constitutive dialectics of poetry by analyzing the following topics in the Oxford Essays : poetry, its relation to philosophy, to Plato’s dialectics, to Aristotle’s realism and ethics, the definition of voice, imagination and fancy, as well as the analysis of the links between poetical language, truth and reality. Chapter V concentrates on the analysis of man’s singularity by confronting Hopkins’ early aesthetical theories and his more mature uses of hypostatical and eucharistic theologies, in the light of Duns Scotus’s influence. The relation of poetry, theology and anthropology leads us to examine the key notions of pitch and sake in Hopkins’ poetic definition of man. Chapter VI is devoted to the analysis of Hopkins’ rhythmical imagination and sprung rhythm, the keystone of his thought and practice, in relation to his interpretation of Wordsworthian and Coleridgean aesthetics, metaphysics, dramatic theory, poetics and the Pindaric tradition. To conclude, we focus on the importance of Hopkins, as one of the greatest representatives of poetic thought in the XIXth Century along with Coleridge and Hölderlin, hence his influence in XXth century poetry and poetics
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Grafe, Adrian. "Creation et decreation dans la poesie de gerard manley hopkins : l'oeuvre de hopkins lue a la lumiere de la pensee de simone weil." Paris 7, 1997. http://www.theses.fr/1997PA070095.
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Cette these propose une lecture interpretative de la poesie de gerard manley hopkins (1844-1889) a travers la pensee, prise essentiellement en son aspect religieux, de simone weil (1909-1943). On fournit des definitions des deux termes-clef du titre de la these, ainsi que l'historique de ces termes. La pensee weilienne est particulierement apte a servir comme outil interpretatif de la poesie de hopkins. Elle est metaphorique. Elle est aussi variee, mais au coeur de cette pensee reside son intuition spirituelle principale : la decreation. On explore les interfaces entre la pensee weilienne et celle de hopkins telle qu'il l'exprime dans ses homelies et ses notes spirituelles. Nous etudions la poesie de hopkins en fonction des elements de la pensee weillienne presentes. Nous examinons en profondeur the wreck of the deutschland, qui fonde l'oeuvre poetique de la maturite. Une reflexion est offerte sur le choix de la forme poetique : l'ode pindarique. Nous abordons la question de la beaute, fondamentale pour les deux ecrivains, ainsi que celles de la rupture et de la balance, et les multiples experiences de dieu rencontrees dans l'ode. Par la suite, on s'interroge sur la divinite, sur la facon dont dieu decree le poete et est decree par lui ; puis sur le moi qui est en relation, en negociation avec dieu nous lisons les poemes de la jeunesse pour tacher d'y discerner la presence de la creation et de la decreation. Dans les journals de hopkins s'exerce a l'attention, dont les poemes sont des manifestations superbes. La perspective weilienne permet de mettre en relief toute une gamme de themes qui demandent a etre approfondis, par exemple : la distance et le deracinement, la beaute en son caractere mortel, la veille et l'attente, et le role de l'inspiration dans l'esthetique de hopkins. La decreation weilienne unifie ces fils divers de la lecture : la poesie de hopkins est le lieu ou se rencontrent "la pesanteur et la grace"This thesis offers an interpretative reading of the poetry of gerard manley hopkins (1844-1889) through the (chiefly) religious aspect of the thought of simone weil (1909-1943). We define the thesis title's two keywords, and give an account of their history. Simone weil's thought lends itself to the task of interpreting hopkins's poetry in a notably apt way she expresses her thought in metaphorical language, and at the heart of its multiple ramification lies her most unique spiritual insight : the concept of decreation. We explore the parallels which may be drawn between her thought and hopkins's, as found in the sermons and spiritual writings. It is on those grounds that hopkins's poetry is studied. An in-depth analysis of the wreck of the deutschland, which sets the tone for all the potry to come, shows how such key weilian notions as beauty, rupture, and the image of the scales may be used to interpret hopkins. An attempt is made to relate the formal choice of the pindaric ode to the poem's subject-matter. Simone weil's theology is brought to bear on the different experiences of god in the ode. In what follows, we set out to show possible ways in which god may be considered as decreating the poet and decreated by him. How is the self set forth, its presence and/or absence in the poems, and its negotiation with the divinity? we go back to the early poems to see how far creation and decreation may be found therein, and read the journals as a training-ground for attention, of which the later poems provide superb instances. A whole range of themes is highlighted by simone weil's thought and, we believe, requires articulation: among them, distance and uprooting; the mortal danger of beauty; watchfulness, waiting and expectation; and the role of inspiration in hopkins's aesthetics. Simone weil's concept of decreation ties together these different strands: hopkins's poetry may be seen as a meeting-point of "gravity and grace"
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McKenzie, Timothy A. "Torn in two : vocation and wholeness in the poetry of George Herbert, Gerard Manley Hopkins and R.S. Thomas." Thesis, University of Glasgow, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298933.
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Gregson, John Robert. "In omnia paratus : a study of the influence of the classics on two Balliol poets of the nineteenth century." n.p, 2000. http://library7.open.ac.uk/abstracts/page.php?thesisid=14.
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Thomas, Abbie. "Light & dark and colour in the poetry of Gerard Manley Hopkins : with intertextual reference to Vincent Van Gogh /." Title page, contents and introduction only, 1998. http://web4.library.adelaide.edu.au/theses/09AR/09art454.pdf.
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Le, Dressay Anne M. "Word and world the validity and limitations of a Heideggerian perspective on the poetry and poetics of Gerard Manley Hopkins." Thesis, University of Ottawa (Canada), 1988. http://hdl.handle.net/10393/5168.
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Petrescu, Raluca Ioana. "« L’Attention aux choses » : la Révélation de l'objet chez Gerard Manley Hopkins, Fernando Pessoa, William Carlos Williams, Francis Ponge et Lucian Blaga." Electronic Thesis or Diss., Strasbourg, 2020. http://www.theses.fr/2020STRAC025.
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La poésie occidentale de la première moitié du XXe siècle se caractérise globalement par sa rupture avec la subjectivité romantique, mettant en œuvre une dé-subjectivation de l'énoncé et faisant émerger l'idée que le poème se construit comme un objet textuel. Ce travail s’inscrit dans le cadre de ces évolutions, mais leur ajoute une dimension particulière : les oeuvres du corpus présentent, chacune à sa manière, une attitude d'« attention aux choses », selon la formulation d'Alberto Caeiro, « maître » entre les hétéronymes de Fernando Pessoa ; elles développent comme thématique une fascination pour les fragments du réel, qui ont une existence en soi, extérieure au point focal de la voix du poème : un imaginaire de l'objet. Cette permutation mène à des constructions complexes de l'imaginaire poétique, qui s'ingénie à exprimer dans le langage l'expérience de la chose et ses caractéristiques, parmi lesquelles la particularité. Des bulles de savon au chien de Pompéi, de l’alouette lulu au centre du désert, ce travail se propose de cerner la révélation de l’objetWestern poetry in the first half of the XXth century can generally be said to go against romantic subjectvity, bringing about a de-subjectification of the utterance and the idea that the poem is a textual object. The present work concerns itself with one particular branch of this phenomenon : the authors it focuses on all have in common a certain posture, that Alberto Caeiro, « master » of Fernando Pessoa, calls “attention to things”. Namely, they develop a thematic fascination with the fragment of reality, the independently existent parcel of being, exterior to the voice inhabiting the poem : object-oriented imagery. This permutation is at the source of complex poetical constructions, as language struggles to express the experience that links us to the particular thing. From soap bubbles to a dog in Pompeii, from the woodlark to the middle of the desert, we aim to better grasp the revelation of the object
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Tice, Kenneth G. "An Analytical, Rehearsal, and Performance Guide to Ad majorem Dei gloriam by Benjamin Britten." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377874852.
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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.
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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)
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Centeno, Vincent. "Text Painting through Neo-Riemannian Transformation and Rhythmic Manipulation in the Vocal Music of Benjamin Britten." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19305.
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The music of Benjamin Britten is both inspiring and intriguing: inspiring, because his music can move the listener; intriguing, because his use of triadic harmonies and rhythmic settings seems at once free, flexible, and spontaneous yet sensible and appropriate in representing the mood of the text. Although many of Britten’s harmonies are traditional in nature, e.g. major and minor triads, it is difficult, almost impossible or cumbersome at best, to assign Roman numerals to his harmonies because his manner of chord progression does not always conform to functional theory.
In my analyses, I will demonstrate that the logic behind Britten's harmonic progressions can be explained through two types of neo-Riemannian transformation theories, namely Richard Cohn's Four Hexatonic Systems and Leonhard Euler's Tonnetz. In the case of the "Spinning Scene" from The Rape of Lucretia, Hindemith’s "Table of Chord-Groups" will be used to explain the presence of harmonies that are not part of the four hexatonic systems. Throughout, Schenkerian graphs will be presented to illustrate how the underlying structure and overall harmonic design of each piece work in conjunction with the emotion of the text. In addition, I will show that his rhythmic manipulations, when coupled with the meaning behind his chord progression, vividly paint the emotion of the text, as well as the state of mind of the poet or the character in an opera.
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Winters, Sarah Fiona. "Me thoughts I heard one calling, talking to God in the poetry of John Donne, George Herbert, Christina Rossetti, and Gerard Manley Hopkins." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ50068.pdf.
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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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Kirk, Joel. "“Let Joy Size at God Knows When to God Knows What”: Gerard Manley Hopkins’s Struggle for Comfort, and the Illuminating Nature of Unwarranted Suffering." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1339.
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Gerard Manley Hopkins suffered deeply. His “Terrible Sonnets” are confessional poetry that demonstrate his struggle with his God and with himself. This work analyses the Hebrew Bible and the New Testament, starting Noah and ending with Jesus’s promise of a Paraclete, to analyze how both God and Man approach earthly and heavenly comfort. The work will then turn to Hopkins’s poetry to show that Hopkins’s unshakable faith and deep understanding of the Bible is both the cause and the cure of his suffering. This essay concludes that it is only through suffering that Hopkins, like Job, Jesus, and King Lear, is able to achieve both comfort and wisdom.
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Schmid, Sabine. "'Keeping the sources pure' : the making of George Mackay Brown : a comparative study of his work, with special reference to his reception of Edwin Muir, Gerard Manley Hopkins and Thomas Mann." Thesis, University of Edinburgh, 2000. http://hdl.handle.net/1842/22618.
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In this study I attempt to draw attention to the complexities behind the "making" of George Mackay Brown. I re-address the question of his literary rating by contextualising his work within the broader framework of twentieth-century British and European literary practices and traditions of thought. Whilst duly acknowledging the significance of Brown's Orcadian background, this study is based on the perception that it is the creative tension between Orkney as a source of potent symbols and patterns and other literary and extra-literary influences that gives his work a distinct profile. Rather than following the question of what Brown did for Orkney and for Orcadian or Scottish literature and literary identity, I examine what Scottish, English and European writing and writers did for Brown and how they helped to define his aesthetic and spiritual stance. Accordingly, I set his work, for contrast and comparison among the works of writers who profoundly influenced him. After establishing the background to Brown-scholarship in chapter one, clarifying the reception of Brown in Britain as well as discussing factors that affected the evaluation of his work, I proceed in chapter two with a consideration of Brown's and Muir's literary and personal relationship. Chapter three establishes a case of affinity and influence between Hopkins and Brown. Separated chronologically, the two poets are yet remarkably contemporaneous in their spiritual vision and their approach to poetry and the word. Hopkins provided a stimulus for Brown to look for a system that would allow him to exercise and deploy the latent power and the unused resources in the English language. Moreover, their shared religious beliefs are further connected to their prophetic and bardic conception of the poetic office and the poetic techniques they use.
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Searfoss, Kristin. "Hopkinsian influences on the poetry of Dylan Thomas." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59438.
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While often assumed, Gerard Manley Hopkins' influence on Dylan Thomas has needed substantiation. By placing the issue of Hopkins' influence on Thomas within critical, historical, and literary contexts, this study explores the issue and demonstrates Hopkins' influence. Summary and assessment of previous critical work on the issue of Hopkins' influence establish the ways in which this study continues, diverges from or completes work done in the past. Evidence from biographical work on Thomas, as well as his letters and prose, outlines his contact with Hopkins' poems. A discussion of Thomas' Welsh background relates his experience of Wales and Welsh prosody to Hopkins' corresponding experiences. The literary context of the issue of Hopkins' influence on Thomas is established by means of a two-part foundation. First, the possible influence of W. B. Yeats, Wilfred Owen, Hart Crane, and James Joyce on Thomas is distinguished from Hopkins' influence. Second, specifically Hopkinsian areas of influence on Thomas are discussed. These areas of influence serve as a critical framework within which six Thomas poems dating from 1934 to 1951 are analyzed.
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Jones, Chris. "A deeper "Well of English undefyled" : the role and influence of Anglo-Saxon in nineteenth- and twentieth-century poetry : with particular reference to Hopkins, Pound and Auden." Thesis, University of St Andrews, 2002. http://hdl.handle.net/10023/14708.
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This thesis challenges the assumption that Chaucer is the father of the living English poetic tradition. Nobody would deny that poetry existed in a form of English before the fourteenth century, but it is commonly assumed that linguistic and cultural changes have made Anglo-Saxon poetry a specialist area of concern, of no use or interest to modern poets. It is demonstrated that during the nineteenth century, advances in linguistic and textual scholarship made Anglo-Saxon poetry more widely available than had been the case, probably since the Anglo-Norman period. Knowledge of Anglo-Saxon literature is subsequently communicated to poets, particularly after the subject is institutionalized in English departments at British and American universities. Chapter One charts this rise in awareness of Anglo-Saxon poetry and considers its effects on several nineteenth-century poets (William Barnes, Henry Longfellow, Alfred Tennyson and William Morris). Major studies then follow of Gerard Hopkins, Ezra Pound and W. H. Auden and the uses that they make of Anglo-Saxon in their own poetry. It is argued that through these writers Anglo-Saxon has had a more important impact on modern poetry than has been thought previously. Moreover, Anglo-Saxon is often included as part of a poetics that might be called 'modernist'. For each of the three poets under study, the nature of their contact with Anglo-Saxon poetry is determined from documentary evidence (whether at university, or via secondary literature), and different stylistic debts are examined by close readings of a number of poems. No previous work has attempted a detailed analysis of the uses to which these three writers put Anglo-Saxon poetry. This thesis offers such an analysis and synthesizes the different approaches to Anglo-Saxon in order to provide an overview of this phenomenon in nineteenth- and twentieth-century poetry.
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Auer, Benedict Auer Benedict. "Deus absconditus as muse : an approach to the writing of poetry as a form of contemplative prayer for those who live with the Hidden God /." Dissertation abstract, 1992. http://homepages.stmartin.edu/fac%5Fstaff/auer/other/AbstractofDissertation.HTML.
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Yasuyoshi, Itsuki. "The energeia of Hopkins' poetry." 1987. http://catalog.hathitrust.org/api/volumes/oclc/16842356.html.
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LI, YAN-FEN, and 李燕芬. "Gerard manley Hopkins and C. G. Jung's alchemical transformation theory." Thesis, 1992. http://ndltd.ncl.edu.tw/handle/84388878323327387989.
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碩士國立臺灣大學
外國語文研究所
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Chapter One: Introduction Chapter Two: Western Alchemy, Jungain Psychology, and Ignatian Meditation Chapter Three: The Immortal Diamond: A Jungian Approach to Hopkins's Works Chapter Four: Conclusion Works Cited Selective Bibliography
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Giles, Roy James. "The religious crisis in the poetry of Gerard Manley Hopkins." Diss., 2003. http://hdl.handle.net/10500/2103.
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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)
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Malloy, Margaret Gladys. "Desolation and delight: a study of recurring themes in the poetry of Gerard Manley Hopkins." 2014. http://hdl.handle.net/1993/23419.
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Donaldson, Jennifer. "An enduring spirit of the Victorian Era of Doubt." Diss., 2003. http://hdl.handle.net/10500/851.
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The focus of this study is upon Gerard Manley Hopkins~s literary opinions
about the state of affairs of Victorian England regarding its defence,
religions, science, politics, the economy, and other concerns. His claim to a
legitimate voice lies in the tremendous amount of erudite knowledge he
accumulated over the years, on many different subjects, and his classical
education. Major focus is on his pristine awareness of the Anglo-Saxons
and their language of Old English. Hopkins's unique style of writing poetry
and his contribution to Victorian philology is highlighted. The work also
deals, in some degree, with his mental state at various periods in his life, and
attempts to disclose an overcoming of the anguish and depression evident in
the poems. His enduring spirit under the grave swamping of Christianity by
destructive discourses is another major theme.ENGLISH STUDIES
M.A. (ENGLISH)
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Hart, Sarah Elizabeth. "Elegiac Rhetorics: From Loss to Dialogue in Lyric Poetry." Thesis, 2012. http://hdl.handle.net/1969.1/ETD-TAMU-2012-08-11736.
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By reading mournful poems rhetorically, I expand the concept of the elegy in order to reveal continuities between private and communal modes of mourning. My emphasis on readers of elegies challenges writer-centered definitions of the elegy, like that given by Peter Sacks, who describes how the elegy's formal conventions express the elegist's own motives for writing. Although Sacks's Freudian approach helpfully delineates some of the consoling effects that writing poetry has on the elegist herself, this dissertation revises such writer-centered concepts of the elegy by asking how elegies rhetorically invoke ethical relationships between writers and readers. By reading elegiac poems through Kenneth Burke's rhetorical theories and Emmanuel Levinas's ethics, I argue that these poems characterize, as Levinas suggests, subjectivity as fundamentally structured by ethical relationships with others.
In keeping with this ethical focus, I analyze anthology poems, meaning short lyric poems written by acclaimed authors, easily accessible, and easily remembered - including several well-known poems by such authors as Emily Dickinson, Gerard Manley Hopkins, and Robert Frost. Anthology pieces invite ethical evaluation in part because they represent what counts as valuable poetry - and also, by implication, what does not. Because anthology poems are read by broad, diverse audiences, I suggest that a rhetorical methodology focusing on writer-reader relationships is essential to evaluating these poems' ethical implications.
This rhetorical approach to poetry, however, questions rhetoricians and aesthetic theorists from Aristotle and Longinus to Lloyd F. Bitzer and Derek Attridge who emphasize distinctions between rhetoric and poetics. I address the ongoing debate about the relationship between rhetoric and poetics by arguing, along the lines of Wayne C. Booth's affirmation that fiction and rhetoric are interconnected, that poetry and rhetoric are likewise integrally tied. To this debate, I add an emphasis on philosophy - from which Plato, Ramus, and others exclude rhetoric and poetry - as likewise essential to understanding both poetry and rhetoric. By recognizing the interrelatedness of these disciplines, we may better clarify poetry's broad, ethical appeals that seem so valuable to readers in situations of loss.
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Douglas, Nigel Charles. "The Fall Into Modernity." Thesis, 1989. http://hdl.handle.net/10756/288464.
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