Dissertations / Theses: 'Milton, John. Paradise Lost'

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Arvin, Ittamar Johanan. "Bliss, delight and pleasure in Paradise lost /." Connect to full text, 2001. http://setis.library.usyd.edu.au/adt/public_html/adt-NU/public/adt-NU20030129.094154/index.html.

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Avin, Ittamar Johanan. "Bliss Delight and Pleasure in Paradise Lost." University of Sydney. English, 2001. http://hdl.handle.net/2123/484.

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There have been many studies of keywords in Paradise Lost. Over the last fifty or so years words such as �wander�, �lapse�, �error�, �fruit�, �balmy�, �fall�, �hands�, among others, have attracted critics� attention. The present enquiry brings under scrutiny three linked keywords which have up to now escaped notice. These are the words �bliss�, �delight�, and �pleasure�. The fundamental proposition of the thesis is that Milton does not use these words haphazardly or interchangeably in his epic poem (though in other of his poetic productions he is by no means as fastidious). On the contrary, he self-consciously distinguishes among the three terms, assigning to each its own particular �theatre of operations�. Meant by this is that each keyword is selectively referred to a separate structural division of the epic, thus, �bliss� has reference specifically to Heaven (or to the earthly paradise viewed as a simulacrum of Heaven), �delight� to the earthly paradise in Eden and to the prelapsarian condition nourished by it; while �pleasure�, whose signification is ambiguous, refers in its favourable sense (which is but little removed from �delight�) to the Garden and the sensations associated with it, and in its unfavourable one to postlapsarian sensations and to the fallen characters. Insofar as the three structural divisions taken into account (Hell is not) are hierarchically organized in the epic, so too are the three keywords that answer to them. Moreover, in relating keywords to considerations of structure, the thesis breaks new ground in Paradise Lost studies.

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3

Mattern, Frank. "Milton and Christian Hebraism : forms and functions of Rabbinic Exegesis in 'Paradise Lost' /." Heidelberg : Universitätsverl. Winter, 2009. http://deposit.d-nb.de/cgi-bin/dokserv?id=3240965&prov=M&dok_var=1&dok_ext=htm.

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4

Stallard, Matthew S. "John Milton’’s Bible: Biblical Resonance in Paradise Lost." Ohio University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1218072545.

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5

Wilson, Emma Annette. "John Milton's use of logic in 'Paradise Lost'." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/850.

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6

Stallard, Matthew S. "John Milton's Bible : scriptural resonance in Paradise lost /." View abstract, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3320757.

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7

Mathews, Justin Lee. "Paradise Lost and the Medieval Tradition." TopSCHOLAR®, 2008. http://digitalcommons.wku.edu/theses/28.

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8

Zwierlein, Anne-Julia. "Majestick Milton : British imperial expansion and transformations of "Paradise lost", 1667-1837 /." Münster : Lit, 2001. http://catalogue.bnf.fr/ark:/12148/cb39248240h.

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9

Brown, M. Dawn Henderson. "Original and eternal seduction Satan's psyche in Paradise lost /." View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-1/brownm/melissabrown.pdf.

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10

Hay, Ken. "Metaphoric strategies and the paradox of the fortunate fall in Paradise Lost." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq25607.pdf.

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11

Voss, Annemarie. "John Milton's Paradise lost in Germany : reception and German-language criticism." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/762991.

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This survey focuses on German-language studies of John Milton's Paradise Lost, based on a bibliography of more than 140 German-language publications dating from 1651 to the present. Its purpose is to describe and evaluate these studies and to make their arguments accessible to readers who have difficulties locating, obtaining, and/or reading these texts.Chapters 1-4 give an account of Milton's reception in Germany and Switzerland. Topics discussed include the evaluation of Milton as poet and man, the influence of Milton's Paradise Lost on the development of German literature (Klopstock's Messias), early Milton studies, German translations of Milton's Paradise Lost, the teaching of Milton's works in Germany, and the evaluation of the poem for the present generation. Chapters 5 to 10 survey twentieth-century German-language criticism of Paradise Lost. Topics include the literary tradition; the drama plans; structure and style; cosmology and theology; and interpretations of the fall.Outstanding twentieth-century German studies include Hiibener's analysis of stylistic tension (1913); Bastian's analysis of the problem of temptation (1930); Wickert's examination of Milton's drama plans (1955); Grun's interpretation of the fall (1956); MoritzSiebeck's structural and aesthetic justification of the last two books of Paradise Lost (1963); Spevack-Husmann's examination of the relevance of the medieval tradition of allegorical and typological myth interpretation for Milton's mythological comparisons (1963); Markus's study of the parenthesis as rhetorical means of psychological influence (1965); Hagenbuchle's analysis of the fall(1969); Maier's examination of contrast and parallel as structural elements (1974); Slogsnat's exploration of the dramatical structure and tragic nature (1978); Schrey's account of Milton's reception in Germany (1980); and Klein's study of astronomy and anthropocentric in Milton's attitude towards science (1986). These studies deserve to be better known by the English-speaking scholarly community for their different points of view and their good understanding of Milton's art.Milton's Paradise Lost is still appreciated in Germany and continues to have many readers.
Department of English

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12

DeFurio, Laura. "Milton's indeterminate theodicy will, grace, and cause in Paradise lost /." Click here for download, 2009. http://proquest.umi.com/pqdweb?did=1711556971&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.

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13

Whisman, Derek K. "A Devil of a Coincidence: Study on Milton and Gower." Thesis, Virginia Tech, 2010. http://hdl.handle.net/10919/42655.

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The seventeenth-century epic poem Paradise Lost is one of the most widely studied texts in all of literary history. The work, written by John Milton, depicts Satanâ s fall from Heaven and subsequent deeds on Earth and in Hell. One of the more remarkable and, often, most overlooked scenes in the story involves the distinctive personification of Sin and Death. Milton depicts Sin as the daughter of Satan, with no mention of a mother, born through a process of spontaneous generation. Satan then becomes so captivated by his daughterâ s wickedness that he forces himself upon her, causing Sin to bear a son, Death. This illustration is striking, especially given that it also appears in the opening pages of the fourteenth-century Mirour de l'Omme (c. 1376) by John Gower. In both Milton and Gowerâ s poems, Satan, Sin, and Death are personified as having this familial, incestuous relationship which ultimately creates the worldâ s evils. Their depictions are not merely reminiscent of one another, but rather, often match up in nearly identical fashions. John S. P. Tatlock was the among the first to notice these similarities, but was also quick to express his hesitance to say with any sort of assurance that Milton had read Gower: â Since only one manuscript of the Mirour is known, and that was never published until seven years ago [1899], the chance is infinitesimal that Milton ever heard of the poem. But that his and Gowerâ s sources are ultimately the same seems to me highly probable.â Yet to date, no studies have been conducted to determine which shared sources could possibly lead Milton and Gower to construct such similar personifications of Sin and Death. Indeed, John Fisher notes that currently â the influence of the Mirour upon Paradise Lost remains an open question.â It is upon this open question that I now attempt to help fill this century-old void in literary research
Master of Arts

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14

Koo, Youngwhoe. "Idea of Natural Law in Milton's Comus and Paradise Lost." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277958/.

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This dissertation tries to locate Milton's optimistic view of man and nature as expressed in Comus, Doctrine and Discipline of Divorce, and Paradise Lost in the long tradition of natural law that goes back to Aristotle, Cicero, and Aquinas.

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Mattern, Frank. "Milton and Christian Hebraism : forms and functions of Rabbinic exegesis in Paradise Lost." Thesis, Heidelberg Winter, 2002. http://d-nb.info/992549485/04.

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16

Hopkins, Andrew J. "I fall erroneous, there to wander decoding Milton's mazes in Paradise lost /." Click here for download, 2008. http://proquest.umi.com/pqdweb?did=1594487871&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.

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17

Hannon, Elizabeth. "The influence of Paradise Lost on the hymns of Charles Wesley." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25417.

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An overview of the prose writings of John Wesley, and the hymn writing of his brother Charles, shows that John Milton was an important influence on both men. A search of the literature indicates that critics have rarely noticed this, and although some work has been done on John's abridgement of Paradise Lost, there are no qualitative studies of its effect on the hymnody of Charles. Although the singing of hymns is a potential way of influencing language and doctrine of all singers, it is particularly important for people who have little other education. Charles Wesley, as the most prolific English hymnwriter, was influential in educating generations of church-goers. He used Paradise Lost in several ways: l)by simple appropriation of diction, 2) by combining it with the Bible in four specific ways, i.e., a) simple addition of images and language from Paradise Lost to biblical sources, b) magnification of a biblical idea by projecting it through a scene in Paradise Lost, as in the case of the hymn, "Soldiers of Christ Arise" which is influenced by Book 5, c) the use of the Bible and Paradise Lost as joint "pre-text" to create a new concept, and d) the use of Paradise Lost to "Christianise" a Psalm. Psalm 24 is used as an example. Obvious reasons why Charles Wesley might wish to imitate Milton, such as Milton's popularity in the eighteenth century, and Wesley family connections with Milton, are explored and considered not significant, but a common classical education is important. The two men have similar theological views in two doctrines essential to the Wesleyan revival: a) justification by faith and b) universal redemption. Other similarities are their expression of views on covenant theology, the nature of the goodness of God, and the name of God as "all in all." Their audiences were different but their purposes were similar: to teach "serious godliness" by inculcating doctrine and inspiring faith in a way that would touch the minds and hearts of their readers. Three appendices are presented: one on the problem of the hymn as a literary genre, the second on the audience for Wesley hymns, and the third on the history of literary criticism of the Wesleys.
Arts, Faculty of
English, Department of
Graduate

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18

Bruce, Adam Alexander. "John Milton: A Cause Without a Rebel." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/56611.

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John Milton has been frequently associated with rebellion, both by modern scholars and by his contemporaries. Objectively speaking, he may very well be a rebel; however, looking to his own works complicates the issue. In fact, Milton makes very clear in his writing, especially in The Tenure of Kings and Magistrates, that he abhors rebellion mainly because it is unlawful. Furthermore, he describes the uprising against King Charles I by disassociating it from any kind of rebellion, instead determining that the uprising was done lawfully. Milton writes about rebellion in the same way in many of his works leading up to and including Paradise Lost, where Satan resembles the rebel that Milton so vehemently despises. Given Milton's dislike of rebellion, his association of it with Satan complicates another commonplace scholarly argument; that Satan is sympathetic in Paradise Lost. This work will explicate Milton's definition of rebellion, especially through Tenure, and will then use that definition to demonstrate that Satan cannot be read as sympathetic.
Master of Arts

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19

Mathis, Gilles. "Analyse stylistique du Paradis perdu de John Milton l'univers poétique, échos et correspondances /." Aix-en-Provence : Université de Provence, 1987. http://books.google.com/books?id=xApbAAAAMAAJ.

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20

McCrady, Matthew B. "The influence of seventeenth century Anglo-Saxon scholarship on Milton's prose works, The history of Britain and Paradise lost." [Morgantown : West Virginia University Libraries], 1998. http://etd.wvu.edu/templates/showETD.cfm?recnum=106.

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Thesis (M.A.)--West Virginia University, 1998.
Title from document title page. Document formatted into pages; contains iv, 90 p. Vita. Includes abstract. Includes bibliographical references (p. 84-88).

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Riley, Karis G. "Passions on trial : early modern passions and affections in John Milton and Paradise Lost." Thesis, University of York, 2016. http://etheses.whiterose.ac.uk/17810/.

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This dissertation is about Milton’s moral vision of the passions in a century that thought passions were the difference between a free body and a materially determined body, justified knowledge and error, paradise and hell – in short, the difference between a virtuous life and an enslaved soul. In what has been called an ‘affective turn’ within literary studies, Passions on Trial adds to the growing body of scholarship characterised by a fascination with early modern agency, passions, senses, humours, and the body, and proposes that the next turn points towards ethics. My dissertation contributes to the field of knowledge by providing the first full-length study of Milton’s thinking on the passions throughout his life. It argues that seventeenth-century passions help develop Milton’s concepts of matter and knowledge, agency, and ethics.

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Moore, J. Aaron. "Hell, maybe it's you, Adam the mimetics of troubled identifications in Paradise Lost /." View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-2/moorej/jaaronmoore.pdf.

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23

Abbott, William T. "John Milton: Not War, Not Peace, Not Exactly Grotian." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2052.

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Foreword This paper will be of value in answering continuing questions regarding John Milton's position on war and peace. The questions continue and are valid because Milton's works, as considered in the paper, offer support for both pro-war and pro-peace interpretations. The paper also addresses a middle-ground interpretation-that Milton's position can best be understood in light of the legal theories of Hugo Grotius, the seventeenth-century Dutch scholar who is generally accepted as the father of modern international law. The works considered include, among others, the Nativity Ode, the sonnets, Paradise Lost, Paradise Regained, Samson Agonistes (including post 9/11 controversy involving its alleged endorsement of terrorism), Christian Doctrine, and Milton's infrequently cited History of Britain. No ultimate answers are suggested except that more than three hundred years of Milton scholarship have left little unexplored regarding Milton's views on war and peace. Milton will always be known for his admiration of soldiers, particularly his employer, Oliver Cromwell, and for his military imagery, particularly in Paradise Lost. He will also be known as a man who lived in a time of constant warfare, and yet who valued and sought individual inner peace.

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24

Middleton, Devane King. "Forbidden fruit Dryden's The state of innocence and fall of man, an operatic version of Paradise lost /." Click here to access thesis, 2006. http://www.georgiasouthern.edu/etd/archive/spring2006/devane%5Fk%5Fmiddleton/middleton%5Fdevane%5Fk%5F200601.pdf.

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Thesis (M.A.)--Georgia Southern University, 2006.
"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Arts" ETD. Includes bibliographical references (p. 77-80)

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25

Le, Roux Selene. "Poetry of revolution : the poetic representation of political conflict and transition in Milton's Paradise Lost and Marvell's Cromwell poems /." Link to the online version, 2007. http://hdl.handle.net/10019/1760.

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Dittrich, Marie-Agnes. "John Christopher Smiths «Paradise Lost» nach Milton. Epische Dramatik, dramatische Poesie und das Problem ihrer Vertonung." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A36814.

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Dunser, Maria Lynn. "Reading nature, reading Eve reading human nature in John Milton's Paradise Lost /." Master's thesis, Mississippi State : Mississippi State University, 2008. http://library.msstate.edu/etd/show.asp?etd=etd-04032008-144046.

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28

Gibson, Kristopher. "A Critique of Stanley Fish’s Reader-Response Reading of John Milton’s Paradise Lost." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-36435.

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The essay critically examines Stanley Fish’s reader-response reading of Paradise Lost.In particular Fish’s main thesis that John Milton’s sole purpose in Paradise Lost is toeducate the reader on their position as fallen.The essay then examines two key claimsthat Fish employs to arrive at his conclusion, namely: (1) Fish’s notion of intendedreadership and authorial intent for Paradise Lost; and (2) Fish’s claims of readerresponse to Paradise Lost in two selected contexts (i) the reader response to Satan in thebeginning of Paradise Lost (ii) the reader response to an aspect of narration in ParadiseLost i.e. the poem’s epic voice. Based on the analysis of these two key claims the essayfinds Fish’s thesis unsubstantiated and in need of further argument.

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29

Ghermani, Laïla. "Le visible et l'invisible dans Paradise Lost de John Milton (1608-1674) : genèse et essor d'une poétique hérétique." Paris 3, 2008. http://www.theses.fr/2008PA030133.

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Comment le poète miltonien peut-il affirmer qu’il va voir et dire les choses invisibles aux yeux des mortels (« […] see and tell / Of things invisible to mortal eyes » (III, 54-55)) ou encore qu’il va montrer les exploits invisibles des anges (« invisible exploits » V, 565) dans son épopée ? L’objectif de la présente étude est de montrer que l’entreprise de rendre visible l’invisible est profondément originale d’un point de vue à la fois esthétique et théologique. En effet, pour formuler un tel argument, John Milton s’appuie sur une théologie qui lui est propre et qu’il revendique comme hérétique. Ainsi, en refusant la prédestination calviniste pour lui préférer la pensée d’Arminius sur le libre-arbitre, Milton forge une personnalité poétique qui bénéficie d’une illumination spécifique et supérieure. Par ailleurs, en réfutant le dogme de la Trinité pour lui préférer une conception unitaire, Milton conçoit le Fils de Dieu comme la première image visible et créée du Père invisible. Le modèle du Fils lui permet de penser une poétique de l’invisible. Enfin, sa poétique s’appuie sur une définition de l’accommodation scripturaire qui contredit celle de Saint Augustin, pourtant couramment utilisée par les protestants. Pour donner forme à son projet, Milton élabore une poétique épique, centrée sur les personnes du poète et du Fils, dont la fin dernière est la représentation visuelle. Pour rendre visible l’invisible gloire divine, il met en place une hiérarchie des images et du lexique de la lumière analogue à celle des créatures. La fragmentation du regard et sa réunification par le narrateur omniscient constituent le second élément de son esthétique visuelle
How can Milton’s poet claim that he intends to «see and tell / Of things invisible to mortal eyes » (III, 54-55) or that he is going to disclose the « invisible exploits » (V, 565) of the angels in the epic? The aim of this study is to show that Milton’s project to make invisible things visible, is profoundly original in both aesthetic and theological terms. His argument is rooted in a theology of his own which he acknowledges to be heretical. By rejecting the Calvinist idea of predestination, preferring instead the doctrine of Arminius, Milton forges a poetic persona who is granted a specific and superior illumination. Moreover, Milton refutes the dogma of the Trinity, and conceives the Son as the first created image of the invisible Father. Such a conception of the Son provides him with a model for his poetics of the invisible. Finally, Milton's poetics is based on a definition of scriptural accommodation which is in opposition to the Augustinian definition usually adopted by the Protestants. To give coherence to his project Milton elaborates an epic poetics which is centred on the figures of the poet and the Son and whose final aim is the representation of the invisible. To make the invisible glory of God visible, he introduces a hierarchy of images and words concerning the manifestations of light which parallels the hierarchy of living things in the universe. The second aspect of Milton’s visual aesthetics concerns a fragmenting of unified sight and its subsequent reconstruction by the omniscient narrator

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30

Caland, Fabienne Claire. "Seuils, passages, parole : Les lieux initiatiques dans "The lord of the rings" (Tolkien), "Paradise lost" (Milton) et "Inferno" (Dante)." Limoges, 1999. http://www.theses.fr/1999LIMOA015.

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Le voyage que ce soit dans l'espace, le temps ou la hierarchie sociale, est l'un des themes fondamentaux de la litterature. Pour mettre en evidence la relation intime entre l'etre et sa traversee, trois types de voyage ont retenu notre attention : proposes par tolkien, milton et dante, les voyages litteraires issus de la culture judeo-chretienne nous entrainent du xiveme siecle pour le poeme de dante au xxeme siecle pour le roman de tolkien. Ils ne peuvent toutefois se resumer en une lutte entre le bien et le mal ; ils sont davantage une peregrination, le parcours personnel et universel de neophytes sur la voie de l'initiation. Or, le fait d'etudier le caractere initiatique de the lord of the rings, paradise lost et inferno permet de delimiter des sequences precises en etapes evolutives pour l'individu en partance. Mais etudier ce qui se deroule entre les voyages, aller au coeur de l'espace liminal, de l'espace intermediaire, mene a une reflexion sur l'essence meme du voyage. En effet, c'est dans le lieu liminal, dans ces seuils, dans ces passages que l'essentiel se trouve : l'etre est confronte a la parole dangereuse, a celle qui dit tout, qui peut tout, qui pervertit et annihileles differences. Apprendre a dominer le verbe en maitrisant l'espace etrange et etranger, comprendre les etres qui l'habitent ou le traversent, savoir faire la distinction de la parole pernicieuse et la parole salvatrice, c'est l'enjeu du voyageur. C'est peut-etre la sa veritable quete.

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Buckham, Rebecca Lynn. "Reading nature the georgic spirit of Paradise lost, early modern England, and twenty-first-century ecocriticism /." Click here for download, 2009. http://proquest.umi.com/pqdweb?did=1760071351&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.

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Fernandes, Marcos Aurélio Zamith. "A relação entre a serpente e satã em Paradise Lost." Universidade Presbiteriana Mackenzie, 2016. http://tede.mackenzie.br/jspui/handle/tede/2991.

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This work aims at analyzing the character of Satan in the epic work Paradise Lost by the Puritan writer John Milton (1608-1674). More specifically, it aims at offering an answer to the question: in what manner do the traits of the serpent reflect Satan? In order to do that, the analysis was divided into parts. In the first chapter, it was presented the context of the literary production and reception of the work Paradise Lost in order to show features of this corpus and to relate them to other literary works and with its historical moment. In the second chapter, concepts of the narrative theory of Mieke Bal (1997) were applied to the protagonist so that the analysis of Satan in itself and in relation to other elements of the narrative was theoretically based. Finally, in the third chapter, based on a list of features provided by Charlesworth (2010) about the animal serpent (author's expertise), these features were related to the Milton's serpent so that one comprehends traits of the character of the serpent that together relate to Satan. This analysis is justified because many works were found about the Satan of Paradise Lost, nevertheless none whose theme was delimited in that manner. Once a narrative theory and texts from the literary criticism on Milton and of his epic poem pertinent to the current theme were chosen, it is expected that this dissertation allows the reader of Paradise Lost to acquire a more accurate view on the function of the character of Satan in the plot, particularly in the form of the tempting serpent assumed by Satan.
Este trabalho visa a analisar a personagem Satã da obra épica Paradise Lost do escritor puritano John Milton (1608-1674). Mais especificamente, objetiva-se oferecer uma resposta à questão: de que maneira os traços da serpente refletem Satã? Para isso, a análise se dividiu em partes. No primeiro capítulo, apresentou-se o contexto de produção e recepção literárias da obra Paradise Lost com a finalidade de mostrar características desse corpus e relacioná-las com outras obras literárias e com seu momento histórico. No segundo capítulo, aplicaram-se à protagonista conceitos da teoria da narrativa de Mieke Bal (1997) para que fosse fundamentada teoricamente a análise de Satã em si mesmo e em relação a outros elementos da narrativa. Finalmente, no terceiro capítulo, com base numa lista de características fornecidas por Charlesworth (2010) a respeito do animal serpente (especialidade do autor), relacionaram-se essas características com a serpente de Milton de modo que se compreendessem traços da personagem serpente que em conjunto se relacionam com Satã. Esta análise se justifica na medida em que se encontraram vários trabalhos sobre o Satã de Paradise Lost, no entanto nenhum cujo tema fosse delimitado dessa forma. Escolhidos uma teoria da narrativa e textos da fortuna crítica de Milton e de sua épica pertinentes ao presente tema, espera-se que esta dissertação permita que o leitor de Paradise Lost adquira uma visão mais apurada a respeito da função da personagem Satã na trama, em particular da forma de serpente tentadora assumida por Satã.

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Lavelle, William H. "Revolutionary Satan: A Reevaluation of the Devil's Place in Paradise Lost." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429893486.

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St-Jacques, François. "Étude comparative de trois traductions de Paradise Lost de l'anglais au français : définition d'une méthodologie quantitative de l'équivalence en traduction littéraire." Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/27977/27977.pdf.

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35

Frey, Christopher Lorne. "Body marks in early modern English epic : Spenser's Faerie Queene and Milton's Paradise Lost." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97835.

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As epic was considered a culturally comprehensive genre, so Spenser's Faerie Queene and Milton's Paradise Lost provide an effective locus for inquiry into literary representations of body marks in the Renaissance, and hence of the body itself. While grounded on central principles of Renaissance poetics such as delightful teaching, utpictura poesis, and catharsis, Spenser's and Milton's graphic accounts of wounds and diverse other types of body marks show corporeality can have positive import for the soul and heroic identity, just as they are shaped in part by bodily experienees. This dissertation thus reconsiders the widespread assumption that early moderns primarily viewed the body as a subservient yet sometimes threatening container for the soul....
Une épopée fut culturellement considérée comme un vaste genre: The FaerieQueene, et Paradise Lost, de Spenser et Milton, sont pertinents pour l'étude desreprésentations littéraires des marques corporelles durant la Renaissance, et du corps.Basées sur les principes de la poésie de l'époque, comme l'enseignement délicieux, utpictura poesis, et la catharsis, les explications graphiques de blessures et autres cicatricesde Spenser et Milton montrent que la matérialité peut avoir une portée positive sur l'âmeet l'identité héroïque: elles sont formées par des expériences corporelles.

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McConomy, Erin Elizabeth. "Renaissance humanism in Michelangelo's Sistine Chapel and Milton's Paradise Lost." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37223.pdf.

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Pepperney, Justin R. "Religious Toleration in English Literature from Thomas More to John Milton." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1245245934.

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White, Edmund C. "The concept of discipline : poetry, rhetoric, and the Church in the works of John Milton." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:53045aa1-8ed3-4b24-b561-65fc03afaf13.

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Discipline was an enduring concept in the works of John Milton (1608-1674), yet its meaning shifted over the course of his career: initially he held that it denoted ecclesiastical order, but gradually he turned to representing it as self-willed pious action. My thesis examines this transformation by analysing Milton’s complex engagement in two distinct periods: the 1640s and the 1660s-70s. In Of Reformation (1641), Milton echoed popular contemporary demands for a reformation of church discipline, but also asserted through radical literary experimentation that poetry could discipline the nation too (Chapter 1). Reflecting his dislike for intolerant Presbyterians in Parliament and the Westminster Assembly, the two versions of The Doctrine and Discipline of Divorce (1643 and 1644) reconsider discipline as a moral imperative for all men, rooted in domestic liberty (Chapter 2). Although written long after this period, the long poetry that Milton composed after the Restoration reveals his continued interrogation of the concept. The invocations of the term ‘discipline’ by Milton’s angels in Paradise Lost (1667) sought to encourage dissenting readers to faithfulness and co-operation (Chapter 3). Paradise Regained and Samson Agonistes (1671) advance the concept in the language of ‘piety,’ emphasising that ‘pious hearts’ are the precondition for godly action in opposition to contemporary Anglican ‘holy living’ (Chapter 4). In analysing Milton’s shifting concept of discipline, my thesis contributes to scholarship by showing his sensitivity to contemporary mainstream religious ideas, outlining the Christian—as opposed to republican or Stoic—notions of praxis that informed his ethics, and emphasising the disciplinary aspect of his doctrinal thought. Overall, it holds that in discipline, as word and concept, Milton expressed his faith in the capacity of writing to change its reader, morally and spiritually.

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Zaring, Meredith A. ""How Art Thou Lost": Reconsidering the Fall in Fitzgerald's Tender is the Night." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_theses/127.

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In Tender Is the Night, F. Scott Fitzgerald retells the story of the Fall from Genesis through psychologist Dick Diver and his wife and patient Nicole, drawing poetic and thematic inspiration from John Milton’s Paradise Lost. This essay traces the progression of the Divers’ fall and ultimate separation through the novel’s three books and considers how the highly autobiographical foundation of the novel, which has drawn considerable critical attention, may in fact allow Fitzgerald to craft a work that aligns with and simultaneously expands upon Milton’s interpretation of the Fall.

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White, Michael 1971. "The relationship between the grotesque and revolutionary thought in Milton's Paradise lost and Shelley's Prometheus unbound /." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20187.

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No substantial studies, at least to my knowledge, have yet been dedicated either to Milton's or to Shelley's extensive poetic use of the grotesque. This omission surprises me, especially given the voluminous critical attention both authors receive. Neither Milton nor Shelley's grotesquerie can be viewed as the basis of artistic method or artistic achievement as we might with, say, Rabelais, or Poe, or even Kafka. And neither Milton nor Shelley is self-consciously an artist of "the grotesque." In fact, Milton, from his seventeenth century perspective, would scarcely have regarded the term as being applicable to literary criticism at all. And as a late Romantic, Shelley defined himself rather as a poet of the imagination. Nonetheless I will show that both artists avail themselves of a grotesque aesthetic to achieve some of their most powerful and provocative poetry: we may here consider, for instance, Milton's memorable descriptions of the incongruities of Hell and the deformities of its fallen denizens in Paradise Lost, or Shelley's Gothic touches and his perplexing distortion of conventional linguistic and dramatic form in Prometheus Unbound.
Aside from general considerations of the grotesque in these texts, I will especially focus on how Milton's and Shelley's uses of the grotesque mode provide us with unique, and often fascinating vantage points from which to appreciate their respective political concerns and revolutionary interests. While I expect this critical approach will elucidate Milton and Shelley in their own separate artistic and political spheres, I am especially interested to compare and contrast the poets, to show how the quite different uses made of the grotesque in Prometheus Unbound and Paradise Lost reflect the various ways in which Shelley responds to Milton in his role as a revolutionary forefather.

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Björnlund, Stefan. "To Justify the Ways of Satan by Men : En analys av kritiska tolkningspositioner av Satan i John Miltons Paradise Lost." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-65422.

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This study analyses readings and interpretations of the satanic figure in John Milton´s epic Paradise Lost. The study highlights positions from the literature debate about Satan, the main character, and analyses interpretations of Milton´s Satan in order to investigate the critical positions about the relation between text and interpretation. The study has a meta-perspective and analyses the character of Satan in relation to the two main positions that have occupied the debate. The central question for this study is the role of the satanic figure in Paradise Lost. Have the critics read him as a tragic hero or is he being portrayed as the embodiment of evil? By reading which strategies have been used for interpretation by critics in order to come to conclusions about Satan, I have also shown what views exist concerning literary texts and character presentation. The result shows two clear traditions, satanists and anti-satanists, the former interpreting Satan as a positive character and the latter viewing him as a negative one. This study has shown that the debate concerning Satan has touched upon a wide spectrum of subjects where questions concerning authority, revolt and the closeness/distance to a text has been part of the interpretations. The satanic figure has at the same time shown to be an ambivalent 'round' character which makes simple interpretations of him more difficult.

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Wallbanks, Mark. "The vicissitudes of the authentic self: a literary mapping of the authentic self from John Milton's Paradise lost to Bret Easton Ellis' Glamorama /Mark Wallbanks." HKBU Institutional Repository, 2017. https://repository.hkbu.edu.hk/etd_oa/364.

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Since the rise of individualism in the seventeenth century there has been increasing pressure on individuals to define themselves in the public eye. This has led to the recent phenomena of identity politics and self-branding. Yet how is one's true identity - if such a thing exists - ever expressed externally? How do individuals deal with the inner and outer aspects of identity? These are some of the issues which impinge upon the ethics of authenticity. This thesis investigates the development of the concept of the authentic self from its inception in the modern period to the postmodern. Through an analysis of the various tropes of literary texts, I shall illustrate how the concept of authenticity has travelled and transformed between cultural and temporal contexts. The body of the thesis contains five central chapters. Chapter 1 represents Paradise Lost (1667) as the end of one world and the beginning of another. The "Satanic" trope introduces the contingency of transgression and displacement in regard to authentic self-definition. With the birth of the modern epoch, I argue that the collapse of the epic totality instigated the liberation of self through the process of individuation, yet the corresponding loss of "place" in the social order evoked existential angst. In the second chapter I argue that Daniel Defoe's Robinson Crusoe (1719) is an apposite inclusion in the tradition of St. Augustine's and Jean-Jacques Rousseau's Confessions. Through analysis of the "island" trope I assert that, even given the most perfect conditions of solipsism, the individual remains an inherently social being that retains a primordial compulsion for dialogical inscription of the self. In chapter 3, an analysis of the trope of "voice" as a metonym for ideology in Joseph Conrad's Heart of Darkness (1902) portrays Kurtz and Marlow as opposing sides of the authenticity struggle against the ideological allure of collective and absolute power. Chapter 4 associates Henry Miller's Tropic of Cancer (1934) with the anarchic egocentrism and intense individualism of Max Stirner's philosophy as a means of rebelling against the demands of social collectivism. In this chapter I analyse the "dream" trope in terms of Miller's trademark use of surreal metaphor which, I argue, provides a means of escape from the influence of collective identities. Finally, the fifth chapter will discuss the trope of "image terrorism" in reference to Glamorama (1998). This trope addresses the problemata of the globally destabilising influences of celebrity and terrorism, the tyranny of consumerism, and the Debordian Society of the Spectacle. The chapter raises the question of how, indeed if, in a globalized postmodern world with ever reducing horizons of differentiation, travel remains the last viable option in the pursuit of the authentic self.

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Le, Roux Selene. "Poetry of revolution : the poetic representation of political conflict and transition in Milton’s Paradise Lost and Marvell’s Cromwell Poems." Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/2869.

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Thesis (MA (English Literature))--University of Stellenbosch, 2007.
Seventeenth-century England witnessed a time of radical sociopolitical conflict and transition. This thesis aims to examine how two writers closely associated with this period and its controversies, John Milton and Andrew Marvell, represent events as they unfold. This thesis focuses specifically on Milton’s Paradise Lost and Marvell’s Cromwellian poems in order to show how these poets reinterpret established literary conventions and invoke traditional Puritan practices in order to explain and legitimise the precarious new dispensation of post-Civil War England. At the same time, their work produces ambiguities and tensions that threaten to undermine the very discourse that they attempt to endorse. Both poets’ work indicates an active involvement in the political embroilments of their time while retaining its aesthetic value. Therefore, these texts do not only function on an aesthetic level but also within the historical framework of political ideologies. The focus of this thesis is a discussion of the relationship between politics and poetry, with the emphasis on poetry of conflict and transition in civil society. In other words, it is not only considered how different poetic genres reflect social and political change in different ways but also how these genres in turn contribute to political rhetoric. During the English Revolution Milton and Marvell try to provide solutions for the political disturbance, even while remaining aware of the new conflicts produced in the attempt.

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Poulin, René. ""Advise him of his happy state" : a study of Raphael's instruction of man in Milton's Eden." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63386.

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Midan, Marc. "Milton & Melville : le démon de l'allusion." Paris 7, 2014. http://www.theses.fr/2014PA070086.

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Milton & Melville : Le Démon de l'allusion étudie la signification de l'allusion à Milton dans Taïpi, Moby¬Dick, L'Escroc à la confiance et Billy-Budd, Marin. Un état détaillé de la recherche sur les rapports entre les deux auteurs montre la prédominance d'une conception de l'allusion comme moyen d'identifier le sens d'un texte incertain à celui d'un autre, supposé stable ; or, il s'agit, en réalité, d'une relation dynamique et réciproque. Ludique, satirique, impie, ou érotique, l'allusion melvillienne est multiforme et variable ¬ondoiement qui la dérobe à une approche trop générale, mais en lequel réside justement un sens plus global, au-delà de simples effets locaux. Loin d'être un ornement ou un supplément, elle fait partie de la trame même du texte ; oblique, déroutante, elle n'en sert pas moins la grande ambition melvillienne d'« énoncer la Vérité ». C'est, en effet, allusivement — dans une relation, en particulier, au Paradis perdu — que Melville décrit à la fois les travers de la société contemporaine, l'aliénation du moi et la terreur des « sphères invisibles ». Le poème melvillien peut se concevoir comme un lieu où la vérité est, dans le même mouvement, dégagée et exhibée, par une chimie à la fois expérimentale et picturale. Le processus mobilise ¬selon un modèle fédéral où s'affirme une originalité américaine — une allusion complexe, dont le sens ne réside pas seulement dans les éléments importés par les textes simultanément convoqués, mais aussi dans leur interaction conflictuelle. Cet agôn allusif récurrent — qui définit notamment l'écrire-blanc de Moby-Dick — participe d'une violence relationnelle dont le Satan de Milton est le plus puissant symbole
Milton & Melville: The Demon of Allusion studies the significance of allusions to Milton in Typee, Moby¬Dick, The Confidence-Man and Billy-Budd, Sailor. Examining the state of research shows that allusion tends to be seen as a way to identify the meaning of an ambiguous Melvillean text with a supposedly stable Miltonic one – when in fact the allusive relationship is dynamic and reciprocal. All at once playful, satirical, impious, and erotic, Melvillean allusion is protean and thus eludes generalization. However, its very elusiveness hints at a more global significance, going beyond merely local import. Far from being just a flourish or a supplement, it is the very stuff that the text is made of. However oblique and disconcerting, it plays a crucial part in Melville's ambition to master the "great Art of Telling the Truth". Indeed, it is through allusion—in particular to Paradise Lost—that he satirizes contemporary society, explores the alienation of the self and expresses the terror of the "invisible spheres". Melville's text can be conceived of as the locus where truth is both achieved and exhibited to the reader, through a chemistry that is experimental as well as pictorial in nature. Based on a uniquely American federal model, such a process involves a complex allusive mix, the meaning of which lies not only in what the different texts bring to their host, "'but also in the destructive interaction between them. This recurrent allusive agon – the "colorless all-color" of writing – speaks to the violence of Melvillean relationships, the most powerful symbol of which is Milton's Satan

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Curtis, Corbin. "Nabokov’s Satan: Defining and Implementing John Milton’s Arch Fiend as a Contemporary Character Trope." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1524755406848739.

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Mathews, Alice McWhirter. "The Path to Paradox: The Effects of the Falls in Milton's "Paradise Lost" and Conrad's "Lord Jim"." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc332146/.

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This study arranges symptoms of polarity into a causal sequence# beginning with the origin of contrarieties and ending with the ultimate effect. The origin is considered as the fall of man, denoting both a mythic concept and a specific act of betrayal. This study argues that a sense of separateness precedes the fall or act of separation; the act of separation produces various kinds of fragmentation; and the fragments are reunited through paradox. Therefore, a causal relationship exists between the "fall" motif and the concept of paradox.

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Hansen, Steven McKay. ""Fidelity and Ripeness": The Telos of Milton's Mature Christian Learners." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8402.

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In this paper, I argue that Milton envisions a long view of education in which continual encounters with evil allow created beings to prove themselves and gradually approach a state like God’s—a state marked by constant righteous habits and by a dilation of subjective time with increased access to past and future knowledge. I discuss the roles of opposition in Miltonic education, illustrating how non-examples may result in apophatic revelation about the divine. Acts of rebellion in Paradise Lost demonstrate, however, that the timetable for introducing opposition proves complex, since created beings, the devil among them, act on their own initiative and tinker with the orchestration of Heaven’s agenda. Obedient beings, meanwhile, begin to approach God’s own course of time as they solidify holy habits and respond with constancy to persistent, recurring evils. By establishing a contrast of temporalities experienced between the wise faithful who grow toward God in reason and the foolish fallen who move against him at every turn, Milton’s epic poem suggests a spectrum model of Christian time—intricately ordered for those nearing God and utterly disorganized for those who distance themselves from him. I argue that in Milton’s work, those who obey develop toward the stability of eternity, participating in both cyclical and linear wholes: as the righteous obey with ever more precision, their lives revolve around their King more perfectly even as he marks a sure course onward. Those who oppose God, meanwhile, become subject to extremely chaotic and volatile experiences of time that resist organization into meaningful trajectories. My conclusion analyzes the way these claims might upset some constructions of Miltonic education in existing scholarship and outlines principles for ongoing improvement to the ways educators approach questions of challenge, assessment, repetition, and habit formation.

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Veto-Bougeard, Marie-Elisabeth. "Chateaubriand traducteur : de l'exil au Paradis perdu." Paris 4, 2000. http://www.theses.fr/2000PA040111.

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De ses essais fragmentaires de jeunesse à la traduction intégrale de Paradise lost en 1836, le fait traductif tient dans sa vie un rôle essentiel. Depuis l'exil en Angleterre, et ses traductions d'abord alimentaires, un cheminement le mène des extraits (Contes ossianiques, Beattle, etc. ) jusqu'à Milton qui a exercé sur lui une forte emprise littéraire, politique et religieuse : cette quête de soi qu'est la traduction a sur son œuvre propre des retentissements importants. Mais par sa revendication à provoquer une "révolution dans la manière de traduire", Chateaubriand pose son activité hors du seul domaine de l'expérience personnelle : les caractéristiques de son projet, les comptes, rendus de l'époque et les pratiques des traducteurs antérieurs et postérieurs révèlent de fait son caractère novateur, mais aussi les contradictions de sa position qui reste assez isolée dans cette période charnière pour le fait traductif. Une révolution se produit néanmoins dans sa pratique de traduction, entre le conformisme des débuts et la littéralité surprenante du paradis perdu, littéralité qui se permet aussi, grâce à une stratégie d'effet de calque, des libertés créatrices ; mais la clef de cette traduction réside sans doute dans l'humilité de l'ascèse verbale que s'impose Chateaubriand pour rendre ce texte qui lui est sacré, et qu'il faut relier à un héritage chrétien augustinien de réflexion sur l'esthétique et les pouvoirs de la parole.

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Cerritelli, Jennifer. "Milton's "Accomplished Eve" (4.660) : feminism in Pradise Lost /." Click for abstract, 1998. http://library.ctstateu.edu/ccsu%5Ftheses/1483.html.

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Thesis (M.A.)--Central Connecticut State University, 1998.
Thesis advisor: Dr. Mary Anne Nunn. " ... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 92-94).

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Dissertations / Theses on the topic 'Milton, John. Paradise Lost'

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