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Roberts, Merrilees Fay. "Poetical and philosophical reticence in the major poetry of Percy Bysshe Shelley." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/30945.
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This thesis explores how Shelley's poetic reticence characteristically produces hermeneutical and ethical aporias within received ways of thinking. These aporias elicit critiques of the philosophical and social discourses that support them. Shelley's poetry employs narratological ambiguity, omission and above all communicative reserve to make the reader more aware of his or her interpretative responsibility to engage with or resolve these strategic gaps. His reticence also allows his reader to conceptualise an enlarged constitution of the Subject. I develop a phenomenological approach to reading Shelley's major verse inspired by Wolfgang Iser's work on the productive functioning of textual gaps and blanks. I show how Shelley's poems, by destabilising their own processes, produce dynamic intersubjective experience. As in Sartre's phenomenological aesthetics, (upon which Iser's work is based) where the world is productively re-constituted through an act of imagination, Shelley's reticence makes visible the dialectical relations between world and consciousness. To some extent each uses the other to supply its content. But whereas textual self-reflexivity is normally seen as resulting in intellectualised meta-phenomena (such as irony), the self-critique generated by Shelley's reticence paradoxically results in a positive hermeneutic that challenges influential deconstructive readings of Shelley's aporias as figuring moments of philosophical limitation. Reticence, therefore, has a double function in Shelley's work: it marks areas of uncertainty, scepticism and psychological anguish; it also provides ways of choosing to become knowingly seduced by temporary self-representations that satisfy nostalgia for a more essentialist conception of identity or meaning. This doubleness creates a dialectic that is never resolved, and which continually drives the hermeneutic tensions in Shelley's texts and thought. Shelley's reader is left with the possibility of choosing nostalgia in a generous spirit of self-parody; but nevertheless, reticence also keeps such illusions of fixity, however satisfying, feeling illusory.
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Laniel-Musitelli, Sophie. "Science et poésie dans l'oeuvre de Percy Bysshe Shelley." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030109.
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L’époque romantique marque un tournant décisif dans les relations entre création littéraire et connaissance scientifique. Le discours scientifique se dote progressivement d’un langage et d’une méthode spécifiques, rompant avec la philosophie naturelle, qui conjuguait jusqu’alors considérations physiques et métaphysiques, observation et célébration de la nature. À l’heure où William Wordsworth lance l’aphorisme « we murder to dissect », déclaration d’indépendance de la parole poétique vis-à-vis du discours scientifique, Percy Bysshe Shelley (1792-1822) étudie avec assiduité les sciences à Eton puis à Oxford, avant d’entreprendre une formation médicale au Saint Bartholomew’s Hospital de Londres. Cette thèse met en évidence la transfiguration poétique des concepts et théories scientifiques dont Shelley avait pris connaissance à travers ses lectures et sa formation, ainsi que le saut imaginatif qui subvertit ces représentations en les intégrant aux réseaux des métaphores que le texte tisse selon ses propres lois. En une métamorphose féconde, Shelley déploie les soubassements mythiques et imaginaires, ainsi que les prolongements éthiques et métaphysiques des écrits scientifiques sur lesquels il se pencha. Cette étude se situe à la rencontre de deux ambitions heuristiques, de deux exigences formelles. Science et poésie sont à la recherche des harmonies cachées qui sous-tendent le monde des apparences. Soumettre l’absolu à la mesure, soumettre la beauté à la métrique poétique, soumettre la complexité infinie du monde naturel au calcul mathématique : telles sont les entreprises parallèles de la poésie de Shelley et de la science de son tempsThe Romantic era was a time of tremendous change in the relationship between literary creation and scientific knowledge. Scientists framed a specific language and distinctive methods as they moved away from natural philosophy, which had thus far combined physics with metaphysics and united the observation of nature with its celebration. While William Wordsworth stated that « we murder to dissect », thus declaring the secession of poetic writing from scientific discourse, Percy Bysshe Shelley (1792-1822) was steadily studying science at Eton and then at Oxford, before embarking on a medical training at Saint Bartholomew’s Hospital in London. This thesis explores the poetic transfiguration of the scientific theories and concepts that Shelley came across in his readings and during his studies. It focuses on the way science is subverted by the poet’s imagination, as scientific representations undergo a fruitful metamorphosis, and become pa! rt of the webs of metaphors woven by the text according to its own laws. Shelley recreates the mythical and imaginary foundations as well as the ethical and metaphysical implications which lie dormant in the scientific writings he looks into. This study examines the encounter of two heuristic endeavours, of two highly formalised ways of writing. Science and poetry are in search of the hidden harmonies which underlie appearances. Measuring the measureless, encompassing absolute beauty within poetic metrics, subsuming the infinite richness of the natural world within the rules of mathematical calculation, such are the parallel endeavours of Shelley’s poetry and the science of his age
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Wallace, Jennifer. "Shelley and Hellenism : the ambiguous image of Greece in the poetry of Percy Bysshe Shelley." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259531.
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Lacey, Andrew. "The philosophy of death in the poetry of William Wordsworth and Percy Bysshe Shelley." Thesis, University of Newcastle Upon Tyne, 2012. http://hdl.handle.net/10443/2637.
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The one aim of those who practice philosophy in the proper manner’, says Socrates in Phaedo, ‘is to practice for dying and death’. From its earliest beginnings, philosophy has sought to illuminate the phenomenon of death, and there is a rich body of writing on the subject. William Wordsworth and Percy Bysshe Shelley are, I posit, the most death-facing of the Romantics, and that both expressed a desire to write ‘philosophical poetry’ at various stages in their poetic careers sets them somewhat apart from their peers. Fundamentally, this thesis explores Wordsworth’s and Shelley’s rich and varied philosophical thinking on the common subject of death over the period 1798-1821. More theoretically, and advancing the view that reading poetry and philosophy in parallel is of mutually illuminating benefit, it makes new cross-connections between traditionally separate categories (death in poetry, and death in philosophy), and thus attests to an often underappreciated commonality of traditions. In Chapters 1 and 2, on Wordsworth, I trace a death-focused intellectual trajectory from Lyrical Ballads (1798-1800) to The Excursion (1814), and find the progression, from typically ‘earlier’ to ‘later’ thinking, to be both distinct and fairly linear. In Chapters 3 and 4, I read Queen Mab; A Philosophical Poem: with Notes (1813), Alastor; or, The Spirit of Solitude: and Other Poems (1816), and Adonais (1821), and show Shelley’s always-impassioned attitudes towards death to be in a state of marked flux over the course of eight highly productive years. I identify a hitherto overlooked circularity in Shelley’s thinking on death which is not present in Wordsworth’s, and conclude by stressing, in light of my readings of the poems, the particular appropriateness of the poetic form as a means of exploring the phenomenon of death.
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Fortier, Jonathan. "Shelley's unquiet republics : freedom and the inner self." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365557.
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Steyaert, Kris Omer Eli Antoon Sebastiaan. "Selective affinities and poetic appropriation : Percy Bysshe Shelley and Willem Kloos." Thesis, University College London (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271494.
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Stokoe, Leanne. ""Poetry (...) concealed by (...) facts and calculating processes" : political economy in the prose of Percy Bysshe Shelley." Thesis, University of Newcastle upon Tyne, 2013. http://hdl.handle.net/10443/3076.
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This thesis focuses exclusively on Shelley’s prose works. Firstly, it asks why few of those critics who admire Shelley’s poetry have analysed his prose in detail. Secondly, it explores Shelley’s engagement with political economy, with a view to questioning assumptions that he was hostile towards this discipline. Such a reading is indebted to the work of Connell (2001) and Bronk (2009), who argued that Malthusian and Benthamite doctrines may be aligned with literary concerns. However, my thesis extends these arguments by suggesting that Shelley refused to separate economic and aesthetic categories. Chapter One focuses upon Shelley’s early economic interests, culminating in a reading of his Notes to Queen Mab. These include Smith’s moral philosophy and Spence’s use of poetry to promote agrarian ideas. Such influences inspired Shelley to explore not only contemporary economic theories, but also the way that these were expressed. Chapter Two, which addresses Shelley’s essays on vegetarianism and political reform, discusses his interest in the ways in which metropolitan reformers like Hunt addressed economic issues in aesthetic language, whilst provincial writers like Cobbett incorporated poetry into their criticism of contemporary hardship. This affinity between political economy and literature can be seen as influencing a term that Shelley introduces in his major essays: – ‘Poetry’. Chapter Three, on A Philosophical View of Reform, explores how Shelley defines this capitalised word as encompassing all enlightening disciplines, not simply a literary genre. Chapter Four culminates in an analysis of Shelley’s treatment of utilitarianism in A Defence of Poetry. By engaging with the theories of Mill and Ricardo, it shows that Shelley saw political economy as containing qualities that were ‘concealed’, yet could be revealed within its ‘calculating processes’. Through exploring the way that political economy thus shaped, and was shaped by, his definition of ‘Poetry’, I present Shelley as a distinctive contributor to nineteenth-century economic thought.
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Roberts, Hugh. ""The boundless realm of unending change" : Shelley and the politics of poetry." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28525.
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This thesis argues that in the De Rerum Natura of Lucretius Shelley found an insight into the role of contingency in physical and historical process which allowed him to go beyond the limitations of an intellectual inheritance divided between post-Kantian Romanticism and the sceptical revolutionary Enlightenment. This insight entails radical implications for our understanding of the political role of the literary text. Shelley conceives society in evolutionary terms, making poetry a revolutionary clinamen (or mutation) in the iterative cycles of social reproduction. Models drawn from contemporary chaos theory help us to understand how this entropic tendency to disorder can work simultaneously as a negentropic motor of social innovation. Building on the work of Michel Serres, who demonstrates that Lucretius anticipates the recent scientific interest in "determinate indeterminacy," this thesis shows that Shelley's understanding of historical process and the role of the poet in social reproduction has anticipated some of the implications of contemporary "chaos science" in ways that suggest models for the general application of this new paradigm of contemporary scientific thought to literary and political issues.
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Mushakavanhu, Tinashe. "Anarchies of the mind : a contrapuntal reading of the poetry and prose of Percy Bysshe Shelley and Dambudzo Marechera." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/69686/.
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The thesis examines the historical and contemporary engagements of philosophical anarchism in the selected writings of Percy Bysshe Shelley and Dambudzo Marechera in a bid to establish an anarchic poetics that emerges between them. Both use poetry and prose to express opposition to values and relations characterising authoritarian societies while also expressing alternative social, political and personal values. The unusual pairing of two writers who wrote and lived in very different times inevitably prompts an enquiry into the various trajectories of philosophical anarchism, Romanticism and postcoloniality in world literature. The aim is to blur the stereotypical nature of writers and writings from specific regions of the world and instead argue for an interliterary and intertextuality tradition as the new critical idiom. This thesis also analyses the social functioning of poetry and fiction in social reform and political revolution. Juxtaposing the perspectives of and writings from different spatio- temporal and cultural locations is necessary to emphasise the continuity of ideas, the evolution of theory and philosophy and the historical interconnectedness of humanity as explained by Edward Said's notion of 'contrapuntal juxtaposition.' The writings of Shelley and Marechera do raise important questions about society and the state and continue to address serious political issues. As will be demonstrated, the literature of Shelley and Marechera is not static, it grows and develops with each new reading, it is continually changing, and for this reason it is essentially moving. This study contributes to the fields of literary anarchist theory, postcolonialism as well as Romantic studies by extending a conceptual bridge between the political and literary histories of ideas in which Shelley and Marechera are both ambassadors.
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Bleasdale, John. "Shelly and laughter." Thesis, University of Liverpool, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366700.
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Haines, Simon F. E. "A critical study of the poetry and prose of Percy Bysshe Shelley : illustrating the limiting effect of his ideas on his imagination." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303534.
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Sultana, Fehmida. "Romantic orientalism and Islam : Southey, Shelley, Moore, and Byron /." Thesis, Connect to Dissertations & Theses @ Tufts University, 1989.
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Thesis (Ph.D.)--Tufts University, 1989.Submitted to the Dept. of English. Includes bibliographical references (leaves 209-215). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
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Brookshire, David J. "Percy Bysshe Shelley and the Gothic." College Park, Md.: University of Maryland, 2009. http://hdl.handle.net/1903/9467.
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Thesis (Ph.D.) -- University of Maryland, College Park, 2009.Thesis research directed by: Dept of .English. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Schmid, Susanne. "Shelley's German afterlives, 1814 - 2000 /." New York, NY [u.a.] : Palgrave Macmillan, 2007. http://www.loc.gov/catdir/enhancements/fy0704/2006047154-b.html.
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Hannant, Fiona. "The religious thought of Percy Bysshe Shelley." Thesis, University of Sheffield, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319416.
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Fell, Annabelle E. "Soul-making in the writing of Percy Bysshe Shelley." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq28565.pdf.
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Lowe, Peter James. "Christian Romanticism : T.S. Eliot's response to Percy Bysshe Shelley." Thesis, Durham University, 2002. http://etheses.dur.ac.uk/4127/.
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This thesis presents a reading of T. S. Eliot's response to the work of Percy Bysshe Shelley, focusing on Eliot's Christian faith and the role it played in this response. Chapter One shows how Shelley was a great influence on Eliot's early work and how, after his Christian conversion, Eliot repudiated his influence. The chapter will show how previous readings of Eliot's relations with Romanticism have tended to centre on a Bloomian poetic 'anxiety of influence'. 1 will then offer my religious reading of Eliot's thought, and show how the period of initial repudiation gives way to a rapprochement with past poetic influences, as Eliot eventually accommodates past influences into his Christian scheme. Chapter Two examines the ways in which Shelley and Eliot address the issue of self-consciousness and our inherent sense of isolation. Chapter Three looks at the treatment of human love m the work of both poets. In both cases, Shelley desires, unsuccessfully, some release from selfhood, either in social communion or with an ideal lover. It is only with the adoption of a divine perspective that human relations can be set in context - something that Eliot came to realise in his later work. Chapter Four looks at the way the two poets reacted to the work of Dante, stressing that Eliot's Christian faith enabled him to relate to Dante's work in a way that Shelley, although appropriating Dantean motifs in his own work, could never fully attain. Chapter Five looks at the way both Eliot and Shelley address the fundamental shortcomings of language, showing how Eliot, in the years after his conversion, could be reconciled to linguistic shortfall because he could relate it to a higher, divine reality. Shelley, like Eliot in his early years, was vexed by this problem because he did not have the faith that offered a transcendent view of it. A concluding section draws together these chapters and sums up my reading of Eliot’s faith, and the extent to which it affected his response to the work of Shelley.
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Duffy, Cian. "Shelley and the revolutionary sublime /." Cambridge [u.a.] : Cambridge Univ. Press, 2005. http://www.loc.gov/catdir/enhancements/fy0659/2006274988-d.html.
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Mercer, Anna. "Rethinking the collaborative literary relationship of Percy Bysshe Shelley and Mary Wollstonecraft Shelley." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/18022/.
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This thesis offers a reassessment of the literary relationship and instances of creative collaboration between Percy Bysshe Shelley (PBS) and Mary Wollstonecraft Shelley (MWS). Rather than focusing on biography, I study the textual connections between the Shelleys’ works - though I have drawn on biographical information to put their collaboration into a historical context. I establish that their written works are profoundly influenced by and constructed through their intellectual exchange. Spoken discussions can never be recovered, but the evidence provided in the Shelleys’ writings, manuscripts, and non-fiction allows informed inferences to be made about how their compositions are interrelated. The study begins with the Shelleys’ meeting and their subsequent elopement in 1814, and continues on to PBS’s death in 1822, and beyond. It includes several case studies examined in detail. I give due attention to the work of existing scholars that have recognised the Shelleys’ collaboration, but emphasise that a comprehensive study of the Shelleys’ texts in light of their status as a literary couple has been lacking. More recent studies in Romanticism have shown a marked interest in the significance of collective creativity: PBS and MWS have the potential to provide one of the most intriguing examples of this paradigm, and critics have called for a ‘major study of this collaboration’ (Charles E. Robinson). I demonstrate MWS’s involvement in the production of PBS’s writings, and I identify shared working spaces. My analysis reveals the reciprocity of a relationship that in popular culture - including much of the discourse surrounding the Frankenstein manuscript - is often misrepresented as that of a patriarchal husband exerting intellectual dominance over his wife.
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Cerimonia, Daniella. "Making the Foreign familiar : Giacomo Leopardi and Percy Bysshe Shelley translation." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.528879.
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Ruston, Sharon. "P.B. Shelley and the science of life." Thesis, University of Liverpool, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366974.
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Ogden, Rebecca Lee Jensen. "Merit Beyond Any Already Published: Austen and Authorship in the Romantic Age." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2417.
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In recent decades there have been many attempts to pull Austen into the fold of high Romantic literature. On one level, these thematic comparisons are useful, for Austen has long been anachronistically treated as separate from the Romantic tradition. In the past, her writings have essentially straddled Romantic classification, labeled either as hangers-on in the satiric eighteenth-century literary tradition or as early artifacts of a kind of proto-Victorianism. To a large extent, scholars have described Austen as a writer departing from, rather than embracing, the literary trends of the Romantic era. Yet, while recent publications depicting a “Romantic Austen” yield impressive insights into the timeliness of her fiction, they haven't fully addressed Austen's participation in some of the most crucial literary debates of her time. Thus, it is my intention in this essay to extend the discussion of Austen as a Romantic to her participation in Romantic-era debates over emergent literary categories of authorship and realism. I argue that we can best contextualize Austen by examining how her model of authorship differs from those that surfaced in literary conversations of the time, particularly those relating to the high Romantic myth of the solitary genius. Likewise, as questions of solitary authorship often overlap with discussions of realism and romance in literature, it is important to reexamine how Austen responds to these categories, particularly in the context of a strictly Romantic engagement with these terms. I find that, though Austen's writing has long been implicated in the emergence of realism in literature, little has been written to link this impulse to the earlier emergence of Romantic-era categories of authorship and literary creativity. I contend that Austen's self-projection (as both an author and realist) engages with Romantic-era literary debates over these categories; likewise, I argue that her response to these emergent concerns is more complex and nuanced than has heretofore been accounted for in literary scholarship.
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Carpenter, Roy. "The question of genre in Shelley's lyrical dramas /." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69600.
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In both Prometheus Unbound and Hellas Shelley used the drama of Aeschylus as the model for composition. Accordingly, the plays' subtitle "Lyrical Drama" refers to the two major components of Aeschylean drama: the lyrics recited by the chorus and the drama of character dialogue. In taking up this specific literary genre, the poet also inherited a complex model of the socio-political system of ancient Greece, with which the dramatists had been able to explore contemporary issues. Through various means, Shelley adapted Aeschylean drama to his own language and style, using the genre's inherent capacity for social critique to examine the concerns of his time.
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Whickman, Paul William. "Romantic blasphemy : sacrilege and creativity in the literature of Percy Bysshe Shelley." Thesis, University of Nottingham, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.659195.
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This thesis considers the nature and significance of perceived blasphemy in the literature of Percy Bysshe Shelley and in the 'Romantic' period more widely. The central concern of this study is the consideration of Shelley's perception of the collusion of political and religious tyranny in relation to the increasing conflation of political with religious discourse throughout the Long Eighteenth Century. Alongside this, this inquiry has several further interrelated and overlapping strands. I consider the significance of perceived blasphemy in influencing the print history and 'bibliographical codes' of both Shelley's works and other Romantic period texts. I argue that not only were blasphemous or 'injurious' texts, due to the lack of copyright protection, those most widely read and disseminated - thus substantially shaping the Romantic reading public - they also served to enfranchise a readership. As a result, not only did the 'blasphemous' content or themes of a particular work influence the public perception of the author, the fact that such works were pirated by less 'respectable' publishers alongside pornographic or more ostensibly politically radical texts further inflected an author's reception. This was certainly the case with Shelley, who became most commonly associated with his most ostensibly antireligious poem Queen Mab. This was despite its exclusion from Mary Shelley's Posthumous Poems of Percy 8ysshe Shelley {1824}. Shelley's works are therefore considered in relation to the publishing realities and literary historical context of his age.
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Nabugodi, M. A. "Life after Life : a reading of Percy Bysshe Shelley and Walter Benjamin." Thesis, University College London (University of London), 2016. http://discovery.ucl.ac.uk/1528798/.
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The title of this thesis, Life after Life, cites an essay by Jacques Derrida where he translates the title of Percy Bysshe Shelley’s last poem ‘The Triumph of Life’ into life’s triumph, a life after life, or else a living on, sur-vivre, Über-leben. The latter term, Überleben, is in its turn a citation from Walter Benjamin’s essay ‘The Task of the Translator’ where Benjamin conceptualises the life of literary works as their afterlife in future readings. This comparative reading of Percy Bysshe Shelley and Walter Benjamin begins with this intersection in the afterlives of their works. I explore their reception in contemporary literary theory with the dual aim of reading Shelley and Benjamin and reading how they have been read by other critics. The thesis is written under the ‘Creative Critical Writing’ strand of the Comparative Literature PhD, which has allowed me to develop my methodology in response to the material that I study. Central themes include translation, autobiography, disfiguration, poetic histories of language, the problems of historical representation, ekphrasis, tragedy, violence, and, finally, forgiveness as a force stronger than violence. I focus on Shelley’s translation of the Homeric ‘Hymn to Mercury,’ ‘The Triumph of Life,’ ‘The Defence of Poetry,’ ‘The Cloud,’ ‘On the Medusa of Leonardo da Vinci in the Florentine Gallery,’ and The Cenci. Of Benjamin’s works I read ‘On Language as Such and on the Language of Man,’ ‘The Task of the Translator,’ ‘Doctrine of the Similar’ and ‘On the Mimetic Faculty.’ Furthermore, I look at his ‘Critique of Violence,’ ‘Goethe’s Elective Affinities,’ Berlin Childhood around 1900, some of the methodological notes in ‘Convolute N’ of The Arcades Project, and ‘On the Concept of History.’
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Benoit, Jain Madhu. "Shelley, prophète de la non-violence." Paris 4, 1995. http://www.theses.fr/1995PA040160.
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Porté au firmament littéraire pour son œuvre poétique, Percy Bysshe Shelley est demeure dans l'ombre en tant que théoricien politique. Même Mohandas K. Gandhi, qui puisa sans doute pour une large part son inspiration dans les écrits du poète et auprès des disciples de celui-ci, ne lui a jamais rendu d'hommage public. Pourtant, Shelley est le père de la non-violence. Cette doctrine a, de l'indépendance de l'Inde à la fin de l'apartheid en Afrique du sud, marqué de son sceau plusieurs tournants de l'histoire récente. Notre travail a pour but d'étudier la théorie de la non-violence, telle qu'elle a été élaborée par Shelley dans un premier temps, et de retracer la filiation entre le poète et le mahatma dans un deuxième temps. Bien que cette recherche porte principalement sur Gandhi, il ne fut pas le seul citoyen illustré à être influencé par Shelley. Nous avons mentionné pour mémoire d'autres shelleyens qui ont laissé leur empreinte sur la politique contemporaine. Nous avons également tenté d'évaluer l'influence shelleyenne sur les stratégies de la non-violence utilisées dans des conflits sociaux au XXème siècle, afin de rendre au poète l'hommage qui lui est dûPercy Bysshe Shelley has long been ranked amongst the greatest English poets but he has never been given full credit as a political thinker. Even Mohandas K. Gandhi, who is undoubtedly greatly indebted to the poet, both directly and indirectly, never acknowledged this debt. Nevertheless, Shelley is the source of Gandhi’s doctrine of non-violence. A doctrine which has left its mark on recent history, from the Indian struggle for independence right up to the nineties, including such brilliant examples as the abolition of apartheid in South Africa. The aim of the present study is firstly to study the theory of non-violence as conceived by Shelley, and secondly, to trace the link between the mahatma and the poet. Although the present work focuses on Gandhi, he is far from being the only personality to have followed shelleyan theories. Keeping this in mind, we have mentioned, albeit briefly, other eminent shelleyans who have influenced contemporary politics. We have also tried to assess Shelley’s impact on non-violent strategy, as it has been used during various social conflicts in the XXth century, in an attempt to give the poet credit long overdue, particularly in the annals of non-violence
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Koopman, Jennifer. "Redeeming romanticism : George MacDonald, Percy Shelley, and literary history." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102805.
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This dissertation examines George MacDonald's preoccupation with his literary predecessor Percy Shelley. While eminently Victorian in many ways, MacDonald was equally a late Romantic, who was inspired by the Romantic poets and positioned himself as the heir to their radical tradition. While he channeled their visionary ardor, he also made it his duty to correct what he saw as their flaws. I read MacDonald through the figure of Shelley, with whom MacDonald seems to have personally identified, but to whose atheism MacDonald, a devout believer, objected. MacDonald's fascination with Shelley works its way into his fiction, which mythologizes literary history, offering fables about the transmission of the literary spirit down through the generations. Throughout his work, MacDonald resurrects Shelley in various guises, idealizing and reshaping Shelley into an image that is startlingly like MacDonald himself. This project contributes to MacDonald scholarship by offering a new approach to his work. It positions MacDonald, who is often portrayed as an ahistorical myth-maker, in an explicitly historical light, revealing him as a Victorian mythographer who was deeply invested in questions of literary criticism and historical succession.Chapter 1 introduces MacDonald's concern with literary genealogy, and discusses how his work as a literary critic and historian idealizes Shefey. Chapter 2 examines how MacDonald's Phantastes portrays literary history as romantic quest, featuring Shelley as a heroic but fallen knight, and opening questions about literary fatherhood. Chapter 3 interprets the gothic tale "The Cruel Painter" as a myth about the transition from the Enlightenment to Romanticism, in which MacDonald rewrites the story of Shelley's involvement with Mary Godwin and her father William Godwin. Chapter 4 considers Sir Gibbie and Donal Grant, works in which MacDonald explicitly critiques Shelley, and implicitly positions himself as the savior of the English literary tradition. Chapter 5 investigates MacDonald's later works, The Flight of the Shadow and Lilith, in which Shelley---and evil itself---become more complex entities. Throughout the dissertation, particular attention is given to the issue of repeating history vs. redeeming history, a tension that is reflected in MacDonald's use of vampire imagery to portray the unredeemed past.
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Corbit, James B. "The Shelleyan vortex a study of the evolutionary development of the spiral within Percy Bysshe Shelley's "Alaster," "Mount Blanc" and "Prometheus Unbound" /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2003. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 2003.Source: Masters Abstracts International, Volume: 45-06, page: 2843. Typescript. Abstract precedes thesis as preliminary leaves iii-iv. Includes bibliographical references (leaves 118-126).
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Peterson, Susan Joan. "From discourse to activism : trajectories of Percy Bysshe Shelley's nonviolence philosophy in literatures of resistance /." View online ; access limited to URI, 2004. http://0-wwwlib.umi.com.helin.uri.edu/dissertations/dlnow/3135913.
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Goulding, Christopher. "The influence of James Lind on the scientific and philosophical thought of Percy Bysshe Shelley." Thesis, University of Newcastle Upon Tyne, 2002. http://hdl.handle.net/10443/899.
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Though James Lind MD, FRS (1736-1812) has long been a feature of Shelleyan biography, references to him have been superficial, and subject to often repeated inaccuracies. Frequently dismissed as an eccentric or passed over altogether, Lind has become a purely biographical figure, associated only with a brief episode in the poet's childhood. Despite Shelley's own assertion that he owed more to Lind than to his own father, generations of critics have largely ignored the possibility of any influence by him on Shelley's creative work. Lind was, in fact, an extremely accomplished practitioner in every field of natural philosophy that interested Shelley, and that was later to infuse his poetry with its unique scientific metaphorical imagery. These subjects included medicine, astronomy, chemistry, geology, and meteorology. Though an obscure figure himself, Lind was a friend or correspondent of many of the greatest figures of the Enlightenment, such as Benjamin Franklin, William Herschel, David Hume, James Watt, and many others. Drawing upon original archival and historical research, Lind is proposed as a new influence on Shelleyan passages whose scientific character may already have been recognised, but with Lind now providing a more likely origin or more direct link for influences thus far attributed to other conjectural sources. Lind is also introduced as a potential source for certain segments of the poet's work whose possible significance has hitherto gone entirely unrecognised. This thesis aims to raise the profile of James Lind as an influence on Percy Shelley's work, and also to contribute new material to our understanding of Shelley's scientific thought. Comparisons are also made with existing scientific commentary on Shelley's work. In pursuit of these aims, this thesis is necessarily themed with reference to the scientific subjects under discussion, rather than chronologically, or textually.
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West, Sally Julia. "Studying a masterpiece of nature : the influence of Samuel Taylor Coleridge on Percy Bysshe Shelley." Thesis, University of Liverpool, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402406.
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Stewart, James C. "The ghost of Godwin intertextuality and embedded correspondence in the works of the Shelley circle /." Birmingham, Ala. : University of Alabama at Birmingham, 2008. https://www.mhsl.uab.edu/dt/2008m/stewart.pdf.
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Thesis (M.A.)--University of Alabama at Birmingham, 2008.Additional advisors: Randa Graves, Daniel Siegel, Samantha Webb. Description based on contents viewed Feb. 10, 2009; title from PDF t.p. Includes bibliographical references (p. 68-71).
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Desset, Fabien. "Mythes et légendes dans l'oeuvre de Percy Bysshe Shelley : étude hypertextuelle de la poésie mythologique shelleyenne." Tours, 2007. http://www.theses.fr/2007TOUR2022.
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Cette thèse se propose d’étudier la poésie mythologique de Percy Bysshe Shelley en utilisant l’outil de l’hypertextualité formalisé par Gérard Genette et, subsidiairement, celui de la thématologie. Shelley étant un poète érudit et un grand admirateur des œuvres classiques de l’Antiquité, l’hypertextualité apparaît comme un outil tout désigné pour étudier sa mythologie, que l’on distinguera ici de la mythopoïée ou création de mythes nouveaux et non classiques. Cette thèse pose aussi la question de la légitimité des mythes dans le romantisme anglais, d’une part, en contextualisant la poésie mythologique de Shelley (hellénisme du XIXe siècle, poésies de Keats et de Wordsworth) et, d’autre part, en faisant une synthèse des théories shelleyennes pouvant expliquer l’emploi de mythes classiques dans sa poésie, mais aussi de légendes fantastiques empruntées au folklore. Il est question ici de trois œuvres de Shelley, ses traductions des Hymnes homériques et du Banquet, ainsi que « Prometheus Unbound »This work studies Percy Bysshe Shelley’s mythological poetry by using Gerard Genette’s theory of hypertextuality and, as a complement, the theory of thematology. Because Shelley is a learned poet and is particularly well-read in ancient literature, the hypertextual approach is a convenient tool to study his mythological poetry, which will be distinguished from his mythopoeic poetry or new, non-classical mythmaking. The aesthetic issue of the legitimacy of classical myths in Romanticism is also discussed, firstly, through the survey of Shelley’s literary context (19th century Hellenism, Wordsworth’s and Keats’s mythological poems) and, secondly, through the study of his various philosophical and aesthetic theories that may account for his use of mythology and folklore in his poetry. Three main works are considered here, Shelley’s translations of the Homeric hymns and Plato’s Symposium as well as ‘Prometheus Unbound’
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Mazzeo, Tilar Jenon. "Producing the Romantic 'literary' : travel literature, plagiarism, and the Italian Shelley/Byron circle /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/9412.
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Roussetzki, Rémy Joseph. "A theater of Anxiety : the irrepresentable in Shelley's The Cenci and in Musset's Lorenzaccio /." Ann Arbor : UMI, 1999. http://catalogue.bnf.fr/ark:/12148/cb37155209d.
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Leslie, Lisa Diane. "'How can I exist apart from my sister?' : sisters in the life and literature of Percy Bysshe Shelley, Mary Shelley, and Claire Clairmont." Thesis, University of Liverpool, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369536.
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Bouka, Hilaire. "La poésie de P. B. Shelley : étude d'un engagement philosophique." Paris 10, 1989. http://www.theses.fr/1989PA100018.
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Cette thèse porte sur les vues philosophiques du poète P B. Shelley. Nous y montrons que le romantisme anglais ne fut pas refus d'apprendre à vivre comme l'ont prétendu bien des critiques. Le phénomène dura aussi longtemps qu'en Europe, le désir de changer la société demeura un désir concret. Shelley, comme les autres poètes romantiques anglais, s'obstinait à percevoir et comprendre ce que les autres écrivains de son temps s'acharnaient a oublier : l'existence et la cohérence de l'oppression. A partir de ce constat, il a tenté de modeler ensemble perception et désir, se refusant à définir l'idéal autrement que comme ce qui doit être réalisé. L'idéalisme romantique chez Shelley est le contraire absolu du désir de ne pas voir ou de fuir dans l'idéalIn this doctoral thesis on Shelley's philosophical mindedness i have attempted to expound the political ideology to which he adhered, and to show how, and more important why, he came to adopt it. Shelley devoted most of his short life to social issues. At this point the choice is between despair, and a retreat to less spectacular but ultimately more effective methods of change. It is in this perspective that i have viewed Shelley's gradualism and reformism showing that his reformist means were always directed to revolutionary ends. His politics were practical rather than theoretical
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Alkormaji, A. "Public quarrelling in the Romantic period : the rhetorical styles of John Burgoyne, Thomas Paine, William Cobbett, and Percy Bysshe Shelley." Thesis, Nottingham Trent University, 2014. http://irep.ntu.ac.uk/id/eprint/27890/.
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This thesis focuses on the concept and style of quarrelling in the writings of four British Romantic authors: General John Burgoyne (1722-1792), Thomas Paine (1737-1809), William Cobbett (1763-1835), and Percy Bysshe Shelley (1792-1822). All four authors engaged in radical writing about war, politics and various controversial social issues during the American War of Independence and the Regency period (1811-1820). This study situates their political arguments in the historical context and the political discourse of the time. It demonstrates how their style of arguing is particularly aptly described by the term 'quarrelling' because of the combination of personal motives, interests and conflicts with the discussion of larger public problems during this turbulent historical period. I start with a discussion of General Burgoyne’s pamphlets, through which he sought both to justify the political decision of the surrender of British troops at Saratoga and to clear his name of accusations of being personally responsible for losing the war. I compare Burgoyne’s suppression of anger and use of a polite style of arguing to Thomas Paine’s gradual transition from a humble quarrelling approach in his pamphlet The Case of the Officers of Excise to a more openly angry and sarcastic attitude in his later works in support of America’s independence. Paine’s predominantly rational and objective rhetoric is then contrasted to William Cobbett’s cantankerous attitude in his pamphlets, letters and his own newspaper The Political Register, through which he conducted polemical battles blending public issues with personal conflicts. Finally, the thesis compares the rhetorical devices of quarrelling exemplified in the political prose of Burgoyne, Paine and Cobbett to the use of poetry for the purposes of political quarrelling by Shelley. In this wide range of quarrelling attitudes, the thesis outlines the fluctuation between personal emotions, in particular anger, and an objective or polite tone in the written quarrels of each author, as well as between these authors. It thus demonstrates how their stylistic choices were affected by their social positions and circumstances and the different audiences they were addressing. The comparison of these four authors’ methods of combining personal and public arguing aims to give a sense of how quarrels were conducted within the public sphere in the Romantic period.
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Edmonds, Markus. "A Defence of Literary Theory : A psychoanalytical study of selected works by Percy Bysshe Shelley with a view to didactic usage." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-61065.
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This essay argued the importance of literary theory in the classroom. As a teacher, it is possible to achieve the empathetic goals of the English curriculum and Judith A. Langer’s ambition of literate thinking by using poetry and literary theory in school. The essay demonstrated this with a Lacanian reading of Percy Bysshe Shelley’s poems “To a Skylark” and “Ode to the West Wind.” The analysis focused on readable and unreadable aspects of the poems. The readable aspects centred on the role of the Imaginary in “To a Skylark” and the representation of the fragmented body in “Ode to the West Wind.” Furthermore, the unreadable elements of the poetry demonstrated the discrepancy between the performative and declarative dimensions and the role of the pathetic fallacy in the signifying chain. Finally, this essay argued that, although all aspects of psychoanalytic literary theory should not be used in the classroom, elements of Lacanian thought can be used to combat the prevalence of individualism in Swedish upper secondary schools.
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Ramadier, Bernard-Jean. "L'errance romantique : Byron, Shelley, Keats." Grenoble 3, 1998. http://www.theses.fr/1998GRE39042.
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Les trajectoires errantes des existences de byron, shelley et keats s'organisent en itineraires par l'ecriture poetique. D'autre part, l'etude de la traduction onirique de l'errance dans les oeuvres fait emerger une convergence profonde des trois poetes par leur usage des images et des symboles en relation avec le theme. Un + complexe d'ahasverus ; informe a des degres divers des poemes aussi differents que childe harold's pilgrimage, don juan , alastor , et endymion. La structure totalisante du mythe du juif errant, mise en evidence par les anthropologues et les sociologues, superpose ontogenese et phylogenese, et lui permet de representer a la fois l'individu et l'espece confrontes au grand mystere du temps. Errer, c'est d'abord prendre conscience d'un + avant ; et d'un + apres ; determinant la representation poetique d'un + etre du dehors ; exile du paradis qui avance dans l'espace et le temps, nostalgique de sa condition originelle d' + etre du dedans ;. A travers les poetes, c'est une histoire universelle, et pas seulement la voie d'une experience individuelle, qui nous est donnee, histoire que l'on entend dans les voix du texte et qui parlent de lieux quittes que l'on aspire a retrouver. C'est a partir du constat dresse par les poetes de la vacuite de la deambulation existentielle que le theme de l'errance trouve ses racines et ses prolongements dans le mythe du juif errant. Fixation onirique des experiences douloureuses de la vie, le personnage amplifie la condamnation du poete, liee a son statut de contemplateur marginal, aliene d'un monde qui refuse d'entendre sa voixThe meandering trajectories of the lives of byron, shelley and keats find an organising force in, and become itineraries through, poetry. Studying the theme of wandering as it appears in the dreams of poetic imagination highlights the three poets' deeply converging use of images and symbols related to the theme. An "ahasuerus complex" informs in various ways poems like childe harold's pilgrimage, don juan , alastor , and endymion , despite their obvious differences in tone and maturity. Furthermore the influence of the myth of the wandering jew spreads well beyond those major poems; the myth's encompassing structure, highlighted by anthropologists and sociologists, allows it to represent both the individual's and the species' puzzling position before the great mystery of time in the double exposure of ontogenesis and phylogenesis. Wandering means first and foremost realizing man's position between "before" and "after", which initiates a poetic representation of an outcast, an exile who wanders away, longing after his lost paradise and yearning to go home, to be part of a whole again. Through the poets we are given a story, not only an access to individual experience, but a universal story about lost places that man tries to trace and the path to which is wafted on the various voices speaking in the texts. From the poets' awareness of the aimless travel of life, the theme of wandering originates in, and grows from, the myth of the wandering jew. Poetic imagination links life's painful experiences with the eternal wanderer's thorny way, and the jew's curse with the poet's endless attempts to be reconciled with the universe
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Clanton, Amy M. "Religion as Aesthetic Creation: Ritual and Belief in William Butler Yeats and Aleister Crowley." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3718.
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William Butler Yeats and Aleister Crowley created literary works intending them to comprise religious systems, thus negotiating the often-conflicting roles of religion and modern art and literature. Both men credited Percy Bysshe Shelley as a major influence, and Shelley's ideas of art as religion may have shaped their pursuit to create working religions from their art. This study analyzes the beliefs, prophetic practices, myths, rituals, and invocations found in their literature, focusing particularly on Yeats's Supernatural Songs, Celtic Mysteries, and Island of Statues, and Crowley's "Philosopher's Progress," "Garden of Janus," Rites of Eleusis, and "Hymn to Pan." While anthropological definitions generally distinguish art from religion, Crowley's religion, Thelema, satisfies requirements for both categories, as Yeats's Celtic Mysteries may have done had he completed the project.
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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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Reno, Seth T. "Amorous Aesthetics: The Concept of Love in British Romantic Poetry and Poetics." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306247314.
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Peyrache-Leborgne, Dominique. "Poétique du sublime romantique (Diderot, Schiller, Wordsworth, Shelley, Hugo, Michelet)." Paris 3, 1993. http://www.theses.fr/1994PA030003.
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Aux dix-huitieme et au dix-neuvieme siecles, le sublime s'est progressivement constitue comme une tradition esthetique et philosophique, en france, en angleterre et en allemagne, autour de grands textes theoriques et poetiques, notamment ceux de diderot, schiller, wordsworth, shelley, hugo et michelet. Du sublime du crime au concept d'humanite ideale, le sublime chez diderot et schiller sous-tend un humanisme conquerant. Avec le romantisme, il devient plus paradoxal en se definissant surtout par son contraire, l'humble et le grotesque. Le sublime devient aussi une experience visionnaire et poetique fondee sur une dialectique entre nature et esprit, monde sensible et transcendance, histoire et mythe. La modernite du sublime, sa valeur d'actualite, vient de cette fonction d'inauguration, de "tabula rasa" poetique, que lui ont assignee les romantiquesDuring the eighteenth, then the nineteenth centuries, the sublime became an aesthetic and philosophical tradition, in english, french and german literature, particularly in the theoretical and poetical works of diderot, schiller, wordsworth, hugo and michelet. With diderot and schiller, the sublime is not only linked to the burkian "delight", it underlies a concept of ideal humanity. With the romanticism, the sublime becomes more paradoxical, being defined by its contrary - the grotesque, the humble, in hugo and wordsworth - or by a visionary experience (in hugo, shelley, michelet) based upon a dialectic between nature and spirit, sensible universe and transcendance, history and myth
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Roy, Malini. "Shape-shifters : Romantic-era representations of the child in the Wollstonecraft-Godwin family circle." Thesis, University of Oxford, 2008. http://ora.ouls.ox.ac.uk/objects/uuid:59d59e07-eb4d-46b3-a7c972cd12102b2d.
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Horan, Jennifer. "Poésie dramatique et le dramaturge poétique chez Shelley et Hölderlin : la question du fondement de la poésie à travaers l'étude du "poem-play"." Paris 4, 2008. http://www.theses.fr/2008PA040242.
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La thèse que nous présentons contient une double problématique : d'une part il s ''agit de contextualiser les problèmes philosophiques dans le genre littéraire et d'autre part de s'impliquer dans la question du genre. De manière plus explicite, il s'agit de repenser le corpus poétique et dramatique de Percy Bysshe Shelley (1792-1822) et de Friedrich Hölderlin (1770-1843) autour du concept de "poem-play", expression que nous avons créée afin de dévoiler les relations génériques, conceptuelles et figuratives de la forme littéraire. A cet égard, nous avons emprunté à l'approche dialectique, approches qui prend ses références dans l'antinomie de Kant et plus tard dans les interprétations du genre du vingtième siècle comme on constate chez Walter Benjamin, Philippe Lacoue-Labarthe, Theodor Adorno and Giorgio Agamben. Les œuvres poétiques et dramatiques qui constituent le cœur de notre étude sont "La mort d'Empédocle" de Hölderlin (1798-1800), sa traduction de l'"Antigone" de Sophocle (1804) et "Prométhée délivré" de Shelley (1820). On trouvera également quelques références à l'"Hellas" de Shelley (1822). De plus nous nous attacherons à examiner chaque écrit théorique des poètes sur le genre, soulignant particulièrement la frontière du lyrique et de la tragédie. En qualité de genre littéraire, le "poem-play", que nous avons inventé, appelle plusieurs suggestions : "problem play", genre dualiste, composite, fragmentaire ou hybride ; assemblage, totalité, ect… Nous nous plaisons à le penser comme un genre à la limite parce que cela nous permet d'explorer les différents niveaux de relations relatés plus haut. L'histoire de la critique et de l'interprétation du romantisme a de manière étonnante connu peu d’études comparatives dédiées a Shelley et Hölderlin. Plus encore, à notre connaissance, il n'existe pas d'études consacrées à la recherche de leurs affinités quant à la forme poétique et dramatique. Cela dit, nous avons l'espoir de voir nos recherches ouvrir de nouvelles perspectives à ceux qui nous suivent aussi bien que nous comptons poursuivre les tendances antinomiques de genre hors et dedans le canon des romantiquesOur thesis contains a double problematic : on the one hand, we contextualize philosophical problems within literary genre and on the other hand, we concern ourselves with the question of genre. More specifically, we rethink the poetic, dramatic corpus of Percy Bysshe Shelley (1792-1822) et de Friedrich Hölderlin (1770-1843) around the concept of the poem play, a term that we invented to show the generic, conceptual and figural relations within literary form. In this respect we take a dialectical approach, one that refers back to the antinomy of Kant and reemerges in twentieth century interpretations of genre discernable in the writings of Walter Benjamin, Philippe Lacoue-Labarthe, Theodor Adorno and Giorgio Agamben. The poetic, dramatic works which are the center of our study are Hölderlin's Der Tod des Empedokles ("The death of Empedokles") (1798-1800), his translation of Sophocle's Antigone (1804) (in particular, the lyrical dialogues and choral odes) and Slelley's Prometheus Unbound (1820). In addition, we examine each poet's theorical writings on genre, highlighting especially the relation of tragedy and the lyric. As a literary genre, the poem-play, which doesn't exist, connotes many things : the problem-play, mixed, dual, composite fragmentary, or hybrid genre ; assemblage, totality, etc. We like to think of it as a border genre because this allows us to explore the different levels of relation alluded to above. In the history of Romantic criticism and interpretation there have been surprisingly little comparative studies dedicated to Shelley and Hölderlin. Moreover, to our knowledge, there are no existent studies which have focused on each poet's respective affinities to poetic, dramatic forms. Hence, we hope that our research will open up new paths in the domains of Shelley and Hölderlin criticism in addition to inviting further work on the antinomical tendencies in genre within and beyond the Romantic canon
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Franson, Craig. "Suspended pangs : figures of agony in the discourse of Romanticism /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1421623051&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Thesis (Ph. D.)--University of Oregon, 2007.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 222-230). Also available for download via the World Wide Web; free to University of Oregon users.
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Brncic, Becker Carolina. "Lectura comparada del Mito de Prometeo en el romanticismo y Nikos Kazantzakis." Tesis, Universidad de Chile, 2003. http://repositorio.uchile.cl/handle/2250/108785.
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Aymonier, Quentin. "La Diotime shelleyenne." Thesis, Bourgogne Franche-Comté, 2019. http://indexation.univ-fcomte.fr/nuxeo/site/esupversions/0d5781ee-6020-4c4f-bca2-283dbaae6d24.
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« La Diotime shelleyenne » se propose de réévaluer l’idée de la muse à partir de la figure platonicienne, prophétesse, mystagogue et professeur de Socrate, Diotime de Mantinée, à travers les oeuvres de Shelley. En effet, le Romantisme développe l’image d’une femme, qui certes inspire le poète, mais qui est surtout garante d’une révélation philosophique d’ordre métaphysique, mystique et poétique. De la sorte, elle déborde largement les attributs traditionnels de la muse et demande une attention critique nouvelle. Les similitudes que porte cette révélatrice littéraire avec la Diotime du Banquet de Platon — depuis le Hypérion d’Hölderlin et particulièrement chez Shelley, qui, ayant traduit Platon, avait de cette figure une connaissance certaine — invitent à une comparaison et proposent une direction critique et interprétative originale pour l’étude de cet auteur, du Romantisme et de la littérature en général. Il s’agit ainsi d’une histoire littéraire de la philosophie, analysant à partir de Platon les attributs de la figure de Diotime pour comprendre ses avatars mystiques, poétiques et parfois politiques dans la poésie de Shelley“Shelley’s Diotima” tries to revaluate the idea of the muse in the romantic writings of Shelley with Plato’s character of Diotima, a prophetess, mystagogue and Socrates’ teacher of philosophy. Indeed, Romanticism shows the development of a feminine figure who inspires the poet but whose revelation is also philosophical, metaphysical, poetical and even political. Thus, she is well beyond the traditional qualifications of the muse and requires a renewed and particular critical attention. The similitudes between this romantic literary revealer and the Diotima of Plato’s Banquet, as seen since Hölderlin’s Hyperion and throughout Shelley’s work — who having translated Plato’s dialogue knew about it very well — require a comparison and pave the way for a new interpretative direction in the study of Shelley, Romanticism and literature in general. This work is a literary history of philosophy and traces from Plato the attributes of the figure of Diotima in order to understand her mystical, poetical and political avatars in Shelley’s poetry
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Bonnecase, Denis. "La poesie romantique anglaise : recherche sur l'ecriture lyrique." Montpellier 3, 1987. http://www.theses.fr/1987MON30008.
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L'objet de ce travail est de considerer la poesie romantique anglaise comme une trajectoire a partir de l'analyse de quatre de ses principaux representants (w. Wordsworth, s. T. Coleridge, p. B. Shelley et j. Keats). La poesie lyrique est definie dans sa modalite discursive (soit selon l'axe de son enonciation) et dans le rapport a l'histoire qui la fait emerger. Deux grandes modalites du travail d'ecriture ou "poeisis" peuvent alors se degager; l'une et l'autre perceptibles chez les quatre poetes, mais dont les frequences et la pregnance respectives permettent de construire une trajectoire unitive du lyrisme romantique. D'une part, la modalite phenomenologique ou euphorique du faire principalement illustree par les deux grands poetes de la premiere generation (wordsworth et coleridge): le poeme lyrique est alors l'espace ou se deploie un discours permettant a l'instance d'ecriture d'abreagir l'angoisse, de se reconstruire en reconstruisant le monde par la contemplation, et ultimement d'elaborer les lineaments d'une ecriture centriguge ou pragmatique qui s'adresse, via l'identification, au lecteur. D'autre part, une modalite inverse ou dysphorique inauguree par coleridge et aprofondie par la deuxieme generation (shelley et keats), qui reflete une interrogation inquiete sur l'aptitude du dire poetique a nommer ou a exprimer, et tend, par consequent, a remettre en question les concepts majeurs du romantisme: imagination, genie, expression demiurgique. Ce que nous appelons la poesie romantique se definirait et s'acheverait dans cette dualite: flux et reflux de la confiance que l'on prete au langage, et donc a l'ecriture. Nee de la necessite de purger l'angoisse, elle bouclerait sa problematique dans la confrontation avec une autre angoisse, bien plus tragique, dans la mesure ou elle serait inherente a l'acte meme d'ecritureThis research work considers english romantic poetry as an itinerary. Four main romantic poets are analysed -w. Wordsworth, s. T. Coleridge, p. B. Shelley and j. Keats, lyrical poetry is here defined as discourse, the emphasis being laid both on the nature of enunciation and the historical context from which poems sprang. Two amin modes of the act of writing or poesis may be isolated through the study of the four poets' most seminal works, each mode contributing to a unified approach of romantic lyricism. The earlier one consists in a euphoric phenomenological practice mostly examplified by the first generation's greatest exponents, wordsworth and coleridge. The lyrical poem in this case unfolds a discourse allowing the writing instance to abreact anxiety, achieve self-reconstruction while reconstructing the world through contemplation, and ultimately, initiate a centrifugal or pragmatic poetic programme addressed to the reader through identification. By contrast coleridge also inaugurates an opposite or dysphoric modality which shelley and keats will refine in the second generation. This new mode reflects the discovery of the incapacity of poetry to name or express and tends, consequently, to question the main creative concepts of romanticism -imagination, genius, demiurgic expression. Romanticism would therefore complete its definition in a duality, that of the ebbb and flow of the writer's trust in language and, therefore, poetic writing. Springing from a necessity to purge anxiety, romantic poetry would complete itself through the tragic facing of another anxiety, that which inheres in the very act of writing