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Hullah, Paul. "The poetry of Christina Rossetti." Thesis, University of Edinburgh, 1992. http://hdl.handle.net/1842/19858.
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Twentieth century critical work on Christina Georgina Rossetti (1830-94) is sparse. Short discussions of her poetry have appeared intermittently in journals such as Victorian Poetry, or as chapters or parts of chapters in books such as Sir Maurice Bowra's The Romantic Imagination (1949) and Professor W.W. Robson's Critical Essays (1966). Only with the recent publication of David A. Kent's edition The Achievement of Christina Rossetti (1987) and Antony H. Harrison's Christina Rossetti in Context (1988), has sustained, critical (as opposed to biographically determined) study of this poet's work been offered. This thesis seeks to isolate thematic elements in the works of Christina Rossetti by offering close, detailed textual readings of the poems. Past commentators have rightly recognised and applauded the rhythmic and metrical craftsmanship displayed in her lyric verse, but this monopoly of attention afforded to the formal felicities of the poetry has been at the expense of adequate interpretation of its content. This study aims to show that Rossetti's rigorously controlled use of language and symbolism indicates that there are important levels of meaning implicit in the poetry other than that produced by the biographical decoding which many critics have hitherto favoured. This thesis proposes that, from her earliest 'secular' lyrics - which, in fact, display a sustained interaction between inherited modes of Romantic and Tractarian thought - through longer pieces such as Goblin Market (1862) and The Prince's Progress (1866), Rossetti's verse continually resists complacency of interpretation, subtly questioning and subverting the traditions of writing - lyric, fairy tale, and quest myth - it simultaneously extends. Gradually and persuasively constructing a case for the inability of poetic tradition to cope with the expression of an active, female identity, Monna Innominata (1881) deconstructs the poetics of lyric tradition, casting together mediaeval, renaissance and Victorian ideologies.
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Smulders, S. G. M. "Christina Rossetti : Response and responsibility summary." Thesis, University of Sussex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383528.
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Wallner, Lars. "The Forgotten Gothic of Christina Rossetti." Thesis, Linköpings universitet, Avdelningen för språk och kultur, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-73141.
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In this essay, the author analyzes the Gothic of Christina Rossetti in such poems as A Coast Nightmare, Shut Out, but also the well-known Goblin Market and the Prince's Progress. Interested in what the imagery of these poems convey, and intent on declaring Rossetti as a prominent example of Gothic poets, the author makes a strong case for the including of Rossetti among the great Gothics.
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Roe, Dinah. "Letter and spirit : the devotional poetry and prose of Christina Rossetti." Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407195.
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Humphries, Simon Neil. "The fiery antidote : an oppositional reading of Christina Rossetti and Gerard hopkins." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270533.
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Yeo, Wei Wei. "The presence of Dante in the work of Dante Gabriel and Christina Rossetti." Thesis, University of Cambridge, 2000. https://www.repository.cam.ac.uk/handle/1810/251733.
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Young, Margaret Louise. "Stranger and pilgrim : devotion and asceticism in the poetry of Christina Rossetti." Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343686.
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Shcherbino, Ksenia. "'In the blank of mere possibility' : liminal transformations in the poetry of Christina Rossetti." Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/q15yq/-in-the-blank-of-mere-possibility-liminal-transformations-in-the-poetry-of-christina-rossetti.
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This thesis offers a new reading of Christina Rossetti’s poetic texts which situates them within the context of liminality. I define liminality here as a site of ambiguity, change and unfulfilment between two states, whilst emphasising its potential for transformation and transgression. I examine multiple narratives – personal and communal, linear and cyclical, spatial and temporal – which emerge from Rossetti’s complex texts, and highlight two major approaches used: layering and silencing. The range of works I analyse includes both famous and lesser known poems, secular and spiritual writing, from “Winter: My Secret” (1857) and “Goblin Market” (1859) to “The Iniquity of the Fathers Upon the Children” (1865) and ““Resurgam” (1883). With this wide range, I demonstrate that similar approaches are used throughout Rossetti’s writing from her earliest poems to her later work. I begin the thesis with a focus on the fragmentation of the poetic self into observer and observed and examine the power acquired by the speakers/protagonists through the distance and seclusion of the liminal space. This enables the liminal space to shape a new identity for the speakers/protagonists. In Rossetti’s poetry, the liminal personae become defined by the space they inhabit, or are trapped in, on visual, physical, psychological and sound levels. This positioning helps them to acquire (or re-gain) personal history, memory and a voice. I proceed to explore the conflict between the seen and the unseen, revelation and illusion, in Rossetti’s work, paralleling this with photographic experiments by Lady Hawarden. This enables me to trace the use of the threshold in both poetic and visual languages. Rossetti’s speakers are unable to cross this threshold yet they still struggle to gain control over the outside world. From visual explorations I move on to consideration of sound and suggest that rhythm and rhyme function in the same way as Rossetti’s use of tropes of sight/deprivation of sight. Rossetti introduces rhythmical lapses and repetitive constructions as a means of controlling and shaping reality. Sound repetition subverts our expectations, while sound disruptions create negative spaces which serve as markers of the apocalyptic and the threshold. This idea of negative space is closely linked to the ideas of absence and unfulfilment and is pivotal in understanding Rossetti’s poetry. I argue that Rossetti’s theology is based on negation and that this is extended to her secular poems as well. Christina Rossetti’s poems are characterised by oppositions of absence and exuberant presence on all textual levels. In the final part of my thesis, I examine the transformation of the speaker’s/narrator’s self. I read the ideas of unfulfilment against the self-recognition of the speakers and show their inner splits and subsequent alienation. In this way, unnaming and silencing work as ways of defining the boundaries of the self through negation.
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Enjoubault, Mélody. "Écriture de la spécularité dans l’oeuvre poétique de Christina Rossetti." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040157.
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Le but de ce travail, consacré à la poésie de Christina Rossetti, est de s’éloigner du prisme interprétatif biographique qui est devenu la norme depuis sa mort en 1894. Cette étude, qui repose sur un examen des choix prosodiques et formels, montre que la voix poétique est avant tout une construction. Identifier le miroir à l’intérieur du texte dévoile des éléments essentiels pour comprendre la relation complexe qui se joue entre identité et altérité et qui, à maints égards, définit le style de Rossetti. L’étude des voix qui se font entendre dans son oeuvre poétique, qu’elles soient intertextuelles ou fictionnelles, révèle comment Rossetti parvient, par un usage unique de la répétition, à créer une voix harmonieuse et intemporelle à partir de la diversité et de la contradiction. Mais malgré une première impression de régularité, le principe répétitif est une source de redéfinition permanente qui nie la notion d’origine ou de version définitive. La re-présentation, la différance, et les réécritures incessantes offrent au lecteur un texte qui lui échappe sans cesse. Ce refus de la finitude pointe vers une autre ambition, celle d’atteindre un au-delà non plus religieux — nombre de ses poèmes expriment le désir de ne faire qu’un avec le divin — mais poétique : à travers la relation intime entre Dieu, le poète, et le texte ; par la manipulation de la forme, que le traitement du sonnet illustre ; et enfin grâce à un usage renouvelé des mots. Anglaise aux origines italiennes, Rossetti introduit au sein de la voix poétique un bilinguisme source d’interactions qui aboutissent à une langue hybride et à un rapport aux mots débarrassé de tout automatisme pour acquérir une expressivité nouvelleThe purpose of this work, which is dedicated to Christina Rossetti’s poetry, is to step away from the biographical bias which has been the norm in the criticism about Christina Rossetti since her death in 1894. This study, based on the close analysis of the prosodic and formal choices, shows that the poetical voice is above all a construction. Finding the mirror within the text reveals important elements to understand the complex relationship between identity and alterity which, in many ways, defines Rossetti’s style. The examination of the voices that can be heard within her poems, may they be intertextual or fictional, shows how Rossetti manages to create a harmonious and timeless voice out of what strikes as diverse and contradictory. However, despite its apparent regularity, the work, through repetition, undergoes a constant self-redefinition negating the notion of origin or definite version: re-presentation, différance, and perpetual re-writing give the reader a text that keeps eluding him/her. This refusal of finitude hints at another ambition, that of reaching a “beyondˮ which is no longer religious — many of her poems express a wish to make one with the divine — but poetical: through an intimate relationship between God, the poet and the text; through the manipulation of the form, which Rossetti’s treatment of the sonnet examplifies; and finally through the poet’s renewed use of words. As an English poet with Italian origins, Rossetti inserts her bilingualism within the poetical voice and thereby creates interactions that result in a hybrid language and a relationship to words freed from habit and automatic reflex to reach enhanced expressivity
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Alarabi, Nour. "A God of their own : religion in the poetry of Emily Brontë, Christina Rossetti and Constance Naden." Thesis, University of Leicester, 2009. http://hdl.handle.net/2381/4795.
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This thesis aims to portray the different ways in which nineteenth-century women poets perceived God and religion, exemplified by the works of Emily Brontë, Christina Rossetti, and Constance Naden. From the 1960s onward, there have been considerable efforts to redefine Victorian women‘s spirituality, and to eliminate the ‘angel of the house‘ image that was attached to them by their male contemporaries. As a result, the works of many Victorian women poets have been revived and re-evaluated. Brontë and Rossetti have been the focus of many individual studies which have explored their religious orientations, mainly by identifying in their works the religious doctrines of the movements with which they were associated. In contrast, Constance Naden‘s status as an atheist scientist and a philosopher has made modern scholars overlook the representation of religion in her poetry. By focussing on the less familiar poems of Brontë (the Gondal poems) and Rossetti (the secular early poems), the thesis will offer a new interpretation of their relationship with God. This will not be based on a consideration of their religious beliefs but on the lack of them in their early works. The chapter on Naden, however, will demonstrate how her scientific training did not stop her from sympathizing with theists, and admiring prophets and mystics. The ultimate aim of the thesis will be to illustrate the individuality of these poets and the uniqueness of their thought. This will be achieved through a close analysis of the poems, with a minimal use of feminist and other literary theories. It will also demonstrate the problematic interpretations that may arise from associating these poets with one religious movement or one school of thought.
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Mason, Emma Jane. "Religious intellectuals : the poetic gravity of Emily Brontë and Christina Rossetti." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/4370/.
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This thesis examines the writing of Emily Brontë and Christina Rossetti in terms of its expression of religious culture and belief. It is my argument that Brontë and Rossetti experienced religion as intellectuals, questioning and exploring doctrine and dogma neither as sentimental lady Christians nor dismissive, secular critics. I contend that by close reading their poetry, the genre both women privileged as most appropriate for the consideration of religious matters, the reader may trace the sermons and theological works they read. Moreover, their writing, I suggest, evinces their intellectual response to theological, ecclesiological and ecclesiastical developments that took place in the nineteenth century. I thus label Brontë and Rossetti 'religious intellectuals,' a phrase suggestive of their intense understanding of, rather than their mild acquaintance with, religious debate. Many women writing within the nineteenth century found that religion granted them a field within which to freely read and research, but were denied the professional title of 'theologian.' Brontë and Rossetti are thus examples of a wider phenomenon wherein women encountered religion like scholars, one disregarded by current criticism unable as it is to categorize a female activity simultaneously religious and intellectual. I use Brontë and Rossetti as examples of what I call the 'religious intellectual' because they represent different sides of this classification. Where Brontë struggled away from her Methodist background, serving as a cultural commentator on its enthusiastic belief-system, Rossetti forged a scholarly identity as a late member of the High Church Oxford Movement. Both poets, I contend, wrote about religion in order to signal their intellectual ability. I conclude that Brontë's interest in Methodism and Rossetti's fascination with Tractarianism reveals the poets to be both independent of family pressures and false consciousness, and fully engaged with a subject central to their age.
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Buckalew, Faye Roberta. ""Thro' Sleep as Thro' a Veil": Losing the Self to Find the Self in the Poetry of Christina Rossetti." W&M ScholarWorks, 1993. https://scholarworks.wm.edu/etd/1539625824.
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Winters, Sarah Fiona. "Me thoughts I heard one calling, talking to God in the poetry of John Donne, George Herbert, Christina Rossetti, and Gerard Manley Hopkins." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ50068.pdf.
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Mann, Rachel. "The representation of fecundity and barrenness in the poetry of Elizabeth Barrett Browning, Christina Rossetti, and the Bible : a critical and creative interrogation of a Christian-feminist poetics." Thesis, Manchester Metropolitan University, 2017. http://e-space.mmu.ac.uk/619438/.
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This thesis analyses the language of fecundity and barrenness in the poetry of Elizabeth Barrett Browning and Christina Rossetti, as well as producing original poetry in critical conversation with their poetics. Concentrating on key Barrett Browning and Rossetti texts, Aurora Leigh and Goblin Market, I shall explore how their language of fecundity and barrenness make available a poetics which is simultaneously feminist and Christian in character. This interrogation will be contextualised in Romantic and Victorian theories of women’s writing which claim that women’s poetry cannot escape conceptions of femininity as bodily fecundity; that is, theories which suggest that women’s bodies are suitable to produce children, but lack the character and strength to produce the acme of cultural production, poetry. By analysing Barrett Browning and Rossetti’s language of fecundity and barrenness in conversation with feminist literary theory and Christian feminist theology, I shall explore how these critical partners make available fresh readings of femininity as fecundity. I will interrogate how it is possible to argue for interpretations of Barrett Browning and Rossetti’s poetry which re-work fecundity as femininity in creative, liberative directions as disruptive excess. The creative aspect of this thesis, The Priest in the Kingdom of Love, is a sixty-six section poem. It attempts to create a monological, multivalent voice which investigates its relationships with imagined hearers, gender, faith, and bodily fecundity. The critical chapter which precedes it attempts to interrogate continuities and aporia with the work of Barrett Browning and Rossetti generated by my gender and religious poetic performances.
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MacDonald, Anna. "Expressions of White Ink: Victorian Women's Poetry and the Lactating Breast." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32951.
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The period spanning from the late 1850s to the mid-1860s frames a historical moment in Victorian England when lactation and breastfeeding came under intense public scrutiny in both medical and creative writing. While popular domestic author Isabella Beeton wrote on the dangers that an unwary mother’s milk represented for her child and herself in her serial publication, Mrs. Beeton’s Book of Household Management (1859-1861), prominent physicians C.H.F. Routh and William Acton launched a public dispute in medical journals contesting the physiological and moral dangers that the fallen wet nurse posed for the middle-class household (1859). Meanwhile, the medical community catalogued the bizarre long-term physical and dispositional side-effects of an infant’s consumption of “bad milk” – among them, syphilis, swearing, sexual immorality, and death (Matus 161-162). But it is not only medical writers who were latching on to the breastfeeding debate as a means of voicing social and political concerns of the day; recent literary critics have gestured towards the troubling manifestations of lactation in popular mid-century novels like Charles Dickens’s Dombey and Son (1848) and George Eliot’s Adam Bede (1859) as entry points into Victorian anxieties about classed and gendered embodiment. This project stipulates that the mid-century preoccupation with managing women’s milk represents an intersection of two overlapping cultural paradigms pertaining to female expression: a cultural devaluation of female physiological expression as unconscious if not dangerous leakage, and a deprecation of female linguistic and poetic expression as an analogously unmeditated and potentially disruptive kind of communication. Mid-century manuals, articles, and novels offered public voice to a number of existing anxieties surrounding breastfeeding which accompanied the mid-nineteenth century, a historical moment at the cusp of a waning popularity in wet nursing and at the advent and rise of patented infant formula. This project stipulates that at least three female poets of the mid-nineteenth century employ lactation imagery in their works as a means of recasting a cultural devaluation of female expression – inventing a new critical terminology of feminine poetic signifiers that uses the symbolic medium of breastmilk as its ink. Informed by the medical and cultural context of the High Victorian age, I explore how poets Elizabeth Barrett Browning (1806-1861), Christina Rossetti (1830-1894), and Augusta Webster (1837-1894) not only participate in the preoccupation with unstable bodies and fluids, but capitalize on female leakage in an elaborate rhetorical strategy that embarks on a new embodied female poetics. Barrett Browning’s Aurora Leigh, Rossetti’s “Goblin Market,” and Webster’s Mother and Daughter all enlist the lactating and feeding breast in a series of elaborate metaphors of female identity construction, literary expression, and poetic voice.
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Jones, Emma. "Christina Rossetti and maternal poetics." Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612952.
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Currence, Cindy K. "Christina Rossetti: A Feminist Visionary." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625600.
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Palazzo, Lynda Carol. "The prose works of Christina Rossetti." Thesis, Durham University, 1992. http://etheses.dur.ac.uk/1499/.
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Chapman, Alison Fiona. "Christina Rossetti and the aesthetics of the feminine." Thesis, University of Glasgow, 1995. http://theses.gla.ac.uk/3059/.
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The act of contextual recovery that motivates New Historicist readings of Christina Rossetti's poetry has its own validity, but the consequence of recovery is often to posit a fully intentional, strong, and subversive subject position. An alternative critique is offered which interprets subjectivities as endlessly oscillating between positions of presence and absence, subject and object, silence and speech, here and elsewhere, and between the text and (impossibly) outside the text. This dynamic allows for a subtle matrix of collusion with, resistance to, and evasion of the representational system. I read this matrix as the product of Rossetti's biographical and poetical subject positions conventionally encoded as the superlatively and excessively feminine, and thus as both the basis of nineteenth-century gender ideology and its blind spot. The various discursive pressures on Rossetti's poetry - specifically Pre-Raphaelitism, Tractarianism, and Aestheticism - produce an unstable poetic that both avows and rejects the aesthetic of the feminine. The Introduction traces the implications of the aesthetic of the feminine for feminist readings of nineteenth-century gender ideology. The first three chapters then explore specific interactions between Rossetti and the aesthetic: Chapter 1 analyses biographical constructions of Christina Rossetti as a trope for the feminine and for representation itself; Chapter 2 explores D.G. Rossetti's manuscript revisions of her poetry and her collisions; and Chapter 3 critiques his two earliest paintings for which she sat as a model for the Virgin Mary and also critiques her own poetic responses which expose the repressed alterity beneath her brother's gender ideology. The following chapters move on to suggest how other discourses bear the aesthetic of the feminine: in Chapter 4, Italy and the maternal; in Chapters 5 and 6, the Tractarian doctrines of analogy and reserve.
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Tennehill, Arlene. "Recastin the Falneur: The Triumph of Christina Rossetti." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392808147.
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Tannehill, Arlene. "Recasting the fla'neur : the triumph of Christina Rossetti /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487858106117801.
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Becherer, Nadine L. (Nadine Lee). "The Bifurcated Personalities of Christina Rossetti and Dante Gabriel Rossetti as Reflected in Their "Sister Poems"." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500837/.
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Christina Rossetti and Dante Gabriel Rossetti both suffered from ambivalent feelings concerning the role female sexuality plays in the salvation of the soul. These ambivalent feelings ranged from seeing female sexuality as leading men to salvation, to seeing it as a trap for the destruction of women's souls as well as men's. The contradictory feelings of the Rossettis' typifies the Victorian people's experience and was caused by the nature of the times. Using the analysis of the period by Walter E. Houghton in The Victorian Frame of Mind: 1830-1870, this paper describes the affect the Victorians' religious zeal, their "moral earnestness," and their "woman-worship" had on the two Rossetti poets.
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Adams, Jennifer Persinger. "Christina Rossetti, Sarah Grand, and the expression of sexual liminality in Nineteenth Century literature." Huntington, WV : [Marshall University Libraries], 2006. http://www.marshall.edu/etd/descript.asp?ref=650.
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Burlinson, Kathryn Jane. "Speaking silence : indeterminate identities in the writings of Christina Rossetti." Thesis, Birkbeck (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309372.
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This thesis examines representations of feminine identity in Christina Rossetti's poetry and prose. "Speaking Silence" indicates the centrality of paradox in Rossetti's work: her contradictory identity as a poet and a bourgeois Victorian woman produces tensions which are never resolved, but are continually figured and re-figured. Rossetti's ceaseless attempts to find adequate models for feminine subjectivity are shown to engender ideological manoeuvres which render her texts equivocal and indeterminate. Her constant oscillation between complicity with and critique of dominant cultural ideologies results in the destabilizing of conventional epistemologies and interpretive paradigms. A play of possibilities replaces gendered or discursive fixture. The dynamic interplay of speaking and silence appears in different guises. At times Rossetti speaks directly about silence. She also silences herself, as manuscript revisions show. Strategic exploitations of silence occur, but Rossetti also speaks for the silent, marking her objection to Victorian treatment of the powerless. Interpreting silent worlds--be they phenomenal or immaterial--is a further, fundamental concern. Indeterminate identities are considered in the first three chapters of the thesis in relation to discourses of the feminine self. Chapters Four to Six then examine indeterminacy with reference to Rossetti's readings of material and transcendent worlds. Chapter One considers the poet's familial/literary context, highlighting her early efforts to find satisfactory existential/textual models. Chapter Two focuses on Rossetti's major fantasy writings and the grotesque bodies there portrayed. Chapter Three advances the discussion of fantasy, exploring the poet's games with indeterminate poetic language. The fourth chapter expands the spatial frame of reference and reads Rossetti's attitude towards sub-human nature in relation to contemporary scientific discourses. Chapter Five considers the symbolic and analogical paradigms adopted for reading nature, while the final chapter focuses on Rossetti's devotional poetry and the paradigms of feminine identity there figured
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Yang, Okhee J. "A Study of Christina Rossetti's Poems on Death." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc501076/.
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Throughout her life Christina Rossetti was pursued by the thought of death. Many of her poems, especially her later poems, display her concerns about death. Her early poems show death as the destroyer of mortal things, reflecting her pessimism and her sometimes naturalistic views on life. Her death wish is sometimes associated with her thwarted desire for absolute love in the world. Her religious poems describe death as the gate to heaven or to hell, the final resting place from the pains of her life. Either as her religious yearning for a better place of Resurrection or as her way of expressing her unfulfilled desire in the world, her persistent theme of death is an expression of the conflict between a sometimes skeptical, sometimes religious view.
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Esper, Yusra Ammar. "A concordance survey to the poetry of C.G. Rossetti." Thesis, University of Southampton, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.238751.
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Carr, Maureen. "So full of poetic suggestiveness : Christina Rossetti's Monna Innominata sonnet sequence." Thesis, Loughborough University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337993.
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Abbott, Julie Anne. "Saints and suffragists, the children's prose of Christina Rossetti and Augusta Webster." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ55130.pdf.
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Rocha, Guilherme Magri da. "As Alices alternativas de Christina Rossetti, Jean Ingelow e Juliana Horatia Ewing /." Assis, 2017. http://hdl.handle.net/11449/148768.
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Orientadora: Cleide Antonia RapucciBanca: Nilce Maria Pereira
Banca: João Luis Cardoso Tapias Ceccantini
Resumo: Este trabalho tem por objetivo apresentar uma possibilidade de leitura das obras Mopsa the Fairy (1869), "Amelia and the Dwarfs" (1870) e Speaking Likenesses (1874), escritas, respectivamente, por Jean Ingelow (1820-1897), Juliana Horatia Ewing (1841-1885) e Christina Rossetti (1830-1894). Essa leitura é feita a partir de um cotejo entre esses textos e seu hipotexto em comum: Alice's Adventures in Wonderland (1865), de Lewis Carroll (1832-1898). O enfoque metodológico para tal fundamenta-se na abordagem narratológica, e busca refletir acerca das revisões feitas por essas autoras em relação ao clássico em questão. Para melhor entendimento do contexto sociocultural em que os livros de Alice e seus hipertextos aparecem, o vitorianismo, discutimos inicialmente a "Era de Ouro da Literatura Infantil", período que vai de 1864 até a Primeira Grande Guerra. Ao longo do desenvolvimento da pesquisa, percebemos a necessidade da construção de uma biobibliografia das escritoras supracitadas, uma vez que não há qualquer material em língua portuguesa sobre Ingelow e Ewing. Para a consecução de nosso objetivo, tendo em vista a importância da redescoberta de vozes não-canônicas na expansão do conceito de cânone literário, fundamentamos essa seção de nosso trabalho a partir da teoria ginocrítica de Elaine Showalter. Essa mesma abordagem é utilizada no caso de Rossetti, embora haja mais material sobre ela em nosso país. Dessa forma, podemos afirmar que esse trabalho considera os seguintes tópicos para estudo: 1. o contexto de produção dos textos de Lewis Carroll e sua confecção; 2. a investigação acerca da vida e da obra das escritoras que compõem o corpus; 3. a discussão dos volumes literários selecionados tendo em vista seu hipotexto em comum
Abstract: This thesis was carried out to suggest one possibility of reading Mopsa the Fairy (1869), "Amelia and the Dwarfs" (1870), and Speaking Likenesses (1874), respectively written by Jean Ingelow (1820-1897), Juliana Horatia Ewing (1841-1885), and Christina Rossetti (1830-1894). We suggest a comparison between these texts and their common hypotext, Alice's Adventures in Wonderland (1865), by Lewis Carroll (1832-1898). The methodological approach we propose is based on narratology, and is intended to reflect on the revisions of this classic made by these authors. For a better understanding of the sociocultural context in which the Alice books and their hypertexts appear, the "Golden Age of Children's Literature" - a period that runs from 1864 to the First World War - will first be considered. Also, throughout the development of this research, we've realized the need to construct a biobibliography of the aforementioned women writers, as there is a lack of written sources and bibliographical and biographical information about Ewing and Ingelow in Brazilian Portuguese. In order to achieve our goals, considering the importance of the rediscovery of non-canonical voices in the expansion of the concept of literary canon, the section devoted to the authors posits Elaine Showalter's theory of gynocriticism as the basics for our discussion. This same approach is also used in Rossetti's case, even though there is a minimal literature about her in our country. Thus, this study is organized according to the following topics: 1. the context of production of Lewis Carroll's texts, and its writing process; 2. the investigation about the life and works of Jean Ingelow, Christina Rossetti, and Juliana Horatia Ewing; 3. the discussion of the selected texts and their common hypotext
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Ludlow, Elizabeth. "'We can but spell a surface history' : the biblical typology of Christina Rossetti." Thesis, University of Warwick, 2008. http://wrap.warwick.ac.uk/1993/.
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My research examines Christina Rossetti’s use of biblical typology in her articulation of individual and communal identity. The central concern of my thesis is with tracing the ways in which she bridges the gap between the two biblical covenants and her contemporary situation by a ceaseless interpretative movement between the discourses of the Old and New Testaments. After examining the basis for her typological modes of reading, I demonstrate the various ways in which they underpin her interpretations of Tractarian, Romantic, and Pre-Raphaelite writings as well as providing her with a framework with which to structure her own poetic sequences. In my examination of the ways in which Rossetti engages with patristic and medieval theology and articulates identity through the cyclical dynamics of typology, I consider her writings alongside those of Isaac Williams, John Keble, John Henry Newman, and Edward Pusey and highlight the key part they play in reinforcing the Oxford Movement’s liturgical momentum. Focusing specifically on her poetic utilization of the ancient practice of chanting psalms and antiphons, her engagement with the musicality of the church service, and her depiction of the visual aspects of ritualism, I read her poetry in terms of the mystical journey towards God upon which, she suggests, each Christian embarks. Applying to Rossetti’s poetry the method of typological analysis that she herself uses, I consider how the poems in her 1893 volume, Verses, can be understood to comment upon her earlier works and how her earlier poetry can be seen as an antecedent to her later works. Through this, I trace the development of her theology as it engages more directly with the hermeneutical principles encouraged by the Tractarians and offers a basis upon which the patristic concept of trinitarian personhood can be understood.
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Whitworth, Ben. "Literary Re-appropriations of Latin Liturgical Hymns, from Walter Scott to Christina Rossetti." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522829.
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Drew, Rodger. "Symbolism and sources in the painting and poetry of Dante Gabriel Rossetti." Thesis, University of Glasgow, 1996. http://theses.gla.ac.uk/3426/.
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The Thesis examines the symbolism, and the sources of that symbolism, in the poetry and painting of Dante Gabriel Rossetti. Chapter 1 considers the significance of the title of Rossetti's sonnet-sequence The House of Life. Chapter 2 looks at the opening sonnets of that sequence. Chapter 3 scrutinises the sonnet quartet of the Willow-wood sequence. Chapter 4 evaluates the influence of Platonism and Neoplatonism in Rossetti's art. Chapter 5 is concerned with Rossetti's use of allegory. Chapter 6 surveys the influence of Rosicrucianism on Rossetti and his immediate circle of the pre-Raphaelite Brotherhood, and on the Aesthetic School that succeeded it. This chapter closely examines the symbolic motifs of Rosicrucianism, and how these may be traced in the paintings of these artists. Chapter 7 explores the Rosicrucian influence in Rossetti's poetry. Chapter 8 further traces these influences in Rossetti's painting. Chapter 9 investigates the Goddess figure within Rossetti's later paintings.
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Frith, R. J. "The medieval vision of aesthetic poetry : a study of Rossetti, Morris and Swinburne." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.599234.
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One of the distinguishing features of British Aestheticism is its frequent adoption of motifs, themes, and forms from the Middle Ages; yet, because of their association with ideas of ‘Art for Art’s Sake’, Aesthetic poetry and painting have been seen as predominantly ‘aesthetic’, rather than historicist, in their medievalism, and have for this reason been marginalised by historians of the broader nineteenth-century Medieval Revival. This dissertation argues, through a comparative analysis of the medievalist poetry of Dante Gabriel Rossetti, William Morris, and Algernon Charles Swinburne, that some of the central ideas of Aestheticism were derived directly from a careful study of the works of the Middle Ages, and that Aesthetic poetry is significantly interpretative and historicist in its concerns. The medievalism of Rossetti, Morris, and Swinburne was in important respects a shared vision, particularly in its subversive attitude toward sexuality, which all three conceived of as finding more vital expression in the Middle Ages than in their Victorian present. The introduction discusses current scholarly views concerning the Medieval Revival and Aestheticism, and the critical problems associated with each. The three principal chapters examine the medievalist poetry of, respectively, Rossetti, Morris, and Swinburne, concentrating on the most important thematic concerns of their work, and on the significance of the different medieval traditions to which they were drawn. Chapter one focuses on Rossetti’s engagements with Dante and his Italian contemporaries, and particularly on the complex interrelation of religion and sexuality that he found in their work. Chapter two explores the relationship between ideas of sexuality and of heroism in Morris’s medievalist poetry, which find their fullest expression in his works inspired by the Icelandic sagas. Chapter three contends that Swinburne’s medievalist poems, the most important of which are based on the Arthurian legends, posit a network of subversive medieval texts, seen as being united in rebellion against an oppressive Christianity. The conclusion comments briefly on the implications of my argument for an understanding of the Mediaeval Revival, of Aestheticism, and of Victorian poetry.
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Moffett, Helen. "Rewriting Christina Rossetti : cross-gendered sibling rivalry, fraternal intervention and the counter-poetics of dissidence." Doctoral thesis, University of Cape Town, 1993. http://hdl.handle.net/11427/21974.
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Bibliography: pages 355-372.Dante Gabriel Rossetti and William Michael Rossetti, paying especial attention to unravelling the received tradition that as an artist, Rossetti was indebted to Dante Gabriel's patronage. Instead, I argue that she negotiated her career as a poet against a covertly competitive backdrop of sibling rivalry, in which Dante Gabriel made strenuous efforts to direct and control her creative work. This thesis also examines and challenges the myths that William Michael set in motion as his sister's initial editor and biographer, and which still inform our perception of her as a poet and as a sister. I also investigate her standing regarding the Pre-Raphaelite Brotherhood, a relation which is more problematic than is generally believed, maintaining that she was excluded from equal membership within this glamorous circle while simultaneously strategically important to them, both as a poet and a model. Clearly, the various misrepresentations of Rossetti's life and works are gendered. I employ the tools of feminist literary practice and new historicism in order to reveal the extent to which the treatment of Rossetti both by her brothers and various critics, has reflected patriarchal pressures and strictures. Primary manuscripts, some unpublished, or published in censored versions, are scrutinised and pieced together in an attempt to present a more accurate view of both Rossetti's relationships with the men in her life, and her own sense of herself as a poet. Close attention is also paid to the singularity of her personal history, which was underscored by her strong sense of poetic vocation. This attempt to rework the traditional picture of Christina Rossetti provides significant new perspectives on and readings of her canon, and her brother's. I trace patterns in her poetry which are related to her struggle for creative agency in the face of fraternal intervention, and propose a model of dialogic interrogation for re-reading significant texts. I conclude that a comparative study of intertextuality between the Rossettis contributes vitally to the further understanding of both poets.
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Day, Paula. "Nature and gender in Victorian women's writing : Emily Bronte, Charlotte Bronte, Elizabeth Barrett Browning, Christina Rossetti." Thesis, Lancaster University, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293143.
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This thesis explores the ways in which four Victorian women writers - Emily Bronte, Charlotte Bronte, Elizabeth Barrett Browning, and Christina Rossetti - work with the gender associations implicit in the nature imagery of the male literary tradition. In the Introduction I explore the possible approaches available to the feminist literary critic. I then review the gender associations of nature symbolism in the male literary tradition, and the ways in which some Victorian critics used these to define the characteristics of women's writing. In Part One, I find that these writers re-affirm the idea of the fertile earth as 'mother na ture'. I argue, however, that in each case this projection functions to create a female space outside of patriarchal culture, in a symbolic relationship with a strong mother figure. Looking at Emily Bronte's construction of a 'male nature', I question how far this constitutes a reversal of the traditional pattern. I then examine some ways in which 'womanliness' is located in valley or mountain landscapes. In Part Two, I consider the moon as a symbol of femininity. Although, as in some of Christina Rossetti's poetry, it may become a metaphor for woman's dependence on the solar male God, it can also suggest female autonomy. In Emily Bronte's poetry, the moon of female vision is adhered to in preference to the 'sun' of male power. Charlotte Bronte exploits the moon's ambivalent associations to represent virginal autonomy and vengeful rage as different aspects of female psychic power. In Part Three, I turn to the image of woman as flower. Whereas Christina Rossetti uses this in conventional ways to expose women's sexual vulnerability, Elizabeth Barrett Browning subverts it to create images of strong female identity. My Conclusion emphasises the ideological, rather than archetypal, origins of literary symbolism, and the ways in which women writers negotiate successfully with the existing traditions.
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Stewart, Mardi Gardner Downs. ""One face looks out": the effects of the literary marketplace and the nineteenth-century image of femininity shown in the work of Christina Rossetti and Dante Gabriel Rossetti." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/1353/.
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The main aim of this thesis is to explore Christina Rossetti?s poetic vocation and persona as a nineteenth-century woman poet in the competitive literary marketplace. It begin by mapping out the socio-historical factors that, I argue, shape the construction and reception of women poets. Gender ideology is central to this issue, which the thesis explores by comparison of Christina Rossetti?s work with the paintings and poetry of her brother Dante Gabriel Rossetti. An overview of contemporary critical opinion and reception history in Chapter One demonstrates the construction of the Rossettis? professional image and sense of vocation. The following chapters compare reciprocal works by each poet in a range of literary genres: the early semi-autobiographical prose works ?Maude? and ?Hand and Soul?, the narrative poems ?Goblin Market? and ?Jenny?, and the amatory sonnet sequences Monna Innominata and The House of Life. Fundamental to these comparisons is the image of woman, for femininity is seen to be at the heart of the nineteenth-century aesthetic. The concept of woman as image is unravelled, in Chapters Two, Four and Six, in a discussion of Dante Gabriel Rossetti?s wife, Elizabeth Siddal, who was also a painter and poet. Elizabeth Siddal?s value as an image superseded her value as an artist and indeed a woman. The inter-relation between fallen women and women poets is linked to the problems of women poets as both poetic producers and poetic inspiration. The particular problem of the woman poet is a continuous strand of argument throughout the chapters. Christina Rossetti?s poetry is seen to explore the choices available to nineteenth-century women in a dominant patriarchy. Her resistance to and compliance with these choices is shown as central to her work. The final chapter joins the strands of the argument to focus on woman as icon, commodity and image as it is demonstrated by both brother and sister. Elizabeth Siddal is shown to have lost her identity in favour of her image. Dante Gabriel Rossetti is identified by the image of the women represented in his poetry and painting. These women become the sign of his artistic persona. Christina Rossetti?s tenacity in retaining her identity is located in her religious faith, her poetic gift and her ability to both comply with and resist patriarchal dominance.
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Cha, Eun-Jung. "Return to the body : the aestheticisation of British aestheticism in the work of Christina Rossetti and Rosamund Marriott Watson." Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249082.
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Holmes, John Robert. "The Victorian sonnet-sequence and the crisis of belief, 1870-1890." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365661.
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Cossíos, Susana. "El kitsch en la poesía femenina de los 90 : Ana Rossetti y Rocío Silva Santisteban." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30155.
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The last years of the twentieth century have been characterized by an increased presence of women in Hispanic poetry, who inevitably brought forth a new poetic language. Typical of this new expression are the Spaniard Ana Rossetti and the Peruvian Rocio Silva Santisteban, who give free rein to their emotions and desires in their poetic texts, which reflect love as both eroticism and joyful sexuality. In their poetry the body becomes the instrument for the fulfillment of desire and the production of erotic states. Thus, love is despised almost innocently but through the use of Kitsch as pop songs and advertising slogans, love is rehabilitated and the pleasure-death relation is seen in multiple perspectives.
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Muñoz, Tracy Manning. "Peripheral visions Spanish women's poetry of the 1980s and 1990s /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149000160.
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Muñoz, Tracy Manning. "Peripheral Visions: Spanish Women's Poetry of the 1980s and 1990s." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1149000160.
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Hanes, Stacie L. "The Sense and Sensibility of The 19th-Century Fantastic." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1382975086.
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Rogers, Cate. "The passionate recluse : problematic relationships and questions of fulfilment in the poetry of Emily Dickinson and Christina Rosetti /." Title page and introduction only, 1995. http://web4.library.adelaide.edu.au/theses/09AR/09arr724.pdf.
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Saldanha, Vicente Henrique Brückmann. "A poet with a painter's eye : aspects of devotion and desire in Dante Gabriel Rossetti's double works." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/143629.
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A presente tese visa analisar um grupo específico de poemas de Dante Gabriel Rossetti (os chamados poemas de imagens), e pinturas e gravuras de sua autoria, a fim de mostrar como a ligação entre desejo físico e devoção espiritual ilustra a expressão de Rossetti como artista, e como ela ajuda a colocá-lo como uma figura de transição no sistema literário britânico. O desejo físico e a devoção espiritual são duas forças antagônicas que ocupam um espaço predominante na literatura e na imaginação vitoriana, e na obra de Rossetti temos o momento em que a Poesia Romântica Inglesa converge para o Modernismo experimental britânico. A tese deste estudo, portanto, é de que trabalhando com essas duas forças, Rossetti tornou-se um precursor do Modernismo na Grã-Bretanha. Este trabalho investiga, desse modo, como a tensão vitoriana entre devoção espiritual e desejo erótico é representada em pinturas de Rossetti, como as suas vozes poéticas lidam com estas questões, e que soluções são criadas nas obras do poeta-pintor. Para alcançar os objetivos acima, esta tese relata uma pesquisa bibliográfica sobre a interação entre poesia e pintura e uma análise, de cunho psicanalítico, de obras pictóricas e poéticas de Rossetti. O primeiro capítulo apresenta um histórico da discussão sobre a relação entre poesia e pintura e um resumo dos conceitos freudianos a serem utilizados na análise. O segundo capítulo faz uma revisão da fortuna crítica de Rossetti e dos movimentos artísticos e literários aos quais ele é associado. O terceiro capítulo analisa um grupo das “obras duplas” de Rossetti (i.e., quadros e poemas), identificando como são construídas as imagens de devoção e desejo, e como elas se inter-relacionam. A conclusão estabelece a contribuição da obra poética e pictórica de Rossetti para o desenvolvimento dos sistemas literário e artístico britânico, à luz da relação dinâmica entre os aspectos de devoção e desejo presentes na sua obra, e analisa seu papel no cenário vitoriano. Apresenta também o papel de Rossetti na transição do Romantismo ao Modernismo britânico. A tese contém também dois apêndices: a) uma cronologia de fatos relevantes da vida de Rossetti e das obras aqui estudadas, e b) as “obras duplas” analisadas neste trabalho.This dissertation analyzes a specific group of Dante Gabriel Rossetti’s poems (the so-called picture poems) and pictures, in order to show how the connection between physical desire and spiritual devotion illustrates Rossetti’s expression as an artist, and how it helps to place him as a figure of transition in the British literary system. Physical desire and spiritual devotion are two antagonistic forces which occupy a predominant space in Victorian literature and imagination, and in Rossetti’s work we have the moment in which Romantic English Poetry melts into experimental British Modernism. The thesis of this study, therefore, is that by working with those two forces, Rossetti became a precursor of Modernism in Britain. This dissertation thus investigates how the Victorian tension between spiritual devotion and erotic desire is represented in Rossetti’s paintings and drawings, how the speakers in his poems deal with these issues, and what solutions are created in Rossetti’s works. In order to reach the objectives above, this dissertation comprises a bibliographical review of the relationship between poetry and painting, and a psychoanalytical analysis of pictorial and poetic works by Rossetti. The first chapter presents a historical account of the discussion on the relationship between poetry and painting, as well as a summary of the Freudian concepts to be used in the analysis. The second chapter reviews Rossetti’s critical fortune and presents the artistic and literary movements with which he is associated. The third chapter analyses a set of Rossetti’s double works (i.e. pictures and poems), identifying how the images of devotion and desire are built and how they interrelate within the works. The dissertation conclusion establishes the contribution of Rossetti’s poetic and pictorial works to the development of the British literary and artistic systems in light of the dynamic relationship between the aspects of devotion and desire in his work, and analyses his role in the Victorian scenario. Rossetti’s role in the development from British Romanticism to Modernism is also presented. The dissertation has two appendixes: a) a chronology of relevant events in Rossetti’s life associated with the works studied here, and b) the double works analyzed in this dissertation.
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Stamou-Papastamou, Constantina. "Dating Victorians : an experimental approach to stylochronometry." Thesis, University of Bedfordshire, 2005. http://hdl.handle.net/10547/322883.
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The writing style of a number of authors writing in English was empirically investigated for the purpose of detecting stylistic patterns in relation to advancing age. The aim was to identify the type of stylistic markers among lexical, syntactical, phonemic, entropic, character-based, and content ones that would be most able to discriminate between early, middle, and late works of the selected authors, and the best classification or prediction algorithm most suited for this task. Two pilot studies were initially conducted. The first one concentrated on Christina Georgina Rossetti and Edgar Allan Poe from whom personal letters and poetry were selected as the genres of study, along with a limited selection of variables. Results suggested that authors and genre vary inconsistently. The second pilot study was based on Shakespeare's plays using a wider selection of variables to assess their discriminating power in relation to a past study. It was observed that the selected variables were of satisfactory predictive power, hence judged suitable for the task. Subsequently, four experiments were conducted using the variables tested in the second pilot study and personal correspondence and poetry from two additional authors, Edna St Vincent Millay and William Butler Yeats. Stepwise multiple linear regression and regression trees were selected to deal with the first two prediction experiments, and ordinal logistic regression and artificial neural networks for two classification experiments. The first experiment revealed inconsistency in accuracy of prediction and total number of variables in the final models affected by differences in authorship and genre. The second experiment revealed inconsistencies for the same factors in terms of accuracy only. The third experiment showed total number of variables in the model and error in the final model to be affected in various degrees by authorship, genre, different variable types and order in which the variables had been calculated. The last experiment had all measurements affected by the four factors. Examination of whether differences in method within each task play an important part revealed significant influences of method, authorship, and genre for the prediction problems, whereas all factors including method and various interactions dominated in the classification problems. Given the current data and methods used, as well as the results obtained, generalizable conclusions for the wider author population have been avoided.
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McCollum, Sarah Catherine. ""Our general mother" Eve's mythic power and the poetry of Aemilia Lanyer, John Milton, Elizabeth Barrett, and Christina Rossetti /." 2004. http://etd.utk.edu/2004/McCollumSarah.pdf.
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Thesis (M.A.)--University of Tennessee, Knoxville, 2004.Title from title page screen (viewed May 13, 2004). Thesis advisor: Robert Stillman. Document formatted into pages (v, 85 p.). Vita. Includes bibliographical references (p. 79-84).
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Hart, Sarah Elizabeth. "Elegiac Rhetorics: From Loss to Dialogue in Lyric Poetry." Thesis, 2012. http://hdl.handle.net/1969.1/ETD-TAMU-2012-08-11736.
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By reading mournful poems rhetorically, I expand the concept of the elegy in order to reveal continuities between private and communal modes of mourning. My emphasis on readers of elegies challenges writer-centered definitions of the elegy, like that given by Peter Sacks, who describes how the elegy's formal conventions express the elegist's own motives for writing. Although Sacks's Freudian approach helpfully delineates some of the consoling effects that writing poetry has on the elegist herself, this dissertation revises such writer-centered concepts of the elegy by asking how elegies rhetorically invoke ethical relationships between writers and readers. By reading elegiac poems through Kenneth Burke's rhetorical theories and Emmanuel Levinas's ethics, I argue that these poems characterize, as Levinas suggests, subjectivity as fundamentally structured by ethical relationships with others.
In keeping with this ethical focus, I analyze anthology poems, meaning short lyric poems written by acclaimed authors, easily accessible, and easily remembered - including several well-known poems by such authors as Emily Dickinson, Gerard Manley Hopkins, and Robert Frost. Anthology pieces invite ethical evaluation in part because they represent what counts as valuable poetry - and also, by implication, what does not. Because anthology poems are read by broad, diverse audiences, I suggest that a rhetorical methodology focusing on writer-reader relationships is essential to evaluating these poems' ethical implications.
This rhetorical approach to poetry, however, questions rhetoricians and aesthetic theorists from Aristotle and Longinus to Lloyd F. Bitzer and Derek Attridge who emphasize distinctions between rhetoric and poetics. I address the ongoing debate about the relationship between rhetoric and poetics by arguing, along the lines of Wayne C. Booth's affirmation that fiction and rhetoric are interconnected, that poetry and rhetoric are likewise integrally tied. To this debate, I add an emphasis on philosophy - from which Plato, Ramus, and others exclude rhetoric and poetry - as likewise essential to understanding both poetry and rhetoric. By recognizing the interrelatedness of these disciplines, we may better clarify poetry's broad, ethical appeals that seem so valuable to readers in situations of loss.
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BEAMAN, DARLENE SUZETTE. ""A THORN-CHOKED GARDEN PLOT": WOMEN'S PLACE IN EMILY DICKINSON AND CHRISTINA ROSSETTI (ENGLAND, UNITED STATES)." Thesis, 1986. http://hdl.handle.net/1911/15954.
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Emily Dickinson and Christina Rossetti, born just five days apart in 1830, wrote similarly on love, restriction, identity, and death. Their similarities arose not because one poet influenced the other, but because both poets shared the identity of single women in strong patriarchal societies. Although shared lifestyles as single and relatively secluded women who remained in their parents' homes do not provide a shared outlook, their biographies support the theory that both grappled with the problem of a woman's place.
Both poets are too ensconsed in male tradition to disregard outworn beliefs, particularly those beliefs concerning a woman's place in nature and in love, but both begin deceptively to change sexual connotations within traditional stereotypes. Dickinson presents this change in women positively, while Rossetti presents non-conforming women as failures. But they picture the destructiveness of stereotypes that obliterate a woman's identity in love.
Walls, masks, and other enclosures abound in both women's poetry. In Rossetti's verse, walls and self-imposed masks protect women against punishable indulgences, but these enclosures confine and deaden. The freedom from this imposed imprisonment characterizes many of her religious poems. In Dickinson's poetry, barriers induce imaginative questing and desires for escape, just as punishment affirms the promethean artistic self. Both women reveal the confinement of restrictions upon women, but where Dickinson advocates the breaking of boundaries, if only through secret imaginative flight, Rossetti reinforces the validity of boundaries and conformity.
Both poets convey a woman's anxiety of loss over place, sexuality, and integrated identity when she fails to fit into expected roles. Their poetry enacts the similar characteristics of psychic fragmentation and existential reality, particularly through the recurrence of mirroring pronomial structures and negative or empty metaphors. But these aspects of multiplicity proliferate a linguistic freedom beyond the boundaries of conventional femininity.
Finally, both poets examine the precepts of consolation literature and attempt to reconcile the problems of a woman's earthly place with the proposed triumphs of her heavenly place. But while Rossetti paradoxically provides women only with the metaphoric perfection of their earthly positions, Dickinson discards the consolation of a heavenly place and envisions the rewards of an androgynous poetic voice.
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Klein, Jeannine M. E. "Constellations of desire: The Double and the Other in the works of Dante Gabriel and Christina Georgina Rossetti." Thesis, 1995. http://hdl.handle.net/1911/19100.
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Theoreticians of the problem of the other have overlooked a crucial distinction between two competing modes of alterity: The Other, a classic strategy of metaphorical, externalized singularity, and The Double, a modern strategy of metonymical, internalized multiplicity. The discovery of these two modes of alterity untangles many of the difficulties encountered in attempting to reconcile the theories of writers frequently seen as inimical to one another, including Jacques Lacan, Jacques Derrida, Emmanuel Levinas, Sigmund Freud, Julia Kristeva, Luce Irigaray, Edward Said, and Tzvetan Todorov. These two strategic modes enable women and men, artists and writers, to create "constellations of desire"--traditional and non-traditional "imaginary" psychological outlines constructed from the fixed points or reference in our lives--to deal with loss and alterity.
While this paradigm can be profitably applied to many eras of loss, one particularly enlightening local instantiation of the problem occurs in the Victorian era, specifically in the life and works of Dante Gabriel Rossetti and Christina Georgina Rossetti. The Rossettis rall under the sign of Gemini in the Victorian constellations of desire: brother and sister poets, standing in the same place, they yet face in opposite directions and follow reversed trajectories with reference to their fixed stars or family, faith, and the female. The strategies of The Double and The Other occur repeatedly throughout their lives, in their interactions with their father and their siblings, where questions of voice and textual incest become prominent; in their problematical relationships to ascEtic, aesthetic, and erotic forms of faith; and in their relationship to the female--mother, fallen woman, and beloved epipsyche--both as lived experience and as envisioned/revisioned object of the gaze. Particular eruptions materialize in poems and paintings such as Dante Gabriel's "Jenny," "Blessed Damozel," "Proserpine," "Ecce Ancilla Domini!," "Sister Helen," "Ave," "Hand and Soul," "A Last Confession"; and Christina's "Goblin Market," "A Royal Princess," Sing-Song, "Maggie A Lady," "Maude Clare," and "Monna Innominata," as well as her drawings. The picture that emerges allows Christina the strength as well as the anguish of her faith, making her a more complex and interesting writer than previously acknowledged, while it recuperates Dante Gabriel's reputation from accusations of chauvinism and obscurantism.
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Fořtová, Linda. "Vizuální aspekt poezie Dante Gabriela Rossettiho." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-310436.
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This MA thesis is concerned with the analysis of three poems by Dante Gabriel Rossetti. The theoretical basis of this work is the theory of "ut pictura poesis" which examines the relationship between poetry and fine arts. In the case of Rossetti, this theory can be easily applied since Rossetti was not only a poet but mainly a painter. "The Blessed Damozel" which is the first poem to be analyzed, exists as a painting as well as a musical composition by Claude Debussy. The second poem in this thesis is "The Card Dealer" which was inspired by an actual painting by Theodor Van Holst, a copy of which Rossetti himself owned, though the original visual image is considerably modified in the poem. The last poem is "My Sister's Sleep" whose dramatic elements of individual scenes are quite outstanding. Just like the two preceding poems, "My Sister's Sleep" uses "painterly techniques" as well (the spatial composition of figures on the scene, emphasis on details, "painting" the scene and atmosphere, characterization, gestures, colours, materials, slowed-down tempo, general stasis of depiction, elongation of the tense moment to which the entire poem aspires, symbolism, mysticism, etc), which in effect create an easily imaginable mental picture that can be compared to actual Pre-Raphaelite paintings. These (and...