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Silva, Vanessa da. "Alfred Tennyson e o ideal orgânico de civilização." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/12649.
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Previous issue date: 2010-10-19The present research evidences how the poet Alfred Tennyson, developed the values of the courtesy, surrounded by a conservationist moral, in the constitution of the culture named national culture form the Victorian England. To achieve that, it became necessary for us to understand how Tennyson approached the social organic stage, opposite to the denominated Mechanical Age. The poet, who was laureate by the English royalty, is part of a movement, from England of the XIX century, which goes back to the Middle Ages to try to manipulate a national tradition. This movement, known as medieval revival, contributed to the values building, which resulted in the present society development. Added to this, Alfred Tennyson, was known as the voice of the Victorian England, who has really few historical studies of his poems, what makes him an author who still have a lot of things to be studied. In this essay, we have analyzed the poems The Coming of Arthur, Merlin and Vivien and Merlin and The Gleam, as the main historical documents. We have approached mainly the Merlin character. We have focused sometimes on the analyzing of the character body, and sometimes on the identification which the poet established with the wizard. Through Merlin´s positioning and voice , we have observed the organic society defended by the poet. This (organically) way of observing the society was related to the building of a national culture. This culture, according to Tennyson, should be built and consolidated by people education. The way of educating, to the author, happened through his poems, which carried morality and courtesy ideals
A presente pesquisa evidencia como o poeta Alfred Tennyson cultivou valores de civilidade, envoltos por uma moral conservadora, na formação da chamada cultura nacional da Inglaterra vitoriana. Para tanto, tornou-se necessário entendermos a maneira como Tennyson abordou a organicidade social, em oposição à denominada Era da mecanização . O poeta, que foi laureado pela realeza inglesa, é parte de um movimento, da Inglaterra do século XIX, que retoma a Idade Média para tentar forjar uma tradição nacional. Esse movimento, conhecido como renascimento medieval , contribuiu para a construção de valores, que resultaram na formação da sociedade atual. Somado a isso, Alfred Tennyson, que ficou conhecido como a voz da Inglaterra vitoriana, possui raríssimos estudos históricos sobre seus poemas, o que o torna um autor que ainda tem muito a ser estudado. Neste trabalho, analisamos os poemas The Coming of Arthur, Merlin and Vivien e Merlin and The Gleam, como principais documentos históricos. Abordamos principalmente o personagem Merlin. Algumas vezes focamos na análise do corpo do personagem, outras vezes na identificação que o poeta estabeleceu com o mago. Por meio dos posicionamentos e da voz de Merlin, observamos a sociedade orgânica defendida pelo poeta. Essa maneira (orgânica) de perceber a sociedade estava relacionada com a construção de uma cultura nacional. Cultura que, segundo Tennyson, deveria ser construída e consolidada por meio da educação da população. A maneira de educar, para o autor, dava-se por meio de seus poemas, que carregavam ideais de civilidade e moralidade
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Kang, Sang Deok. "Tennyson's Lyricism: The Aesthetic of Sorrow." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278413/.
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The primary purpose of this study is to show that anticipations of the "art for art's sake" theory can be found in Tennyson's poetry which is in line with the tenets of aestheticism and symbolism, and to show that Tennyson's lyricism is a "Palace of Art" in which his tragic emotions-- sadness, sorrow, despair, and melancholic sensibility--were built into beauty.
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Newton, Daniel W. "Death in the Royal Family: Victorian Funeral Sermon Techniques in Tennyson's National Poetry." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2480.pdf.
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Guidici, Cynthia (Cynthia Dianne). "Iconic Ida: Tennyson's The Princess and Her Uses." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277631/.
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Alfred Lord Tennyson's The Princess: A Medley has posed interpretative difficulties for readers since its 1847 debut. Critics, editors, and artists contemporary with Tennyson as well as in this century have puzzled over the poem's stance on the issue of the so-called Woman Question. Treating Tennyson as the first reader of the poem yields an understanding of the title character, Princess Ida, as an ambassador of Tennyson's optimistic and evolutionary views of human development and links his work to that of visionary educators of nineteenth-century England. Later artists, however, produced adaptations of the poem that twisted its hopefulness into satirical commentary, reduced its complexities to ease the task of reading, and put it to work in various causes, many ranged against the improvement of women's condition. In particular, a series of editions carried The Princess into various nations, classrooms, and homes, promoting interpretations that often obscure Tennyson's cautious optimism.
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Picy, Jean-Baptiste. "L'imaginaire de Tennyson, 1820-1892." Paris 4, 1997. http://www.theses.fr/1997PA040087.
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Ces travaux de recherche concernent le domaine des études victoriennes, au travers d'un éminent victorien s'il en fut, le poète lauréat Alfred, Lord Tennyson (1809-1892). Ainsi que l'indique son titre, "l'imaginaire de Tennyson, 1820-1892" a pour objet précis un domaine de la poétique: l'imaginaire. Par une étude de l'œuvre en six parties chronologiques, la thèse analyse les images poétiques sous tous leurs aspects: la symbolique, la métaphore, la psychologie, la portée idéologique, la dimension picturale, l'insertion dans l'histoire littéraire. La thèse tend à démontrer: 1) que Tennyson révèle par le corps de son œuvre l'histoire des valeurs de la culture victorienne; 2) que Tennyson n'a cessé d'alimenter la culture de l’Angleterre victorienne minoritaire et constitue le chainon manquant reliant l'esthétisme de Keats à celui de Pater; 3) que Tennyson est le premier détenteur d'importance d'une poétique des compromis et des cohabitations paradoxales qu'imposent à la fois l'histoire britannique et l'ère marchandeThis research production is directly relevant to victorian studies, as it deals with quite an 'eminent victorian': the poet laureate, Alfred, Lord Tennyson (1809-1892). As is suggested by its title, Tennyson's imagery, 1820-1892 is in fact concerned with a specific field of poetics: imagery. Through an exhaustive study of tennyson's works along six chronological parts, this thesis proceeds with the analysis of poetical imagery in every important respect: symbols, metaphors, psychology, ideology, pictorial meaning, contextual literary relevance. The demonstrative aim consists in bearing sufficient proof that: a) Tennyson revealed, through the imagery in his works, part of the history of values current in succession within mainstream victorian culture; b) Tennyson meanwhile kept on feeding the cultural material used by victorian dissidents and stood as the missing-link between keat's aestheticism and pater's; c) Tennyson was the first major upholder of contradictory poetics of compromise, on account of the general paradoxes imposed on the poet through both britain's historical position and its triumphant industrial era
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Sullivan, Michael Joseph Plygawko. "Tennyson and the revision of song." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/271748.
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Writing in the 1890s, in an early account of Tennyson’s poetry, the Victorian anthologist F. T. Palgrave was keen to maintain the myth of the spontaneous singer. ‘More than once’, he recorded, Tennyson’s ‘poems sprang’ from a ‘nucleus’, ‘a brief melodious phrase’ or ‘song’, which, if not transcribed immediately, ‘fled from him irrecoverably’. It has long been the case with poets of ‘lyrics’ and ‘songs’ that their skills have been depicted as improvisatory, fleeting, or inspired. Their skills have been understood, variously, as indicative either of the most dexterous of intellects, or of brilliant but uncontrolled visions, a ‘flash’ of prophetic insight or revelation – a feel of what Shelley likens to ‘the interpenetration of a diviner nature through our own’. For many poets, however, the reality is one of inspiration that gives birth to intense manuscript activity and revision. It is now well known that Tennyson revised and re-revised, even after publication, until only weeks before his death; and yet no book-length study has pursued the significance of his manuscript revisions for the development of his style. This thesis traces the poet’s stylistic evolution through his notebooks, drafts, and printed volumes. Uncovering new literary manuscripts from Harvard, Lincoln, Cambridge, and New York, the study offers a more comprehensive picture of the poet’s craft: one alert to his evolving ambitions, and to the immense shifts that he effected in the landscape of English verse. The thesis begins by excavating how the notion of poetic ‘song’ fuelled a creative process at the heart of Tennyson’s revisions. In tracing the diverging fates of ‘lyric’ and ‘song’ across his notebooks, the opening chapter restores an important discourse for Tennysonian sonority that has comparatively declined in recent years. Chapter II examines Tennyson’s aesthetic control over the Victorian lyrical canon, drawing on a new manuscript of ‘The Golden Treasury’, the most significant anthology of the nineteenth century. Chapter III studies the notebook containing Tennyson’s first collection of verse, ‘Poems, by Two Brothers’. It reveals how much of the poor punctuation that sparked vehement attacks – and which is reproduced in modern editions – was not, in fact, inserted by the poet. Chapter IV explores how Tennyson’s most famous early songs and lyrics, published in ‘Poems, Chiefly Lyrical’, developed in tandem with his blank verse style. Chapters V and VI illuminate Tennyson’s ‘ten year silence’, which witnessed profound innovations in form, the revision of his 1832 Poems into his celebrated collection of 1842, and the creation of ‘In Memoriam’. Chapters VII and VIII piece together the notebooks, proofs, drafts, and revision copies of ‘The Princess’, Tennyson’s medley of songs and voices, lyrics and blank verse. By its end, the study reveals how the ringing qualities of his works emerged through manuscript revision: in the interplay between sonorous forms and narratives that came, over decades of change, to shape the distinctive drama of Tennyson’s style.
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Baldazzi, Alice. "The Lady of Shalott di Alfred Tennyson: una proposta di traduzione." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/13733/.
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Nel proporre una traduzione parziale del poema The Lady of Shalott, di Alfred Tennyson, questo elaborato offre anche una panoramica delle difficoltà traduttive insite nella versione di un testo poetico.
Si propongono una breve introduzione del tema, che includerà qualche nozione storico-letteraria sull’autore e sul poema scelto, e un’analisi concentrata sull’individuare le peculiarità metrico-ritmiche, foniche, semantiche, retoriche e morfosintattiche del testo fonte. Si prosegue con una proposta di traduzione delle sezioni III e IV col testo originale a fronte, perché si possano osservare con più facilità i parallelismi presenti tra le due versioni. Viene infine presentato un commento alla traduzione, che in un primo momento si focalizza su premesse generali e che si concentra poi su un’analisi delle scelte effettuate stanza per stanza.
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Theoden, Haude. "Les cycles de l’écriture dans l’œuvre poétique d’Alfred Tennyson : répétitions et différences." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040246.
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L’œuvre poétique d’Alfred Tennyson est cyclique. La répétition des mots, des thèmes et des personnages lui confère une dimension autoréférentielle. Le retour des refrains crée un effet de ressassement formel. Cette œuvre se concentre sur elle-même au point de s’affranchir des formes et des genres poétiques existants, à la recherche d’un langage qui lui est propre. L’écriture se prend elle-même pour objet et pour fin. La mélancolie au cœur de bien des poèmes devient un prétexte à écrire toujours plus car la dynamique de la sublimation mélancolique s’apparente au fonctionnement même du langage poétique, déploiement de signes autour d’un centre absent. Derrière la magie de la griserie du verbe, point pourtant le regard critique du poète qui se pose sur la société de son temps et se cristallise autour de la figure de la femme. Le texte poétique se redéfinit finalement comme un espace de différence où se donne à voir et à entendre la capacité (pro)créatrice d’une écriture « au féminin »Alfred Tennyson’s poetical work is cyclical. The recurrence of words, themes and characters confers a self-referential dimension on it. The return of refrains creates a sense of formal repetitiousness. As they concentrate on their own working, the texts free themselves from existing poetical forms and genres, looking for a language of their own. The recurring theme of melancholy becomes a pretext to keep writing: the sublimation of the impossible work of mourning reveals something of the essence of poetical language as the proliferation of signs around a void. The poet’s critical vision of his society nevertheless appears behind his delight in the resources of language as he focuses on feminine characters. The poetical text is finally redefined as a space of difference where the feminine (pro)creative power of Tennyson’s poetical language can be heard and seen
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Nickerson, Anna Jennifer. "Frontiers of consciousness : Tennyson, Hardy, Hopkins, Eliot." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/277879.
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‘The poet’, Eliot wrote, ‘is occupied with frontiers of consciousness beyond which words fail, though meanings still exist’. This dissertation is an investigation into the ways in which four poets – Alfred Tennyson, Thomas Hardy, Gerard Manley Hopkins, and T. S. Eliot – imagine what it might mean to labour in verse towards the ‘frontiers of consciousness’. This is an old question about the value of poetry, about the kinds of understanding, feeling, and participation that become uniquely available as we read (or write) verse. But it is also a question that becomes peculiarly pressing in the nineteenth- and early twentieth-centuries. In my introductory chapter, I sketch out some of the philosophical, theological, and aesthetic contexts in which this question about what poetry might do for us becomes particularly acute: each of these four poets, I suggest, invests in verse as a means of sustaining belief in those things that seem excluded, imperilled, or forfeited by what is felt to be a peculiarly modern or (to use a contested term) ‘secularized’ understanding of the world. To write poetry becomes a labour towards enabling or ratifying otherwise untenable experiences of belief. But while my broader concern is with what is at stake philosophically, theologically, and even aesthetically in this labour towards the frontiers of consciousness, my more particular concern is with the ways in which these poets think in verse about how the poetic organisation of language brings us to momentary consciousness of otherwise unavailable ‘meanings’. For each of these poets, it is as we begin to listen in to the paralinguistic sounds of verse that we become conscious of that which lies beyond the realms of the linguistic imagination. These poets develop figures within their verse in order to theorize the ways in which this peculiarly poetic ‘music’ brings us to consciousness of that which exceeds or transcends the limits of the world in which we think we live. These figures begin as images of the half-seen (glimmering, haunting, dappling, crossing) but become a way of imagining that which we might only half-hear or half-know. Chapter 2 deals with Tennyson’s figure of glimmering light that signals the presence, activity, or territory of the ‘higher poetic imagination’; In Memoriam, I argue, represents the development of this figure into a poetics of the ‘glimpse’, a poetry that repeatedly approaches the horizon of what might be seen or heard. Chapter 3 is concerned with Hardy’s figuring of the ‘hereto’ of verse as a haunted region, his ghostly figures and spectral presences becoming a way of thinking about the strange experiences of listening and encounter that verse affords. Chapter 4 attends to the dappled skins and skies of Hopkins’ verse and the ways in which ‘dapple’ becomes a theoretical framework for thinking about the nature and theological significance of prosodic experience. And Chapter 5 considers the visual and acoustic crossings of Eliot’s verse as a series of attempts to imagine and interrogate the proposition that the poetic organisation of language offers ‘hints and guesses’ of a reality that is both larger and more significant than our own.
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Bolen, Anne E. "From verse to visual : an analysis of Alfred Tennyson and William Holman Hunt's The lady of Shalott /." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1087832766.
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Stoneback, Bruce T. "Death, despondency, despair, and dysfunction in three eminent victorians Thomas Carlyle, Alfred Tennyson, and Ralph Waldo Emerson /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2001. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 2001.Source: Masters Abstracts International, Volume: 45-06, page: 2824. Typescript. Abstract appears on leaf [2]. Includes bibliographical references (leaves 80-84).
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Fávaro, Andrea Rossini T. "Alfred Tennyson e a virtude como tradição em Idylls of the King (1830-1889)." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/12622.
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Previous issue date: 2010-11-03Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This M.A. dissertation analyzes the work Idylls of the King (1889), from the English poet Alfred Tennyson, as a historical source. Our first aim is to identify the context of the idylls production, associating the work to political, economical and social matters such as the ones that were formed at the Victorian England. The second one is to identify the singularities from the Tennyson´s authorship through the characters selection, episodes and approached themes from the achievement which we call temporal transition, associating the Arthurian myth to the English history. In that manner, we identify what the author believed to be the mission of the poet, linked to social function of culture. The third aim is to identify the royalty built by Tennyson, based on what he considered to be the tradition which passes through all the nation history, the political and personal virtues
Esta dissertação analisa a obra Idylls of the King (1889), do poeta inglês Alfred Tennyson, como documento ou registro histórico. Nosso primeiro objetivo é identificarmos o contexto de produção dos idílios, associando a obra as questões políticas, econômicas e sociais tal como se configuravam na Inglaterra vitoriana. O segundo é identificarmos as marcas da autoria de Tennyson por meio da seleção de personagens, episódios e temas abordados a partir da realização do que denominamos trânsito temporal, que associa o mito arthuriano à história inglesa. Dessa forma, identificamos aquilo que o autor acreditava ser a missão do poeta, vinculada à função social da cultura. O terceiro objetivo é identificarmos a realeza construída por Tennyson, fundamentada no que considerava ser a tradição que perpassara toda a história da nação, a virtude pessoal e política
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Abaurre, Maria Luiza Marques. "A materia de Bretanha no seculo XIX : Alfred Tennyson e Mack Twain na corte do rei Arthur." [s.n.], 1993. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270000.
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Orientador: Yara Frateschi VieiraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Não tem resumo na obra impressa. Base IEL resumo: Leitura comparativa de duas refacções da matéria de Bretanha produzidas no século XIX: Idylls of the King, de Alfred Tennyson, e A Connecticut Yankec in King Arthur's Court, de Samuel Langhorne Clemens (Mark Twain). O interesse em um estudo comparativo das duas obras é grande, uma vez que, tendo utilizado o mesmo texto como fonte básica para suas refacções - Le Morte D'Arthur (Thomas Malory) -, Tennyson e Clemens produziram obras profundamente diferentes, tanto na abordagem quanto no tratamento da matéria de Bretanha. Da comparação feita entre as alterações promovidas por um e outro autor, ao trabalharem com o texto de Malory, é delineado um interessante quadro histórico-social, bem como são levantadas algumas hipóteses relativas à manutenção do interesse literário por histórias de natureza arturiana
Abstract: Not informed.
Mestrado
Teoria Literaria
Mestre em Letras
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Walker, Richard Joseph. "In the labyrinths of deceit : culture, modernity and disidentity in the nineteenth century." Thesis, University of Plymouth, 1999. http://hdl.handle.net/10026.1/1149.
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This thesis examines the nature of identity and the problems implicit in attempts to affirm it within the context of nineteenth century modernity. By exploring a number of texts from Romanticism to the fin de siecle, it can be. seen that autonomous and coherent identity is not a stable entity. Drawing upon Rene Descartes'work on constructions of selfhood as a starting point, these ideas can be detected in an assessment of identity's alter ego - the disidentical self which is characterised by masks, disguises, madness, pathological behaviour, criminality and addiction. Examples of such paradigms for disidentity can be found in a variety of cultural texts and genres throughout the century, from the self-consciously 'high' poetry of Matthew Arnold, Alfred Tennyson and Gerard Manley Hopkins to the popular Gothic novels of Robert Louis Stevenson, Oscar Wilde and Bram Stoker. These metaphorisations of a crisis for identity in the nineteenth century are reflected in the analyses of insanity by physicians such as W.A.F. Browne and Henry Maudsley, prominent cultural critics such as Arthur Hallam and Amold, and the degeneration theorists of the late nineteenth century. Much of the project is shaped by Karl Marx and Friedrich Engels' assessment of modernity found in The Communist Manifesto, in particular their descriptions of nineteenth century socio-cultural topographies as fluid and vaporous. Stable identity is effectively threatened from a plethora of directions, including the Orient, criminality, sexual deviancy, scientific discovery and accelerated social change. Taking into consideration the many different ways in which identity can be problematised in the nineteenth century, three important sites of disidentification have been chosen for the purposes of this argument. Chapter one examines the split-personality, chapter two religious madness, and chapter three addiction. Each chapter demonstrates that within the conditions of nineteenth century modernity, the fragility and consequent fragmentation of individual identity is evoked in many different manifestations.
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Louw, Denise Elizabeth Laurence. "A study of the numinous presence in Tennyson's poetry." Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1005891.
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From Preface: A reader looking to this study for a charting of the diverse religious views held by Tennyson at different periods in his life may be disappointed. My primary concern has been not with religious forms, but with the numinous impulse. However, though I approached the topic with a completely open mind, I find my own Christian convictions have been strengthened through the study of Tennyson's poetry. As the title indicates, I have not attempted to deal with the plays. To explore both the poetry and the plays in a study of this length would have been impossible. I have perhaps been somewhat unorthodox in attempting to combine several disciplines, especially since I cannot claim to be a specialist in the areas concerned. However, I felt it necessary to approach the subject from a number of points of view, and to see to what extent the results could be said to converge on some sort of central "truth". When I have despaired of being able to do justice to a particular aspect within the imposed limits, I have sometimes found comfort in the words of Alan Sinfield (The Language of Tennyson's "In Memoriam", p.211): "We can only endeavour continually to approach a little closer to the central mystery; the ma j or advances will be infrequent, but most attempts should furnish one or two hints which others will develop. "
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Falconer, Marc Stuart. "A study of Tennyson's Idylls of the King." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002280.
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This thesis is a study of themes and genre in Tennyson's Idylls of the King. I have not attempted to present a survey of the body of critisicm on the cycle, nor have I attempted a comprehensive comparison of the poem with any of Tennyson's sources. The first chapter is based on A. Fowler's study of genres and I follow the implications of his work in my reading of the Idylls. Tennyson blends various generic strands in his cycle, in particular allegory, epic, dramatic monologue and the Alexandrian idyll, to create a complex psychological allegory of epic scope which both draws on traditional genres and extends them. I believe the Idylls should be read as a cycle and in the order in which Tennyson finally presented them; the ordering process is as much part of the creative process as the actual act of composition. I have adopted Priestley's sensible division of the twelve poems which he says "falls naturally into three groups of four, corresponding closely to the three acts of modern drama" (1960, p.252-254)" The second chapter begins the sequential examination of the first four "spring" and "summer" poems beginning with the symbolic The Coming of Arthur. This idyll begins Tennyson's Arthurian mythopoeia, creating a poetic kingdom of the mind. The "act" closes with the Geraint and Enid idylls, all four works in this section ending happily. The third chapter deals with the idylls which plot the corrupting and ever-widening influence of the adulterous relationship of Lancelot and Guinevere, one cause of the destruction of the institution of the Round Table. Other causes of the demise of Arthur's order are the pernicious influences of the evil Vivien and Modred and the meaningless and sterile spirituality that prompts the quest of The Holy Grail. The last four idylls chart the final collapse of Arthur's realm, the utter disillusionment of individual idealism - personified by Pelleas, an anachronistic spring figure who appears in Camelot's bleak and hostile winter - and the complete social decay which is demonstrated by the fiasco of The Last Tournament. The tragic denouement of the cycle, on both individual and social levels, is evident in Guinevere, in which Arthur's wretched and traitorous queen understands Arthur's vision, but too late to save Camelot from ruin. In the final framing idyll, The Passing of Arthur, Tennyson's myth is elevated to the level of universal significance, the Idylls of the King becoming "not the history of one man or one generation but of a whole cycle of generations" (Memoir, ii, p.127).
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Torrence, Avril Diane. "The people's voice : the role of audience in the popular poems of Longfellow and Tennyson." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/32172.
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At the height of their popularity in the mid-nineteenth century, a vast transatlantic readership conferred on Longfellow and Tennyson the title "The People's Poet." This examination of Anglo-American Victorian poetry attempts to account for that phenomenon.
A poetic work is first defined as an aesthetic experience that occurs within a triangular matrix of text, author, and reader. As reception theorist Hans Robert Jauss contends, both the creator's and the receptor's aesthetic experiences are filtered through a historically determined "horizon of expectations" that governs popular appeal.
A historical account of the publication and promotion of Longfellow's and Tennyson's poetry provides empirical evidence for how and why their poetic texts appealed to a widespread readership. This account is followed by an analysis of the class and gender of Victorian readers of poetry that considers the role of "consumers" in the production of both poetry and poetic personae as commodities for public consumption.
The development of each poet's voice is then examined in a context of a gendered "separate-sphere" ideology to explain how both Longfellow's and Tennyson's adoption of "feminine" cadences in their respective voices influenced the nineteenth-century reception of their work.
The final two chapters analyze select texts—lyric and narrative—to determine reasons for their popular appeal in relation to the level of active reader engagement in the poetic experience. Through affective lyricism, as in Longfellow's "Psalm of Life" and Tennyson's "Break, break, break," these poets demanded that their readers listen; through sentiment transformed into domestic allegory, as in Miles Standish and Enoch Arden, these poets demanded further that they feel.
While both Victorian poets were later decanonized by their modern successors, contemporary critics, mainly academic, have restored Tennyson to the literary canon while relegating Longfellow to a second-rate schoolroom status. The conclusion speculates on the possible reasons underlying the disparate reputations assigned to the two poets, both of whom, during their lifetimes, shared equally the fame and fortune that attended their role as "The People's Voice."Arts, Faculty of
English, Department of
Graduate
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Holloway, Tamara C. ""All Is Well": Victorian Mourning Aesthetics and the Poetics of Consolation." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12141.
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viii, 214 p.In this study, I examine the various techniques used by poets to provide consolation. With Tennyson's In Memoriam, I explore the relationship between formal and thematic consolation, i.e., the ways in which the use of formal elements of the poem, particularly rhyme scheme, is an attempt by the poet to attain and offer consolation. Early in his laureateship after the Duke of Wellington's funeral, Tennyson wrote "Ode on the Death of the Duke of Wellington," but this poem failed to meet his reading audience`s needs, as did the first major work published after Tennyson was named Poet Laureate: Maud. I argue that form and theme are as inextricably linked in Maud as they are in In Memoriam, and in many ways, Maud revises the type of mourning exhibited in In Memoriam. Later, I examine in greater detail the hallmarks of Victorian mourning. Although most Victorians did not mourn for as long or as excessively as Queen Victoria, the form her mourning took certainly is worth discussion. I argue that we can read Tennyson's "Dedication" to Idylls of the King and his "To the Mourners" as Victorian funeral sermons, each of which offers explicit (and at times, contradictory) advice to the Queen on how to mourn. Finally, I discuss the reactions to Tennyson's death in the popular press. Analyzing biographical accounts, letters, and memorial poems, I argue that Tennyson and his family were invested in the idea of "the good death"; Tennyson needed to die as he had lived--as the great Laureate.
Committee in charge: Richard Stein, Chair; Tres Pyle, Member; Deborah Shapple, Member; Raymond Birn, Outside Member
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Wilsey, Shannon K. "Interpretations of Medievalism in the 19th Century: Keats, Tennyson and the Pre-Raphaelites." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/cmc_theses/20.
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This thesis describes how different 19th century poets and artists depicted elements of the medieval in their artwork as a means to contradict the rapid progress and metropolitan build-up of the Industrial Revolution. The poets discussed are John Keats and Alfred, Lord Tennyson; the painters include William Holman Hunt and John William Waterhouse. Examples of the poems and corresponding Pre-Raphaelite depictions include The Eve of Saint Agnes, La Belle Dame Sans Merci and The Lady of Shalott.
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Bolen, Anne E. "From Verse to Visual: An Analysis of Alfred Tennyson and William Holman Hunt’s The Lady of Shalott." Ohio University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1087832766.
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Kraushaar, Katja. "Englische Elegien : Versuche der poetischen Selbstvergewisserung englischer Dichter in ihrer Auseinandersetzung mit dem Tod /." Frankfurt am Main : P. Lang, 2004. http://catalogue.bnf.fr/ark:/12148/cb39244965t.
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Louw, Denise Elizabeth Laurence. "A literary study of paranormal experience in Tennyson's poetry." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002292.
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My thesis is that many of Tennyson's apparently paranormal experiences are explicable in terms of temporal lobe epilepsy; and that a study of the occurrence, in the work of art, of phenomena associated with these experiences, may be useful in elucidating the workings of the aesthetic imagination. A body of knowledge relevant to paranormal experience in Tennyson's life and work, assembled from both literary and biographical sources, is applied to a Subjective Paranormal Experience Questionnaire, compiled by Professor V.M. Neppe, in order to establish the range of the poet's apparently "psychic" experiences. The information is then analysed in terms of the symptomatology of temporal lobe epilepsy (TLE), and the problems of differential diagnosis are considered. It is shown, by means of close and comparative analyses of a number of poems, that recurring clusters of images in Tennyson's poetry may have their genesis in TLE. These images are investigated in terms of modern research into altered states of consciousness. They are found to be consistent with a "model" of the three stages of trance experience constructed by Professor A.D. Lewis-Williams to account for shamanistic rock art in the San, Coso and Upper Paleolithic contexts. My study of the relevant phenomena in the work of a nineteenth century English poet would seem to offer cross-cultural verification of the applicability of the model to a range of altered-state contexts. This study goes on to investigate some of the psychological processes which may influence the way in which pathology is manifested in the poetry of Alfred Tennyson. But, throughout the investigation, the possible effects of literary precursors and of other art forms are acknowledged. The subjective paranormal phenomena in Tennyson's poems are compared not only with some modern neuropsychiatric cases, but also with those of several nineteenth-century writers who seem to have had similar experiences . These include Dostoevsky and Edward Lear, who are known to have been epileptics, and Edgar Allan Poe. Similarity between some aspects of Tennyson's work and that of various Romantic poets, notably Shelley, is stressed; and it is tentatively suggested that it might be possible to extrapolate from my findings in this study to a more general theory of the "Romantic" imagination.
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Walker, Alison L. "The Cycling and Recycling of the Arthurian Myth in Alfred Lord Tennyson's Idylls of the King." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1275590980.
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Le, Lan Nadège. "La demoiselle d'Escalot : morte d'amour, inter-dits, temps retrouvés." Paris 12, 2002. http://www.theses.fr/2002PA120041.
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La demoiselle d'Escalot (La Mort Artu) qui meurt d'amour pour Lancelot est l'ultime espoir du monde arthurien et l'entraîne avec elle dans sa disparition. Figure synthétique et mnémonique du Lancelot-Graal, c'est une mise en abyme du roman et du cycle. Elle réapparaît dans la littérature de toute l'Europe médiévale (hébrai͏̈que, italienne, anglaise, allemande, néerlandaise et catalane). Au XIXe, un poème de Tennyson porté par l'iconographie en fait une figure de proue de la littérature anglo-saxonne. En France, elle est reprise, mais dépourvue de la dimension contextuelle et symbolique de La Mort Artu et des attributs emblématiques de l'héroi͏̈ne tennysonienne elle ne soulève pas l'enthousiasme. Elle finit par s'effacer de la mémoire collective au profit de l'Elaine de Malory (Morte Darthur), son plus illustre descendant, à qui l'on attribue l'exclusive paternité de celle de Tennyson. Or le plus célèbre personnage arthurien de l'Angleterre victorienne est également inspiré de La Mort ArtuIn the French Mort Artu, Arthur's kingdown disappears with the maiden of Escalot. The story of the maiden who dies of unrequited love for Lancelot of the Lake synthetizes and reminds the whole Vulgate Cycle. In the Middle Ages, it is retold in Hebrew, Italian, English, German, Dutch and Catalan. With Tennyson's Elaine of Astolat, it comes to the first place in Victorian litterature. The character is said to be derived from Malory's, but it is actually more indebted to the Mort Artu, through its 16th century Italian translation. The modern French retellings of the story, though numerous, have been overlooked, due to the lack of contextual and symbolic meaning
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Aubriet, Hélène. ""The True and the False" : de la représentation de la vérité à celle de l’imaginaire dans les illustrations édouardiennes des Idylls of the King d’Alfred Tennyson (1859)." Thesis, Université de Lorraine, 2016. http://www.theses.fr/2016LORR0087/document.
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The Idylls of the King, d’Alfred Tennyson, fut dès sa parution (1859) très populaire. Son sous-titre initial, « The True and the False », constitue le fil directeur des quatre poèmes du recueil, qui se développent autour d’interprétations erronées. Lever le voile sur la véritable identité d’une personne, voir la réalité en face, ou même comprendre qui l’on est vraiment : les Idylls se résument à une longue et difficile recherche de la vérité à laquelle s’ajoute une question morale, le bien et le mal en chaque personne. Les Idylls mettent en garde le lecteur contre les apparences trompeuses et les êtres corrompus. Le recueil inspira de nombreux artistes, notamment préraphaélites. À l’époque édouardienne, les Idylls, devenues un « classique », firent à nouveau l’objet d’éditions illustrées. Comment les artistes (Eleanor Fortescue Brickdale, Florence Harrison, Jessie M. King et John Byam Shaw), généralement issus du Préraphaélitisme, illustrent-ils la thématique de la vérité ? La thèse montre comment le thème de la vérité est transposé et adapté dans les illustrations : malgré une apparente correspondance entre les Idylls et les images, les illustrateurs édouardiens se détachent des points de vue développés par le poète et ses personnages, et les critiquent implicitement. Par ailleurs, ils mettent en relief la dimension imaginaire du texte : leurs images permettent alors de s’évader des poèmes, en stimulant les facultés créatrices du lecteurPublished in 1859, Alfred Tennyson’s Idylls of the King was an instant literary success. Its original subtitle, “The True and the False”, is the central theme of the four poems of the volume, which all deal with misperceptions, misunderstandings and misinformation. The Idylls can be seen as a long and challenging pursuit of the truth, since they show the heroes lifting the veil on their partner’s real identity, facing the truth, or trying to define their true selves. The poems also raise moral questions related to good and evil within men and women. In other words, the Idylls may be read as a warning against misperceptions and corrupt behaviours. The Idylls became a source of inspiration for many artists, including the Pre-Raphaelites. During the Edwardian era, Tennyson’s work, raised to the status of a classic, was again published in illustrated editions. How did the artists chosen here—Eleanor Fortescue Brickdale, Florence Harrison, Jessie M. King and John Byam Shaw, most of them affiliated to Pre-Raphaelitism—illustrate the question of Truth and Falsehood? This thesis shows how the theme of truth is depicted and adapted in the illustrations. Despite their apparent faithfulness to the poems, the Edwardian illustrators distance themselves from the poet’s or the characters’ point of view, while implicitly criticizing it. Besides, they highlight the imaginary dimension of the text. Thus, their illustrations stimulate the reader’s fancy and his or her inner dream world
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Hedenmalm, Li. "A Paradise Fading : Perceptions of Wild Nature in Alfred, Lord Tennyson's Idylls of the King and Howard Pyle's Story of King Arthur and His Knights." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76274.
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This thesis explores representations of wild nature in two Arthurian texts – one British and one American – produced in an age characterised by rapid social transformation: Alfred, Lord Tennyson’s Idylls of the King (1859-1885) and Howard Pyle’s Story of King Arthur and His Knights (1903). By investigation of the textual descriptions of wilderness and the portrayals of characters living there, the study aims to investigate what attitudes towards unkempt nature are displayed in the two texts. While both narratives give evidence of a powerful nostalgia for a vanishing paradise, the yearning for Eden is expressed quite differently. Pyle’s text fuses the concepts of wilderness and paradise together by depicting the unkempt landscape as a place of splendour and spiritual enjoyment. Such a celebration of nature might well be seen a reaction against the rapid loss of wild spaces across America (and Britain) during the life-time of the author. In the Idylls, paradise is represented in the domesticated yet green landscape of the faraway fairy island of Avilion. Wilderness, on the other hand, is depicted as a harmful disease progressively spreading across the realm, arguably bringing about a moral degeneration among the human characters. In the end, however, it is not wilderness, but the corruption of the supposedly civilised characters that causes the collapse of Arthur’s empire. On closer inspection, the real danger thus seems to come from culture and material conditions rather than from nature.
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Groff, Tyler Robert. "Living with the Past: Science, Extinction, and the Literature of the Victorian and Modernist Anthropocene." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564088076269053.
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Lazic, Boris. "From the Italian Shore : Tracing the Petrarchan Tradition in Alfred Tennyson’s In Memoriam." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-45433.
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This essay is focused on Alfred Tennyson’s In Memoriam, interpreting the poem against the background of a Petrarchan tradition. In this text I show how Tennyson’s work exhibits several parallels to the traditional elements of Petrarchism, both in terms of the themes it explores and of itsmore formal aspects. Among these commonalities are such things as a persistent focus on a distant object of affection, a sense of conflict or tension between earthly and divine love and a overall chronology and progression which ties the sequence together into an almost narrative structure. Besides these similarities, I also explore how In Memoriam differs from its Petrarchan model, andhow its differences are born of the particular circumstances in which it was written. Thus I also show how Tennyson manages to adapt an older literary tradition to the needs of his own time.
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Gabriel, Schenk. "A type of king : the figure of Arthur in mid-nineteenth to mid-twentieth century literature." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:6c284cea-e72c-49b0-ba87-29cf7b960ba9.
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This thesis analyses the figure of Arthur, in a period spanning the mid-nineteenth to mid-twentieth centuries, when that figure became increasingly protean and multifaceted, and the audience for the Arthurian legend grew in both size and variety. It argues that many authors wrote through Arthur, as well as about Arthur, using the figure to understand and test their own ideas about ideals (e.g. of manliness, kingship, or heroism) as well as problems (such as war, despotism, or ungodliness). This thesis analyses Arthur by considering him as a 'type', using a definition of the term that highlights a paradox: a type, in a scientific sense, is both perfect (an exemplary model) and normal (common enough to be representative). When applied to Arthur, it means that he is both a perfect, or near perfect, example, but is also to some extent a 'normal' human being. Different authors analysed in this thesis emphasise different aspects of the figure, according to whether they focus on Arthur's perfection or his normality. Other meanings of the word 'type' are also applied when relevant: the idea is not to force all versions of Arthur into a single or definitive category, but to retain the complexity of how Arthur is characterised and written about in texts. The ultimate aim of this thesis is to put the figure of Arthur into critical focus, and explain why he has been returned to so often in history.
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Barndollar, David Phillip Farrell John Philip Newton Adam Zachary. "The poetics of complexity and the modern long poem." 2004. http://repositories.lib.utexas.edu/bitstream/handle/2152/2124/barndollardp50540.pdf.
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Cameron-Gardos, Paris Sébastien. "Constructing desire : Alfred Tennyson, Walt Whitman and the development of homoerotic desire in elegiac poetry." Thèse, 2004. http://hdl.handle.net/1866/14326.
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Cheng, Chi-Fang, and 鄭淇方. "Death and Immortality in the Poetry of John Donne, George Herbert, William Wordsworth and Alfred Tennyson." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/9eq3jb.
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碩士國立中山大學
外國語文學系研究所
107
The topic of the thesis is to analyze death theme in the poems by John Donne, George Herbert, William Wordsworth, and Alfred Tennyson. Donne and Herbert both were poets and served in the church. I will first discuss and compare the meaning of life, death and immortality in John Donne’s and George Herbert’s poems through the Christian doctrine. In chapter two, I’ll move on to Lyrical Ballads by William Wordsworth. Poems that Wordsworth wrote have a theme that is Nature. More specifically, it is the death of nature in human. I would tell the difference between the death of nature in the human and traveler’s image related to death in Wordsworth’s poems. In chapter three, I would start from the poem that Tennyson wrote in his old age, which he told the imagination about death. And then I would tell the images related to death that Tennyson used repeatedly in his poems. Tennyson also wrote poems about death of nature but his concept is different from William Wordsworth’s. Tennyson’s concept of nature is related to death and immortality of creatures.
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Melville, Joan Virginia. "The Theatre of Anon: Julia Margaret Cameron, Virginia Woolf, and the Performance of Alfred Tennyson's Idylls of the King." Thesis, 2013. https://doi.org/10.7916/D83X8DVG.
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Julia Margaret Cameron, Alfred Tennyson, and Virginia Woolf: three major figures of British art and letters who have received much critical attention individually, but have not yet been studied together. In this project I consider the valedictory works of these artists at their convergence, first through their obvious geographic, familial, and aesthetic relationships, then in more subtle, deeper, and overarching dimensions. The chief texts that are the focus of this dissertation are Tennyson's Idylls of the King, plus five of the Laureate's most popular poems; Cameron's photographic illustrations of these poems; and a selection of Virginia Woolf's late work, with a focus on "The Searchlight," Three Guineas, Between the Acts, and Anon. The dissertation also makes use of apposite poems, essays, life writing, and fiction created by these artists. Since "The Theatre of Anon" focuses primarily on Cameron's Illustrations, a chapter containing photographs of all the books' pages concludes the dissertation text. An additional selection of images is included as an appendix, in support of the central thesis of this project. The complex friendship between Tennyson and Cameron inspired the latter's only published book, a collection of poetic excerpts accompanied by images of his poems staged as scenes from amateur theatricals. The photos, with the photographer acting as their playwright-director, evoke the literary pageant in Woolf's last novel. In photographing the Illustrations, Cameron took control of the Laureate's poetry, metaphorically assuming the role of Vivien stealing Merlin's poetic spells. This dissertation traces Woolf's perception of her great aunt as it evolved over the decades, beginning with the eccentric, affected, and comical Cameron of Freshwater (1926) and ultimately portraying her as a dynamic, determined, and creative artist who helped provide inspiration for the character of the playwright-director Miss La Trobe of Between the Acts (1940). I argue that her great aunt's work influenced Woolf to create the figure she called Anon as a counterpart to Tennyson's King Arthur, and to place La Trobe's pageant-play at the center of her last novel, Between the Acts, as a final act of homage to Cameron. An aggregate of all anonymous minstrels, artists, and authors who ever lived, Anon appears in the guise of Miss La Trobe, whose communal, participatory art demonstrates how the traditionally monocular "eye" of history can be enlarged in community theatre from a single "I" to a collaborative project accommodating multiple perspectives. The Arthurian chivalry to which the ideology of Anon is set in counterpoint represents a conservative point of view based on the belief in a divinely-ordained social order headed by a monarch, with prescribed roles for each of its members. Valor in combat and devotion in courtly love, chivalry's two chief expressions, are the basis of Arthur's knightly code, which has influenced British national character and identity from the country's founding. Arthur reached his Anglophone apotheosis in the nineteenth-century's Gothic revival, epitomized in Tennyson's Idylls of the King. At the end of her career, at the start of the Second World War, Woolf came to believe that theatrical performance offered a better paradigm for social organization than the chivalric hierarchy at the root of the patriarchal British Victorian culture in which she had grown up. She saw in the community theatre a gathering place that could foster moments of transcendent unity, intellectual freedom, and imaginative inspiration, and in drama an art form resilient enough to withstand an audience's interruption and disillusionment. Performance provided a collaborative alternative to the conservative constraints that were her Victorian legacy; history, she felt, could be more accurately portrayed through the accretion of expressive theatrical performances than by the monolithic, linear narrative it had become as the official transcript of the nation's past. The theatricals scenes of La Trobe's pageant and Cameron's Illustrations - both composed of scraps and fragments of quotidian life rearranged and recombined - offer a new visual conception of the past. Working at the level of what Walter Benjamin has called photography's optical unconscious the dissertation demonstrates how Cameron's photographs reveal a reconstellation or reconfiguration, of the dominant British narrative from defamiliarized versions of the past that resonate with La Trobe's pageant. I propose that Cameron's photos re-envision canonical texts, inspiring a new mythology for Woolf, one that reflects a fluid and elastic version of the British national story. Challenging the received Carlylean conception of history as the biographies of great men, Woolf's counter-history, like Cameron's book of illustrations, features ordinary men and women playing extraordinary roles. The legendary Arthur, traditionally credited with uniting the country's thirteen tribes, founding Britain, and shaping the nation's identity, is but one actor among many in Woolf's pageant of history; his starring role in Tennyson's Idylls of the King is reduced to a few key scenes in the Illustrations and a cameo appearance in Between the Acts. Woolf implies that though there may still be room in history's narrative for heroic men, they will no longer dominate it. With its evolving, democratic nature, the community theatre created by Anon offers a paradigm of citizenship and social organization that Woolf believed could encompass British history, re-envision it, and offer the world's citizens hope for the future.
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Barndollar, David Phillip. "The poetics of complexity and the modern long poem." Thesis, 2004. http://hdl.handle.net/2152/2124.
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Wang, Emmy Li-Zhen, and 王莉媜. "In Memoriam A.H.H.: Alfred Lord Tennyson's Psychodrama." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/27996063278824623597.
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碩士靜宜大學
英國語文學系
90
Abstract This thesis analyzes the way in which Tennyson’s In Memoriam A.H.H. works as a psychodrama for himself and his Victorian readers. In Memoriam A.H.H. itself is like a play in which Tennyson arranges many characters to enact out the inner world of his experience after his friend, Hallam’s death. This elegy had its healing effect both on Tennyson himself and on the Victorian readers because it helped them by showing a way to face the doubt of the science-religious conflict caused by the new scientific discoveries at that time. From this viewpoint, In Memoriam A.H.H. can be read as Moreno’s psychodrama, a group psychotherapy in which the protagonist and his group members may receive the healing effect in the form of a play. For this reason, I define In Memoriam A.H.H. as Tennyson’s psychodrama. The introduction, “Moreno’s psychodrama and Tennyson’s In Memoriam A.H.H.,” elaborates why Moreno created his psychotherapy─psychodrama-- for his modern readers, how he designed the five elements─the stage, the director, the protagonist, the auxiliary egos, and the audience─in psychodramatic scenario, and what a kind of healing effect a psychodrama brings for its group members through a catharsis. All of these are necessary for one to illuminate Tennyson’s In Memoriam A.H.H. as a psychodrama. Chapter Two, “The Warm-up Stage as Dramatic Exposition in In Memoriam A.H.H.: from The Prologue to Section 5,” shows the reason why Tennyson can be said to have formed a psychodramatic group with the Victorian readers. It is because they had a “group identity;” that is, they suffered the pain of the science-religion conflict in the Victorian period. Therefore, Tennyson and the Victorian readers could work together to solve a collective problem. Chapter Three, “The Enactment Stage of In Memoriam A.H.H.: from Section 6 to The Epilogue,” displays the process in which Tennyson found a new religion of love as the solution to his problem. This is Tennyson’s personal catharsis as the protagonist in his psychodrama. Chapter Four, “The Sharing Stage in Tennyson’s In Memoriam A.H.H.,” supplies the Victorian readers’ responses to Tennyson’s new religion of love. These reactions are their catharsis as the audience. The conclusion states that Tennyson’s In Memoriam A.H.H. sets a good example for modern people of all periods subsequent to scientific approaches to definitions of human life and death suggesting that they should believe the intuitions of the heart in an afterlife, at least in the love. Tennyson’s In Memoriam A.H.H. is evidence for the greatness of the power of human love.
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Terry, Gina Opdycke. "Image and Text in Nineteenth-century Britain and Its After-images." Thesis, 2010. http://hdl.handle.net/1969.1/ETD-TAMU-2010-05-7762.
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"Image and Text" focuses on the consequences of multi-media interaction on the concept of a work's meaning(s) in three distinct publishing trends in nineteenth-century Britain: graphic satire, the literary annuals, and book illustration. The graphic satire of engravers James Gillray and George Cruikshank is replete with textual components that rely on the interaction of media for the overall satirical impact. Literary annuals combine engravings with the ekphrastic poetry of writers including William Wordsworth, Samuel Taylor Coleridge, Robert Southey, and Letitia Elizabeth Landon. Book illustrations provided writers Sir Walter Scott and Alfred, Lord Tennyson a means to recycle previously published works as "new" texts; the engravings promote an illusion of textual originality and reality by imparting visual meanings onto the text. In turn, the close proximity of text to image changes visual meanings by making the images susceptible to textual meanings. Many of the theoretical implications resulting from the pairing of media resound in modern film adaptations, which often provide commentary about nineteenth-century visual culture and the self-reflexivity of media.
The critical heritage that has responded to the pairing of media in nineteenth-century print culture often expresses uneasiness with the relationship between text and mechanically produced images, and this uneasiness has often resulted in the treatment of text and image as separate components of multi-media works. "Image and Text" recovers the dialogue between media in nineteenth-century print forms often overlooked in critical commentary that favors the study of an elusive and sometimes fictional concept of an original work; each chapter acknowledges the collaborative nature of the production of multi-media works and their ability to promote textual newness, originality (or the illusion of originality), and (un)reality. Multi-media works challenge critical conventions regarding artistic and authorial originality, and they enter into battles over fidelity of meaning. By recognizing multi-media works as part of a diverse genre it becomes possible to expand critical dialogue about such works past fidelity studies. Text and image cannot faithfully represent the other; what they can do is engage in dialogue: with each other, with their historical and cultural moments, and with their successors and predecessors.
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Yang, Shu-yun, and 楊淑雲. "Idylls of the King: Alfred Lord Tennyson's Portrayal of Female Characters." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/68378896418657205610.
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碩士國立高雄師範大學
英語教育研究所
85
By the early nineteenth century, the Arthurian legend had becomea literary anachronism. Alfred Lord Tennyson's poetry brings about a rebirth of interest in the material and eventually places it on a new plateau of respect and significance for writers and artists of the latenineteenth century. Although the past exerts an influence on Tennyson, he does not indulge in it and retreat from the plight of his time. On the contrary, his work reflects an insight into the subjects that are of intense interest to Victorians living in a material society, such as death,loss, moral temper, the relationship between man and woman, and the yearningfor a more stable world. Till today, modern people have still faced these issues and tried to work out such solutions as we may find in Tennyson's poetry, notably in Idylls of the King. This thesis is intended to present Tennyson's significance as a modern poet, who, by reshaping the Arthurian legend, draws up for his contemporariesand later generations a blueprint of how women adequately combining feminine and masculine qualities play their roles both in family and society, and treattheir relationships with men to create a euphonious world. Through Tennyson' scharacterizations in Idylls of the King, we catch a glimpse of the attitudes ofVictorian society. This thesis consists of six chapters. The opening reviews the background of Victorian society, introduces Tennyson's attitudes toward women and hispersonal background, the impact of his writing on society and the dynamic relationship between man and woman. The following four chapters illustrate his concepts of women through the rise and fall of Arthur's kingdom. Chapter Twofocuses on women as the litmus test of prowess and moral guides. They goad mento action so that men can demonstrate their heroism and transfigure themselves,moving from ignorance to maturity. Chapter Three examines women as perfection incarnate. Based on their grit, endurance, wisdom, and sweetness, they drive men's disbelief and suspicion away, and help them restore their manhood again. Chapter Four delineates women as victims, persecuted by their own imagination, and contemporary society. And because of the Queen's adultery, their lives end tragically. Chapter Five points out how women function as femmes fatales by wielding their deadly power against male characters and Camelot, thereby leading the whole kingdom to ruin. Chapter Six is the conclusion, summarizing the mainpoints discussed in the previous chapters and affirming Tennyson's contributionsin proposing harmonious sexuality for future generations.
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ZHONG, SHU-HUA, and 鐘淑華. "A COMPARATIVE STUDY OF DEVICES AND THEMES IN ALFRED, LORD TENNYSON'S IN MEMORIAM AND IDYLLS OF THE KING." Thesis, 1990. http://ndltd.ncl.edu.tw/handle/10508508491018084743.
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Reid, Zofia Tatiana. "Disempowered women? :." Diss., 2001. http://hdl.handle.net/10500/17606.
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