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Supheert, Roselinde Gwendoline Jolanthe Laine. "Yeats in Holland : the reception of the work of W. B. Yeats in the Netherlands before World War Two /." Amsterdam ; Atlanta (Ga.) : Rodopi, 1995. http://catalogue.bnf.fr/ark:/12148/cb366867050.
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Texte remanié de: Diss.En appendice, la bibliogr. des traductions néerlandaises des oeuvres de Yeats publiées avant la Deuxième guerre mondiale, et toutes celles faites par Roland Holst. Bibliogr. p. [285]-311. Index.
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Grimes, Linda S. "William Butler Yeats' transformations of eastern religious concepts." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/530371.
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This study addresses the issue of William Butler Yeats' use of Upanishad philosophy in his poetry. Although many analyses of Yeats' art vis-a-vis Eastern religion exist, none offer the thesis that the poet transformed certain religious concepts for his own purpose, thereby removing those concepts from the purview of Eastern religion. Quite the contrary, many of the analyses argue a parallel between Yeats' poetry and the religious concepts.In Chapter 1 this study gives a brief overview of the problem and proposes the thesis that instead of paralleling Eastern religious concepts, Yeats transformed those concepts; such transformations result in ideas which run counter to the yogic goal as expounded in the Upanishads.Chapter 2 summarizes yogic sources which help elucidate the concepts of Upanishad thought. Also Chapter 2 introduces various the critical analyses which present inaccurate conclusions regarding Yeats' use of Eastern religion.Chapter 3 explains certain Eastern religious concepts such concepts as karma and reincarnation and asserts that the goal of the discipline of yoga is self-realization.Chapter 4 discusses the poems of Yeats' canon which have been analyzed critically in terms of Eastern religious concepts and have erroneously been considered to parallel certain Eastern concepts. This chapter argues that Yeats' transformations resulted in an art which is chiefly based on the physical level of being, whereas the goal of yogic discipline places its chief emphasis on the spiritual level of being. Also it is argued that Yeats cultivated imagination, whereas the Eastern religious devotee cultivates intuition.Chapter 5 details the critical analyses which have erroneously argued the Yeatsian parallel to Eastern religion, showing how these critics have sometimes failed to understand concepts adequately and thus have misapplied them to Yeats' art.Chapter 6 contrasts Yeats' poetry with that of Rabindranath Tagore. Yeats failed to realize Tagore's motivation when Tagore referred to God. Yeats claimed that all reference to Cod was vague and that he disliked Tagore's mysticism. This lack of understanding on Yeats' part, I suggest, further supports the thesis that Yeats' use of Eastern religion constitutes transformations which do not reflect Upanishad philosophy but instead reflect a Yeatsian version of those concepts--a version which many critics have not clearly elucidated.Department of English
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CORSI, Edson Manzan. "Modalidades do estranho na poesia de William Butler Yeats." Universidade Federal de Goiás, 2010. http://repositorio.bc.ufg.br/tede/handle/tde/2392.
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Previous issue date: 2010-12-10This thesis has as its object of study three modalities of the uncanny as they appear in the poetry of Irish writer William Butler Yeats. They are: the incidence of the Double, the contact with the Deads, their way of operation in the metaphysical sphere as well as in the world of the Living, and the Animist way of thinking which embraces the omnipotence of thought. We believe that this is possible to be theoretically thought and analyzed through the ideas presented by Sigmund Freud in his essay titled The uncanny ( Das Unheimliche ), edited in 1919. In order to help our discussion of the problem, we used some considerations from French psychoanalyst Jacques Lacan. For example, what he exposes in his seminar dedicated to the anxiety and in his essay on the mirror stage . Many important ideas and concepts from literary critics such as T. S. Eliot, W. H. Auden, Tzvetan Todorov, Emil Staiger, Joseph Warren Beach, Ezra Pound, among others, were also used as basis for the development of our discussion on the theme of the strangeness (uncanny) in the frontiers between literature and psychoanalysis. The thought of Friedrich Nietzsche also helped us to understand the concept that Yeats developed and used of tragic joy and the relationship of the poet with the tragic thinking, discussed by the German philosopher and which influenced the work of the Irish writer. This influence made possible, in the poetry Yeats wrote, appear an aspect of absurdity, of ambition for being assimilated in the chorus of the tragedy visible, for instance, in the chapter about the Double and that we can find in his most important poems.
Esta dissertação tem, como objeto de estudo, três modalidades do estranho na poesia do escritor irlandês William Butler Yeats. São elas: a incidência do Duplo, o contato com os Mortos, o modo de operação deles, tanto no âmbito metafísico quanto no mundo dos Vivos, e o modo de pensar Animista que abarca a onipotência de pensamento. Acreditamos que isso é possível de ser teoricamente pensado e estudado a partir das ideias apresentadas por Sigmund Freud, em seu ensaio O estranho ( Das Unheimliche ), publicado em 1919. Para auxiliar nossa discussão do problema, utilizamos algumas considerações do psicanalista francês Jacques Lacan. Por exemplo, o que ele expõe em seu seminário dedicado à angústia e no seu ensaio sobre o estádio do espelho . Muitas ideias e conceitos importantes de críticos literários como T. S. Eliot, W. H. Auden, Tzvetan Todorov, Emil Staiger, Joseph Warren Beach, Ezra Pound, entre outros, foram também utilizados como base para o desenvolvimento de nossa discussão sobre o tema do estranho, nas fronteiras entre a literatura e a psicanálise. O pensamento de Friedrich Nietzsche também ajudou-nos a entender o conceito que Yeats desenvolveu e usou de alegria trágica e a relação do poeta com o pensamento trágico, discutido pelo filósofo alemão e que influenciou a obra do escritor irlandês. Isso possibilitou, na poesia que Yeats escreveu, aparecer um aspecto de absurdidade, de ambição por assimilar-se ao coro da tragédia visível, por exemplo, no capítulo sobre o duplo e que podemos encontrar em seus mais importantes poemas.
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Liebregts, Petrus Theodorus Maria Gemma. "Centaurs in the twilight : William Butler Yeats's use of the classical tradition : proefschrift /." Amsterdam : Rodopi, 1993. http://catalogue.bnf.fr/ark:/12148/cb37116922z.
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Stendel, Andrea. ""It is myself that I remake" : Identitätsbildungsprozesse beim lyrischen Schreiben am Beispiel von W. B. Yeats /." Trier : Wissenschaftlicher Verl, 2003. http://catalogue.bnf.fr/ark:/12148/cb390818539.
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Juhlin, Johanna. "A Conceptual-historicist Investigation of Poems by William Butler Yeats." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-23633.
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This essay aims to find a correlation between the poetry of William Butler Yeats and the social-cultural context of its time-period. With the aid of conceptual history, representations of fundamental concepts can be revealed in the written text. The methodological approach is based on Reinhart Koselleck's Begriffsgeschichte where concepts are used for timing history. The two concepts in focus in the essay are 'crisis' and 'the Golden Age'. The results found in the analysis of Yeats' poems displayed to a high amount the representation of the concept of 'crisis', revealing that crisis in the society at that time is reflected in Yeats' poems, but representations of the counter-concept 'the Golden Age' was only partly found in poems from his later collections. A suggestion for further research is to perform a study where several contemporary poets are investigated simultaneously with the aid of conceptual history.
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Mellow, Jessica de. "Early Yeats and the Victorian 'fin de siecle'." Thesis, Cardiff University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326362.
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Morel, Delphine. "L'évolution des croyances de William Butler Yeats à travers son œuvre." Rennes 2, 2006. http://www.theses.fr/2006REN20034.
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En suivant l'évolution des croyances de William Butler Yeats à travers ses écrits, cette étude a pour but de révéler l'interprétation occulte et mystique qu'ils renferment et de mettre en évidence l'interaction du cheminement initiatique de l'adepte et du processus de création de l'artiste. Cette analyse chronologique vise à montrer que la mythologie – irlandaise et grecque – participe de sa quête spirituelle et artistique. Elle retrace le développement de la pensée de Yeats ainsi que l'élaboration de son système à travers ses créations littéraires en dévoilant comment ses pratiques occultes et les enseignements dispensés par des sociétés secrètes telles que la Golden Dawn se mêlèrent aux croyances irlandaises et envahirent progressivement l'œuvre de Yeats. L'hypothèse étant que sa quête d'accomplissement mystique et d'aboutissement littéraire ne pouvait se réaliser si l'un des deux échouait, l'objectif est de démontrer que le dessein et le travail artistique de Yeats sont indissociables de ses croyances, de ses pratiques magiques et de son évolution mystiqueThis study sets out to uncover the occult and mystical aspect of Yeats's writings and to reveal the interaction between the initiation of the Adept and the creative process of the artist. This chronological analysis intends to show that mythology – both Irish and Greek – played a part in his spiritual and artistic quest. It thus traces the development of Yeats's thought as well as the elaboration of his system through his literary creations by revealing how his occult practices and the teachings of secret societies such as the Golden Dawn merged with Irish beliefs and gradually pervaded Yeats's work. The hypothesis being that his quest for mystical attainment and artistic accomplishment could not be fulfilled if one of them failed, the aim is to demonstrate that his artistic work and ideal are closely linked to his beliefs, his magical practices and his mystical evolution
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Plowright, Katherine. "Victorian revivals : Yeat's generation and Irish literary culture." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367845.
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Tracy, Hannah R. "Willing progress: The literary Lamarckism of Olive Schreiner, George Bernard Shaw, and William Butler Yeats." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10596.
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ix, 288 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.While the impact of Darwin's theory of evolution on Victorian and modernist literature has been well-documented, very little critical attention has been paid to the influence of Lamarckian evolutionary theory on literary portrayals of human progress during this same period. Lamarck's theory of inherited acquired characteristics provided an attractive alternative to the mechanism and materialism of Darwin's theory of natural selection for many writers in the late-nineteenth and early-twentieth centuries, particularly those who refused to relinquish the role of the individual will in the evolutionary process. Lamarckian rhetoric permeated an ideologically diverse range of discourses related to progress, including reproduction, degeneration, race, class, eugenics, education, and even art. By analyzing the literary texts of Olive Schreiner, G.B. Shaw, and W.B. Yeats alongside their polemical writing, I demonstrate how Lamarckism inflected these writers' perceptions of the mechanism of human evolution and their ideas about human progress, and I argue that their work helped to sustain Lamarck's cultural influence beyond his scientific relevance. In the dissertation's introduction, I place the work of these three writers in the context of the Neo-Darwinian and Neo-Lamarckian evolutionary debates in order to establish the scientific credibility and cultural attractiveness of Lamarckism during this period. Chapter II argues that Schreiner creates her own evolutionary theory that rejects the cold, competitive materialism inherent in Darwinism and builds upon Lamarck's mechanism, modifying Lamarckism to include a uniquely feminist emphasis on the importance of community, motherhood, and self-sacrifice for the betterment of the human race. In Chapter III, I demonstrate that Shaw's "metabiological" religion of Creative Evolution, as portrayed in Man and Superman and Back to Methuselah , is not simply Bergsonian vitalism repackaged as a Neo-Lamarckian evolutionary theory but, rather, a uniquely Shavian theory of human progress that combines religious, philosophical, and political elements and is thoroughly steeped in contemporary evolutionary science. Finally, Chapter IV examines the interplay between Yeats's aesthetics and his anxieties about class in both his poetry and his 1939 essay collection On the Boiler to show how Lamarckian modes of thought inflected his understanding of degeneration and reproduction and eventually led him to embrace eugenics.
Committee in charge: Paul Peppis, Chairperson, English; Mark Quigley, Member, English; Paul Farber, Member, Not from U of O; Richard Stein, Member, English; John McCole, Outside Member, History
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Devine, Brian. "Yeats, the master of sound : an investigation of the technical and aural achievements of William Butler Yeats /." Gerrards Cross, Buckinghamshire : Smythe, 2006. http://www.loc.gov/catdir/toc/fy0705/2006283579.html.
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Presler, Charlotte Emerson. "Passion in "Purgatory": a study of the Yeats play and its context." Thesis, Boston University, 2000. https://hdl.handle.net/2144/27747.
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Boston University. University Professors Program Senior theses.PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
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Goldman, Hana. "The isolated cultural hero in W.B. Yeats' At the Hawk's Well and Isaac Rosenberg's Moses." Thesis, Boston University, 2006. https://hdl.handle.net/2144/27656.
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Boston University. University Professors Program Senior theses.PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
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Fernández, Arce Francisca. "Musicalised language and the evolving landscape: towards an aural articulation of the poetical Irish soundscape in W.B. Yeats' poetry." Tesis, Universidad de Chile, 2017. http://repositorio.uchile.cl/handle/2250/147893.
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Devine, John Bernard Brian. "Yeats : the master of sound : an investigation into the technical and aural achievements of William Butler Yeats." Thesis, University of Ulster, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268595.
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Mąka-Poulain, Eliene. "Literary epiphany in the poetry of W. B. Yeats." Doctoral thesis, Katowice : Uniwersytet Śląski, 2015. http://hdl.handle.net/20.500.12128/5730.
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Pojęcie epifanii jest dzisiaj często odnoszone do wczesnej estetyki Jamesa Joyce’a. Dzieje się tak nie bez przyczyny – Joyce nie tylko w mistrzowski sposób stosował poetykę epifanii w swoich powieściach, opowiadaniach i utworach poetyckich; to właśnie on pierwszy nadał angielskiemu słowu epiphany znaczenie, w
jakim jest ono dzisiaj powszechnie używane przez literaturoznawców. W powieści Stefan bohater (Stephen Hero), pierwszej wersji późniejszego Portretu artysty z czasów młodości, tytułowy bohater powieści podkreśla związek epifanii z literaturą, sugerując, że sporządzenie starannego zapisu literackiego utrwalającego każde
„duchowe” doświadczenie epifanii („spiritual manifestation”) jest powinnością każdego artysty – pisarza bądź poety. Mimo że to właśnie Joyce spopularyzował termin epifania w literaturze, konwencja literacka polegająca na sugestywnym przedstawieniu momentu intuicyjnego wglądu lub momentu postrzegania, któremu towarzyszy szczególnie wyostrzona percepcja, istniała i była popularna dużo wcześniej. Krytycy M. H. Abrams, Morris Beja, Robert Langbaum czy Ashton Nichols podzielają pogląd, że ważnym poprzednikiem modernistycznej epifanii literackiej była dobrze znana w epoce romantyzmu poetyka „Momentu”. Za jej twórcę jest zwykle uważany William Wordsworth, ale nie był on jedynym poetą stosującym tę estetykę w swojej twórczości w okresie romantyzmu. Do poetyki epifanii wracają później, chociaż nieco rzadziej niż w romantyzmie, poeci epoki wiktoriańskiej. W okresie modernizmu epifania literacka dość szybko ewoluuje, jednocześnie zyskując na popularności – stosuje się ją niemal powszechnie w modernistycznej prozie jako narzędzie nadające jej strukturę. Jednakże dwudziesty wiek to nie tylko wyraźna obecność epifanii literackiej w prozie – jest ona
w dalszym ciągu stosowana w poezji, a wcześniej obowiązujące modele i konwencje ulegają dynamicznym zmianom również tutaj. Pośród poetów, którzy często stosowali poetykę epifanii w swojej twórczości,
jednym ze szczególnie godnych uwagi jest Irlandczyk William Butler Yeats. Yeats, wizjoner i okultysta, który uważał się w młodości za duchowego spadkobiercę Blake’a i Shelleya, a u schyłku życia wciąż twierdził, że był jednym z „ostatnich romantyków”, jest dzisiaj często uważany za jednego z najważniejszych i najbardziej interesujących anglojęzycznych modernistów. Jego poezja początkowo powstawała pod wyraźnym
wpływem literatury anglosaskiego romantyzmu, później widoczne są w niej wpływy symbolizmu i poezji wiktoriańskiej, a w dojrzałym wieku i pod koniec życia poety – wpływy poezji powstającej w czasie najbardziej dynamicznego rozwoju brytyjskiej literatury doby modernizmu. Ta różnorodność wpływów i wielość inspiracji znajduje swój wyraz w wyjątkowo zróżnicowanych przedstawieniach momentu-epifanii w poezji Yeatsa. Celem pracy doktorskiej Epifania literacka w poezji Williama Butlera Yeatsa (Literary Epiphany in the Poetry of W. B. Yeats) jest zbadanie tych różnorodnych przedstawień oraz odpowiedź na pytanie czy, a jeśli tak, to w jaki
sposób i w jakim stopniu, Yeats przekształcał i adaptował istniejące, znane modele i konwencje charakterystyczne dla poetyki epifanii. Opracowanie liczy pięć rozdziałów. W rozdziale pierwszym omawiane są
teoretyczne aspekty epifanii w literaturze. Drugi rozdział analizuje w kontekście kulturowym charakterystyczne dla literatury danego okresu użycia poetyki „momentu”, towarzyszące im konwencje oraz wybrane przedstawienia epifanii. Przegląd ten ma ułatwić przyjrzenie się specyfice poetyki epifanii literackiej w poezji
Yeatsa w kolejnych rozdziałach i z tego względu omawiana jest tu przede wszystkim literatura powstała między rokiem 1798 (rok publikacji Ballad lirycznych Wordswortha i Coleridge’a) a latami trzydziestymi dwudziestego wieku. W rozdziałach trzecim, czwartym i piątym analizowane są wybrane wiersze Irlandczyka;
zachowany jest tu porządek chronologiczny pozwalający na zbadanie, w jaki sposób jego strategie użycia poetyki epifanii zmieniały się na przestrzeni lat. Przeprowadzone analizy pozwalają stwierdzić, że Yeats niejednokrotnie wykorzystywał znane strategie przedstawiania epifanii-momentu, a jednocześnie w istotny sposób je przekształcał i adaptował, tworząc nowe, charakterystyczne dla siebie modele i wzorce. W początkowym okresie twórczości poeta posługuje się konwencjami znanymi w okresie romantyzmu, w tym towarzyszącymi często w tym okresie poetyce epifanii kategoriami wzniosłości i piękna, by konstruować utwory, w których epifaniczny „moment” często pod wieloma względami upodabnia się do swojego pierwowzoru z epoki romantyzmu. W tym czasie Yeats często pisze krótsze wiersze, których zwykle przejrzysta, spójna struktura ma na celu stworzenie określonej atmosfery emocjonalnej („mood”) w końcowej części utworu. Już wówczas w poezji Irlandczyka widoczne są wpływy symbolizmu, a w nieco późniejszym okresie – modernizmu. Ten proces stopniowej zmiany stylu spowoduje odejście od ściśle romantycznych konwencji przedstawiania epifanii, a ilustrują go przywoływane w rozdziale trzecim przemyślenia poety. W poezji opublikowanej w tomiku
Responsibilities (1914) wpływy modernizmu są już bardzo wyraźne, a sam moment wglądu ma w wielu przypadkach stosunkowo rzadko spotykaną w poezji romantyków egatywną, pesymistyczną wymowę (np. w „The Cold Heaven” i „The Magi”). W wierszach tego okresu tak język jak i obrazowanie cechuje dalsze odejście od romantycznych wzorców. Jednocześnie Yeats stopniowo odchodzi od wielu stosowanych w romantyzmie konwencji przedstawiania epifanii, wybierając modernistyczny minimalizm i ekspresję pojedynczego obrazu w miejsce bardziej typowej dla romantycznej „chwili” dłuższej formuły opisowej, w której istotna jest dokładnie scharakteryzowana postać podmiotu lirycznego, sceneria i dramaturgia wydarzeń poprzedzających moment wglądu. Ówczesna koncepcja wyrazistego obrazu i pozbawionego abstrakcji języka, którą Yeats przeciwstawia „bezcielesnej emocji” poezji niektórych symbolistów i poetów wiktoriańskich, pod wieloma względami współbrzmi z założeniami imagizmu Pounda. Z drugiej strony charakterystyczna dla
poezji Yeatsa w tym okresie tendencja do upatrywania źródła epifanii w tym, co nierealne, wyobrażone, wizyjne jest w dużym stopniu antymodernistyczna – archetypowy modernistyczny „moment” związany jest przecież z estetyzacją tego, co pospolite, codzienne czy banalne. Yeats pozostaje przez dłuższy czas pod wpływem
poetyki wizji: w nieco późniejszych wierszach “The Second Coming” i “Leda and the Swan” ta tendencja jest jeszcze wyraźniejsza, a wizyjny charakter epifanii jest zaakcentowany poprzez kontekst, który stanowią ekscentryczne teorie tworzone w tym okresie przez poetę i szczegółowo opisane w A Vision.
Irlandczyk wkrótce powraca do niektórych form i konwencji charakterystycznych dla poetyki epifanii w romantyzmie – estetyka ta jest obecna w tomikach The Wild Swans at Coole, The Tower i The Winding Stair and Other Poems. W tym późniejszym okresie twórczości Yeatsa przeżywany „moment” jest jednak w
kontekście wymowy całości utworu zwykle pozbawiony wiary i optymizmu, które są zwykle dobrze uchwytnymi cechami jego romantycznego pierwowzoru. Utwory wykorzystujące niektóre konwencje popularne w romantyzmie mają zazwyczaj charakter dialogu teraźniejszości z przeszłością. W przeciwieństwie do wspomnianych wcześniej epifanii-wizji, w których osoba relacjonująca wydarzenia pozostaje często
anonimowa, a niekiedy jest całkowicie ukryta, podmiot liryczny jest tu na ogół postacią pierwszoplanową. W tym okresie jako model, który pozwala na wykorzystanie konwencji epifanii, pojawia się niekiedy the greater Romantic lyric – opisana przez M. H. Abramsa, często stosowana w epoce romantyzmu forma
dłuższego wiersza, w którym przemyślenia podmiotu lirycznego pozostają w ścisłym związku z obserwowanymi przez ów podmiot elementami określonego miejsca lub krajobrazu i niejednokrotnie prowadzą do doświadczenia wglądu. Inną strategią pozwalającą Yeatsowi na posłużenie się konwencjami jest przywołanie epifanii
ukazywanej w sposób typowy dla romantyzmu – jako przeżywany przez podmiot liryczny ulotny moment intuicyjnego poznania, który umożliwia głęboką przemianę. W tym okresie poeta na ogół przekształca tę konwencję: umieszcza tak przedstawiony moment w przeszłości, sugerując, że taki sposób przeżywania jest niemożliwy dla podmiotu lirycznego w jego obecnej sytuacji. Kontrast między „tu i teraz” a „tam i wtedy” jest często dodatkowo podkreślony poprzez formę utworu: spójność i harmonia zwykle krótkiego fragmentu zwięźle opisującego moment krótkotrwałego olśnienia epifanii jest przeciwstawiana modernistycznemu kolażowi lub brakowi harmonii charakteryzującymi całą kompozycję; tym samym wymowa całości utworu zazwyczaj
zaprzecza pozytywnej wymowie krótkiego fragmentu. W poezji napisanej po roku 1933 (rok publikacji tomiku The Winding Stair and Other Poems) epifania literacka pojawia się rzadko, kiedy jednak Yeats decyduje się na jej użycie, przybiera ona formy mało konwencjonalne i mało charakterystyczne, a jej sposób prezentacji zawiera
niekiedy elementy groteski i surrealizmu.
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Nohrnberg, Peter C. L. "The book the poet makes : collection and re-collection in W. B. Yeats's "The tower" and Robert Lowell's "Life studies /." Cambridge (Mass.) : Harvard university press, 1994. http://catalogue.bnf.fr/ark:/12148/cb37709119d.
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Clanton, Amy M. "Religion as Aesthetic Creation: Ritual and Belief in William Butler Yeats and Aleister Crowley." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3718.
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William Butler Yeats and Aleister Crowley created literary works intending them to comprise religious systems, thus negotiating the often-conflicting roles of religion and modern art and literature. Both men credited Percy Bysshe Shelley as a major influence, and Shelley's ideas of art as religion may have shaped their pursuit to create working religions from their art. This study analyzes the beliefs, prophetic practices, myths, rituals, and invocations found in their literature, focusing particularly on Yeats's Supernatural Songs, Celtic Mysteries, and Island of Statues, and Crowley's "Philosopher's Progress," "Garden of Janus," Rites of Eleusis, and "Hymn to Pan." While anthropological definitions generally distinguish art from religion, Crowley's religion, Thelema, satisfies requirements for both categories, as Yeats's Celtic Mysteries may have done had he completed the project.
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Ribstein, Florence. "La tradition mystique et occulte dans la formation et l'oeuvre de William Butler Yeats." Paris 3, 1985. http://www.theses.fr/1985PA03A014.
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Brooks, John C. "Unity, Ecstasy, Communion: The Tragic Perspective of W.B. Yeats." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc331259/.
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As a young man of twenty-one in 1886, William Butler Yeats announced his ambition to unify Ireland through heroic poetry. But this prophetic urge lacked structure. Yeats had only some callow notions about needing self-possession and appropriate control of his imagery. As a result, his search for essential knowledge and experience soon led him into occult and symbolist vagueness. Yeats' mind grew flaccid, and his art languished in preciosity for over a decade. Lotos-eating had replaced prophetic fervor.
However, early in the new century, as Yeats neared middle age and permanent mediocrity, he recovered his early zeal and finally found the means to give it artistic shape. Through daily theatre work he had discovered tragedy. And through personal trials he had developed a tragic sense. Hence, an entire tragic perspective was born, one that would dominate Yeats' mind and art the rest of his life.
Locating the contours of Yeats' shift in-viewpoint, then, provides the key to understanding the man and his mature work. The present study does just that, tracing the origin, development, and elaboration of Yeats' tragic perspective, from its theoretical underpinnings to its poetic triumphs. Above all, this study supplies the basic context of Yeats* careers why he took the path he did, and how he wove all that he found along the way into a remarkable fabric.
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Smith, Carly Catherine. ""The right twigs for an eagle's nest" children in the writings of William Butler Yeats /." Click here for download, 2008. http://proquest.umi.com/pqdweb?did=1492600911&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
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Yoo, Baekyun. "Religion and Politics in the Poetry of W.B. Yeats." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278080/.
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Previous critics have paid insufficient attention to the political implications of Yeats's life-long preoccupation with a wide range of Western and Eastern religious traditions. Though he always preserved some skepticism about mysticism's ability to reshape the material world, the early Yeats valued the mystical idea of oneness in part because he hoped (mistakenly, as it turned out) that such oneness would bring Catholic and Protestant Ireland together in a way that might make the goals of Irish nationalism easier to accomplish. Yeats's celebration of mystical oneness does not reflect a pseudo-fascistic commitment to a static, oppressive unity. Like most mystics—and most modernists—Yeats conceived of both religious and political oneness not as a final end but rather as an ongoing process, a "way of happening" (as Auden put it).
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Risner, Erin Elizabeth. "A Bird's Eye View: Exploring the Bird Imagery in the Lyric Poetry of William Butler Yeats." Ohio Dominican University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=odu1367243373.
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Muller, Elizabeth Joelle. "The influence of hellenism in the works of William Butler Yeats : from Homer to Plato." Rennes 2, 2003. http://www.theses.fr/2003REN20056.
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Ces travaux ont pour but d'analyser l'influence de l' Hellénisme dans l'œuvre de William Butler Yeats, dans la limite comprise entre la Grèce archai͏̈que et le cinquième siècle avant Jésus Christ. Cette influence s'est exercée dans deux domaines différents, la philosophie et la littérature. Nous commençons notre étude en posant un dilemme philosophique avec deux chapitres dans lesquels nous opposons les thèmes Platoniciens récurrents dans l'œuvre de Yeats, dans le second nous posons le rejet possible de cette main mise de Platon dans l'esprit de l'auteur. Dans notre seconde partie, nous procédons à une étude de la poésie de Yeats et de sa filiation grecque, tout d'abord dans le domaine mythologique, élégiaque et lyrique, puis dans le domaine de l'épopée avec l'influence d'Homère. Notre troisième partie est consacrée à la tragédie, Yeats ayant développé une forme de théâtre très semblable à la tragédie grecque attique. Nous concluons ce travail sur une note de réconciliation concernant l'affrontement traditionnel entre le héros et le saint dans la pensée de YeatsThis dissertation aims at analysing the influence of Hellenism in William Butler Yeats's work within the framework of archaic Greece and the fifth century B. C. The filiations between Yeats and the Greeks can be noticed in two different realms of study: firstly philosophy, secondly literature. Our first part shall deal with philosophy, stating the initial dilemma in Yeats's thought: that of Plato's ascendancy and the poet's possible rejection of it in his middle years. In our second part, we shall study the mythological and literary similarities between Yeats's poetry and that of the Greek world, stressing the importance of Homer in particular. Our third part shall be devoted to Attic tragedy, Yeats having clearly been inspired by the three Greek playwrights. Lastly, a fourth development shall consist in reasserting Plato's hold on Yeats's thoughts through a reassessment of the poet's own system which is set out in A Vision. We end on a note of reconciliation concerning the famous Yeatsian dichotomy between hero and saint
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Dufour, Michel. "L' unité d'être et le soi : une approche jungienne de l'oeuvre de William Butler Yeats." Paris 7, 2005. http://www.theses.fr/2005PA070047.
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William Butler Yeats, poète et dramaturge irlandais, définit dans les années 1920 l'Unité d'Être pour qualifier les plus hautes réalisations de l'art et de la civilisation. En comparant cette notion avec le concept jungien du Soi, nous analysons l'évolution de l'œuvre yeatsienne. Nous prenons en compte I' " ombre " et I' " anima ", étapes du processus d'individuation qui se manifestent chez Yeats sous la forme du " daimon ", du " masque " et du " moi antithétique " qui s'opposent au " moi " et lui permettent de se constituer. Nous mettons en évidence la dynamique qui entraîne l'évolution des symboles et éclairons le passage de la rosé au masque, puis à la spirale et à la danse menant à l'Unité d'Être, envisagée prioritairement en tant que notion esthétique. En articulant critique archétypique et stylistique nous analysons la manière dont chez Yeats les archétypes s'intègrent dans un texte littéraireThe concept of Unity of Being was defined by the Irish poet and playwright William Butler Yeats in the 1920s to refer to the highest achievement in art and civilisation. By comparing this notion with Jung's concept of the Self we offer a general analysis of the evolution of Yeats's work. We consider the "shadow" and the "anima", different stages in the individuation process which correspond in Yeats's work to the "daimon", the "mask" and the "antithetical self", contrary forces which help the "ego" to develop. We describe the dynamics driving the evolution of the symbols in Yeats's work and explain how the rosé gives way to the mask, then to the "gyre" and the dance on the path to Unity of Being, which is considered first and foremost as an aesthetic concept. We analyse the ways in which the archetypes in Yeats become integrated into a literary text, trying to| articulate archetypal criticism and stylistics. (919 caractères, espaces compris)
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Hummasti, Satu. "Recovering the roots: exploring myth, rural life, and the pastoral in W.B. Yeats and Seamus Heaney." Thesis, Boston University, 1995. https://hdl.handle.net/2144/27677.
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Boston University. University Professors Program Senior theses.PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
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Longuenesse, Pierre. ""Singing amid uncertainty" : dramaturgie et pratique de la voix dans le théâtre de William Butler Yeats." Thesis, Paris 4, 2008. http://www.theses.fr/2008PA040094/document.
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Yeats n'a cessé d'affirmer, dans toute son œuvre dramatique, la centralité de la question de la parole et de la voix. La présente étude s'attache à analyser les formes prises par ce questionnement, depuis ses développements dans l'œuvre théorique, jusqu'à ses modalités d'apparition dans les textes dramatiques, et ses incidences sur le travail de production scénique. Dans une première période, inspiré par la matière légendaire de l'Irlande, Yeats souscrit au mythe d'une oralité populaire, dont le théâtre se fait le porte-parole, avant de s'en écarter, au profit d'un concept d'oralité englobant sa propre "parole écrite" de poète lyrique. Il construit alors une esthétique tragique dans laquelle il oppose, à un orchestre de voix réelles et imaginaires, la voix perturbatrice d'une figure héroïque en quête de transfiguration. A partir des Plays for Dancers, écrites sur le modèle du théâtre Nô, le personnage collectif des musiciens-narrateurs est l’ordonnateur d'un "théâtre mental", d'un rituel scénique de parole, de chant et de danse, où voix et musique sont le medium d'apparitions spectrales. C'est alors dans le concret de l'activité scénique des voix et des corps que se jouent ces drames de l'incarnation et de la transfiguration. C'est pourquoi sont examinées, pour finir, quelques-unes des expérimentations scéniques du poète, par lesquelles il a tenté de toucher à cette conjonction rêvée entre le chant et l'enchantement : des "voix d'or" des comédiens Franck Fay ou Florence Farr, dans les années 1900, jusqu'aux constructions musicales élaborées de l'après-guerre de 1914Throughout his drama Yeats maintained the centrality of the question of speech and voice. The present study undertakes to analyse the forms taken on by this question, ranging from Yeats's analyses in his theoretical works, to its manifestations in his dramatic works, and finally to its effects on stage production. In a first period, inspired by Irish legends, Yeats endorses the myth of an oral tradition of the Irish people, for which his theatre becomes the speaker, before taking his distance from it in favor of a concept of oral form that includes his own, the lyrical poet's, "written speech". He then constructs a tragic aesthetic in which he opposes to an orchestra of real and imaginary voices the disrupting voice of an heroic figure in search of transfiguration. Starting with Plays for Dancers, written on the model of the Nô theatre, the collective character of narrator-musicians monitors a "mental theatre", a scenic ritual of speech, song and dance, in which voice and music are the medium of spectral appearances. It is then in the concrete medium of the scenic activity of voices and bodies that the drama of incarnation and transfiguration is in play. This is why, in the final part of this work, some of the scenic experimentations of the poet, by means of which he tried to reach the dreamed conjunction between chant and enchantment, are explored, ranging from the "golden voices" of Franck Fay or Florence Farr, in the years 1900, to the elaborate musical constructions of the post-war years, after 1918
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Bonafous-Murat, Carle. "L'auteur en travail : généalogie de l'écriture poétique dans quatre recueils de William Butler Yeats (1914-1928)." Paris 3, 1996. http://www.theses.fr/1996PA030042.
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Cette these se propose de demontrer les equivalences qui existent entre les mutations de la lignee de yeats et l'evolution de son ecriture poetique. Elle est axee autour de chacun des quatre recueils allant de 1914 a 1928: dans responsabilities (1914), yeats, apres avoir deplore le fait qu'il n'a pas d'heritier, tente de combler ce manque en faisant don a ses heritiers litteraires d'un nouveau mode d'ecriture poetique; dans the wild swans at coole (1919), le deces de robert gregory, l'heritier d'une des familles qui forment la protestant ascendancy, conduit yeats a elaborer la theorie du masque, qui transpose le motif du pouvoir politique dans le domaine poetique; michael robartes and the dancer (1921) reprend le meme motif dans le but d'evaluer les correspondances symboliques entre le poete et le poeme d'une part, le pere et la fille d'autre part; enfin the tower (1928) subvertit la vision chretienne de l'engendrement et de la trinite, et marque parallelement l'emergence d'une figure maternelle positive dans l'oeuvre de yeatsThe aim of this thesis is to show that the evolution of yeats's writing is modelled on the transformations of his own lineage, as exemplified by the four volumes of poetry which run from 1914 to 1928. In responsibilities (1914), yeats begins by asking forgiveness from his ancestors for having no child, then attempts to fill up that void by creating a now poetic technique which he will bequeath to his literary continuators. In the wilds swans at coole (1919), the death of robert gregory, who was the heir to an illustrious protestant ascendancy family, leads yeats to devise "the mask", an artistic theory whose purpose is to translate the theme of political power into poetic terms. In michael robartes and the dancer, (1921), yeats takes up the same theme, with a view to pointing out the symbolical links between poet and poem on the one hand, and father and daughter on the other hand eventually, in the tower (1928), yeats suberts the christian views. About begetting and trinity. Hence the advent of a positive mother figure in this last volume
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Krajewski, Eileen Theresa. "Secular Messianism and the Nationalist Idea in the Plays of Adam Mickiewicz and William Butler Yeats." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1381402042.
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Peter, Denise. "W.B. Yeats' Four Plays for Dancers : the search for unity." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23732.
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This thesis proposes that Yeats found in certain conventions of the Noh drama a realization and defense of his idea of unity of culture, which his Noh-like Four Plays for Dancers illustrates. Yeats' use of recurrent imagery in the dance plays expresses his belief in a unity of culture defined and evoked by an image and stems in part from the pattern of images he discovered in the Pound-Fenollosa translations of the Noh. The imagery of the poetic text reappears in symbolic visual designs or is coordinated with music and dance in the production of the plays. The importance of the spoken word above all determined the basis of the association of arts with which Yeats characterized unity of culture and shaped his adaptation and occasional misconception of the staging techniques of the Noh. A common love of vivid, allusive words joined the audience for whom the dance plays were written. When Yeats stated that they were modelled on the audience of the Noh, his perception was colored, as usual, by his own priorities and experience.
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Bolter, Trudy. "Cycle, personnage et mythe d'auteur : les Cuchulain de Yeats et les Bérenger de Ionesco." Bordeaux 3, 1985. http://www.theses.fr/1985BOR30044.
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Prosser, Christopher Skinner 1978. "Two Trees." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11048.
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1 score (viii, 79 p.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.The Two Trees is a fifteen-minute musical composition for orchestra. Inspired by William Butler Yeats' poem of the same name, the piece depicts the images described by Yeats' poetic narrative through a double theme and variations form consisting of two contrasting themes that are related, one ascending and one descending. Each theme represents one of the two contrasting sections of the poem and is followed by a set of five variations for a total of ten. Since the rhyme scheme of each section of the poem is divided into five phrases of four lines, each musical variation corresponds to four lines of text.
Committee in Charge: David Crumb, Chair; Robert Kyr; Jack Boss
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BARZAGHINI, NICOLETTA. "RUNNING TO PARADISE: UNA LETTURA CUMULATIVA DELLA RACCOLTA RESPONSIBILITIES: POEMS AND A PLAY (1914) DI WILLIAM BUTLER YEATS." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/932.
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Questa tesi propone una lettura cumulativa della raccolta Responsibilities: Poems and a Play di William Butler Yeats, pubblicata per la prima volta nel 1914 e successivamente inclusa in un’opera di più ampio respiro nel 1916. Questa raccolta si colloca cronotopicamente in un contesto pubblico nel quale le dinamiche sociali irlandesi, tra la fine dell’Ottocento e gli anni venti del Novecento, erano al centro di forze indipendentiste ed in un contesto privato nel quale emerge il prolungato interesse, da parte del poeta, per la costituzione di un’etica pubblica come base per la creazione dell’indipendenza irlandese. Essa diviene, pertanto, una presa di coscienza da parte dell’autore del proprio ruolo di guida, non più solo poetica ma anche sociale, che avrebbe potuto accelerare il processo di riscoperta dell’identità irlandese come requisito fondamentale per l’indipendenza.This thesis deals with the analysis of the collection Responsibilities: Poems and a Play by William Butler Yeats, published for the first time in 1914 and lately included in a wider collection in 1916. Responsibilities was conceived in a public context where the social dynamics in Ireland were subjected to contrasting forces, and in a private context in which the poet conceived the idea that only the constitution of a public ethic could have paved the way to the creation of an independent Irish state. For this reason, this collection can be considered as the beginning of a process of awareness by W. B. Yeats of his role, not only as a poet, in a social process that could have accelerated the rediscovery of the Irish cultural identity as an essential requirement for independence.
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BARZAGHINI, NICOLETTA. "RUNNING TO PARADISE: UNA LETTURA CUMULATIVA DELLA RACCOLTA RESPONSIBILITIES: POEMS AND A PLAY (1914) DI WILLIAM BUTLER YEATS." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/932.
Full textAbstract:
Questa tesi propone una lettura cumulativa della raccolta Responsibilities: Poems and a Play di William Butler Yeats, pubblicata per la prima volta nel 1914 e successivamente inclusa in un’opera di più ampio respiro nel 1916. Questa raccolta si colloca cronotopicamente in un contesto pubblico nel quale le dinamiche sociali irlandesi, tra la fine dell’Ottocento e gli anni venti del Novecento, erano al centro di forze indipendentiste ed in un contesto privato nel quale emerge il prolungato interesse, da parte del poeta, per la costituzione di un’etica pubblica come base per la creazione dell’indipendenza irlandese. Essa diviene, pertanto, una presa di coscienza da parte dell’autore del proprio ruolo di guida, non più solo poetica ma anche sociale, che avrebbe potuto accelerare il processo di riscoperta dell’identità irlandese come requisito fondamentale per l’indipendenza.This thesis deals with the analysis of the collection Responsibilities: Poems and a Play by William Butler Yeats, published for the first time in 1914 and lately included in a wider collection in 1916. Responsibilities was conceived in a public context where the social dynamics in Ireland were subjected to contrasting forces, and in a private context in which the poet conceived the idea that only the constitution of a public ethic could have paved the way to the creation of an independent Irish state. For this reason, this collection can be considered as the beginning of a process of awareness by W. B. Yeats of his role, not only as a poet, in a social process that could have accelerated the rediscovery of the Irish cultural identity as an essential requirement for independence.
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Pagel, Amber Noelle. ""How Can We Know the Dancer from the Dance?": Cognitive Poetics and the Poetry of William Butler Yeats's." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984126/.
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Cognitive poetics, the recently developed field of literary theory which utilizes principles from cognitive science and cognitive linguistics to examine literature, is applied in this study to an exploration of the poetry of William Butler Yeats. The theoretical foundation for this approach is embodiment theory, the concept from cognitive linguistics that language is an embodied phenomenon and that meaning and meaning construction are bodily processes grounded in our sensorimotor experiences. A systematic analysis including conceptual metaphors, image schemas, cognitive mappings, mental spaces, and cognitive grammar is applied here to selected poems of Yeats to discover how these models can inform our readings of these poems. Special attention is devoted to Yeats's interest in the mind's eye, his crafting of syntax in stanzaic development, his atemporalization through grammar, and the antinomies which converge in selected symbols from his poems.
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Swartz, Laura A. "Occulture : W.B. Yeats' prose fiction and the late ninteenth- and early twentieth-century occult revival." CardinalScholar 1.0, 2010. http://liblink.bsu.edu/uhtbin/catkey/1560843.
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In addition to being a respected poet, dramatist, essayist, and statesman, William Butler Yeats was a dedicated student of the occult and practicing magician for most of his adult life. In spite of his dedication, Yeats’ commitment to occultism has often been ridiculed as “bughouse” (as Ezra Pound put it), shunted to the margins of academic discourse, or ignored altogether. Yeats’ occult-focused prose fiction—the occult trilogy of stories “Rosa Alchemica,” “The Tables of the Law,” and “The Adoration of the Magi” and the unfinished novel The Speckled Bird—has often received similarly dismissive treatment. Some critics have accused Yeats of being an escapist or of being out of touch with the intellectual currents of his time.
However, Yeats was in touch with the intellectual currents of his time, one of which was the late nineteenth- and early twentieth-century occult revival. This was not a fringe movement; it was one which intersected with some of the most pressing social and cultural issues of the time. These include the dissatisfaction with mainstream religions, the renegotiation of women’s roles, the
backlash against science, and nationalism and the colonial enterprise. This intersection is what I have termed occulture.
The central purpose of this dissertation is twofold. First, I demonstrate the cultural and academic relevance of the occult revival by analyzing its connections to these critical issues. Second, I situate the occult trilogy and The Speckled Bird as artifacts of the occult revival and its associated facets. Through its main characters, the occult trilogy illustrates a fragmented self associated with literary modernism and with scientific challenges to individual identity from Darwin, Freud, and others. In addition, these three stories exemplify a sacralization of the domestic sphere which conflicts with the officially-sanctioned sacred spaces of mainstream religions. The Speckled Bird also reconfigures the sacred space as Michael Hearne contemplates a magical order with Irish nationalist implications. In examining these works within this historical context, I present them as texts which engage with the social and cultural landscape of the time.Occulture : occultism and the occult revival -- The occult trilogy : self and space in an occult context -- The speckled bird : sacralizing Ireland.
Department of English
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Schmidthorst, Burkhard. "Mythos und Primitivismus in der Lyrik von T. S. Eliot, W. B. Yeats und Ezra Pound : zur Kulturkritik in der klassischen Moderne /." Heidelberg : Universitätsverl. Winter, 2004. http://catalogue.bnf.fr/ark:/12148/cb39263081r.
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CIANCI, GAIA. ""BLESSEDNESS GOES WHERE THE WIND GOES". UNA LETTURA CUMULATIVA DI THE WIND AMONG THE REEDS (1899) DI WILLIAM BUTLER YEATS." Doctoral thesis, Università Cattolica del Sacro Cuore, 2015. http://hdl.handle.net/10280/6164.
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Questa tesi si propone di analizzare la raccolta poetica The Wind Among the Reeds del poeta
anglo-irlandese William Butler Yeats, pubblicata per la prima volta nel 1899. I primi tre
capitoli intendono contestualizzare la raccolta in relazione alla vita e all’opera di Yeats, al
periodo che avrebbe portato alla sua maturazione e pubblicazione, e alla critica yeatsiana, la
quale ha spesso considerato The Wind Among the Reeds e la così detta “early poetry” di
inferiore livello artistico rispetto alla “mature poetry” novecentesca. Nel quarto ed ultimo
capitolo – che costituisce altresì il fulcro dell’intero lavoro – ci si è soffermati sull’analisi
testuale della raccolta. Questa sezione ha messo in evidenza il profondo legame tra l’apparato
esterno e la struttura interna del (macro)testo, sottolineando l’importanza di ogni singolo
elemento della raccolta nel concorrere alla coerenza semantica e simbolica di un’opera d’arte
che costituisce un esempio della maestria poetica yeatsiana.This dissertation deals with an analysis of the poetry collection The Wind Among the Reeds written by the Anglo-Irish poet William Butler Yeats and published for the first time in 1899. The first three chapters aim to contextualize the collection within Yeats’s life and work, the period leading to its development and publication, and the yeatsian criticism that often regarded The Wind Among the Reeds and the so called “early poetry” as a minor aspect of Yeats’s literary production, if compared to “the mature poetry” of the ‘Nineties. In the fourth and last chapter – which constitutes the core of the whole research – we focused on the textual analysis of the collection. This section has shown the deep relation between the external and internal structure of the text, underlying the relevance of all the elements constituting the collection and establishing the semantic and symbolic coherence of a work of art which is representative of Yeats’s poetic virtuosity.
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CIANCI, GAIA. ""BLESSEDNESS GOES WHERE THE WIND GOES". UNA LETTURA CUMULATIVA DI THE WIND AMONG THE REEDS (1899) DI WILLIAM BUTLER YEATS." Doctoral thesis, Università Cattolica del Sacro Cuore, 2015. http://hdl.handle.net/10280/6164.
Full textAbstract:
Questa tesi si propone di analizzare la raccolta poetica The Wind Among the Reeds del poeta
anglo-irlandese William Butler Yeats, pubblicata per la prima volta nel 1899. I primi tre
capitoli intendono contestualizzare la raccolta in relazione alla vita e all’opera di Yeats, al
periodo che avrebbe portato alla sua maturazione e pubblicazione, e alla critica yeatsiana, la
quale ha spesso considerato The Wind Among the Reeds e la così detta “early poetry” di
inferiore livello artistico rispetto alla “mature poetry” novecentesca. Nel quarto ed ultimo
capitolo – che costituisce altresì il fulcro dell’intero lavoro – ci si è soffermati sull’analisi
testuale della raccolta. Questa sezione ha messo in evidenza il profondo legame tra l’apparato
esterno e la struttura interna del (macro)testo, sottolineando l’importanza di ogni singolo
elemento della raccolta nel concorrere alla coerenza semantica e simbolica di un’opera d’arte
che costituisce un esempio della maestria poetica yeatsiana.This dissertation deals with an analysis of the poetry collection The Wind Among the Reeds written by the Anglo-Irish poet William Butler Yeats and published for the first time in 1899. The first three chapters aim to contextualize the collection within Yeats’s life and work, the period leading to its development and publication, and the yeatsian criticism that often regarded The Wind Among the Reeds and the so called “early poetry” as a minor aspect of Yeats’s literary production, if compared to “the mature poetry” of the ‘Nineties. In the fourth and last chapter – which constitutes the core of the whole research – we focused on the textual analysis of the collection. This section has shown the deep relation between the external and internal structure of the text, underlying the relevance of all the elements constituting the collection and establishing the semantic and symbolic coherence of a work of art which is representative of Yeats’s poetic virtuosity.
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Murphy, Alan. "Le personnage surnaturel dans le théâtre irlandais du XXe siècle." Thesis, Metz, 2011. http://www.theses.fr/2011METZ010L/document.
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Les êtres surnaturels ont toujours eu une place prépondérante dans le folklore irlandais. En effet, les mythes et légendes irlandais font référence à la banshee, au pooka, aux fantômes, sans parler de l’ubiquiteux leprechaun, par exemple. Dès sa fondation à la fin du XIXème siècle le Théâtre National Irlandais s’appuyait sur ce folklore et s’en inspirait, à l’instar de W.B. Yeats et de Lady Gregory. Cependant, depuis l’indépendance en 1922 ces références se font plus rares. Est-ce une évolution naturelle liée à l’essor du modernisme et du post-modernisme dans le monde ou y-t-il des raisons plus spécifiques, plus irlandaises ?Supernatural beings have always played an important role in Irish folklore. Indeed, many myths and legends are peopled with ghosts and creatures such as the banshee, the pooka, and the ubiquitous leprechaun. This folklore proved to be a solid foundation for the Irish National Theatre from its very inception at the close of the nineteenth century, and an inspiration to several of its founding members, including W.B. Yeats and Lady Gregory. However, since independence in 1922, references to Irish folkore have become less and less common. Is this just a natural phenomenon due to the rise of modernism and post modernism? Or are there more specific, more Irish reasons for this evolution ?
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Hartje, Antje Kathrin [Verfasser], and Peter Paul [Akademischer Betreuer] Schnierer. "Von der Wahrnehmungserschwerung zur Wahrnehmungsverhinderung - Hermetisierungsstrategien bei Stefan George und William Butler Yeats / Antje Kathrin Hartje ; Betreuer: Peter Paul Schnierer." Heidelberg : Universitätsbibliothek Heidelberg, 2011. http://d-nb.info/117978622X/34.
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Stokes, Danita Sain. "The Labyrinth of the Wind and the Artifice of Eternity: A Study of the Lyric Poetry of William Butler Yeats." UNF Digital Commons, 1992. http://digitalcommons.unf.edu/etd/117.
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This study of the lyric poetry of William Butler Yeats concentrates on his ideas about nature and art, with a focus on the imagery of the wind. Though each of Yeats's poems may be read and enjoyed individually, a study of the body of Yeats's lyric poems gives the reader a better understanding of a symbol such as the wind. As a whole, the poems form a narrative of the development of Yeats's mind; by looking closely at the single symbol of the wind, we gain insight into the development of Yeats's ideas about art and nature. In Yeats's early poetry wind imagery, as well as other nature imagery, is prominent, but as Yeats's poetic career evolves, nature imagery--including that of the wind--becomes less frequent. By the last phase of Yeats's career, his source of inspiration has shifted from nature to art. Nature signifies change, but art for Yeats symbolizes the eternal and the unchanging. This paper explores Yeats's use of the wind as symbol including the shift in focus from nature to art.
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Wong, Kuok. "The ghost story across cultures : a study of Liaozhai Zhiyi by Pu Songling and the Celtic Twilight by William Butler Yeats." Thesis, University of Macau, 2008. http://umaclib3.umac.mo/record=b1943892.
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De, Gruchy John. "W.B. Yeats's Japan : more myth than reality." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=50844.
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This thesis analyses the development of Yeats's image of Japan from his introduction to Japanese culture through 'Japonisme' in the mid-1880's, until the end of his life in 1939. It also surveys the sources of information that Yeats had on Japan other than the Noh drama, and shows how these sources were as important as the Noh, if not more, in defining his image of Japan as an artistic utopia. Three periods of Japanese history were of particular interest to Yeats: The early nineteenth century, in which most Japanese colour prints were produced; the Ashikaga period (1333-1573), when the Noh flourished, and Heian Japan (794-1100), an extraordinary culture which produced some of the world's greatest works of art. Images of Japanese culture from these periods combined to produce a composite, mythical vision of Japan in Yeats's imagination.
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Hoffmann, Deborah. "The spirit of sound prosodic method in the poetry of William Blake, W.B. Yeats, and T. S. Eliot." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115657.
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Accompanying materials housed with archival copy.This project focuses on the prosody of three major poets, William Blake, W. B. Yeats, and T. S. Eliot. It explores the relationship between each poet's poetic sound structures and his spiritual aims. The project argues that in Blake's prophetic poems The Four Zoas, Milton, and Jerusalem, in Yeats's middle and late poetry, and in Eliot's post-conversion poetry, the careful structuring of the non-semantic features of language serves to model a process through which one may arrive at the threshold of a spiritual reality.
The introductory chapter situates these poets' works within the genre of mystical writing; establishes the epistemological nature of poetic sound and its relationship to mystical expression; considers the historical and personal exigencies that influence each poet's prosodic choices; and outlines the prosodic method by which their poetry is scanned. Chapter one addresses William Blake's efforts to re-vision Milton's Christian epic Paradise Lost by means of a logaoedic prosody intended to move the reader from a rational to a spiritual perception of the self and the world. Chapter two considers the development of W.B. Yeats's contrapuntal prosody as integral to his attempt to make of himself a modern poet and to his antithetical mystical philosophy. Chapter three explores the liminal prosody of T. S. Eliot by which he creates an incantatory movement that points to a spiritual reality behind material reality. The project concludes with a consideration of the spiritual aims of Gerard Manley Hopkins and H.D. (Hilda Doolittle) and posits a revaluation of Hopkins' sprung rhythm and H.D.'s revisionary chain of sound as prosodic practices intrinsic to their spiritual aims.
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Elgart, Jutta. "Symbolisme et figures mythiques et légendaires : une vision européenne (Stéphane Mallarmé, William Butter Yeats et Stefan George)." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20057/document.
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La figure mythique et légendaire, suggestive, occupe une position centrale dans l’esthétique du symbolisme européen (fin XIXe ̶ début XXe siècle). Cette thèse propose d’en étudier l’émergence et la fonction dans les œuvres de trois éminents représentants : Stéphane Mallarmé (1842–1898 France), William Butler Yeats (1865–1939 Irlande) et Stefan George (1868–1933 Allemagne). Un regard sur la société contemporaine (les arts, les découvertes scientifiques) permet de découvrir la place qui revient au mythe et à la légende. Au-delà des différences, affinités et contacts personnels rapprochent les trois poètes. Deux générations de symbolistes de langue différente se retrouvent dans une même vision de la création poétique. Œuvres poétiques (poésie, prose, théâtre), écrits théoriques, correspondances et entretiens révèlent une approche conjointe de l’image et du mythe : la figure mythique ou légendaire prend forme entre rêve et vision, réminiscence, évocation musicale et symbole littéraire. Du discours sur le mythe se dégage une théorie personnelle. Poésie et drame puisent aux sources hétérogènes des traditions s’enrichissent de philosophie, religion, occultisme, psychologie et vécu intime. La transposition d’art véhicule l’intertexte mythique du sujet pictural ou en sera contaminé, d’où un lien complexe entre texte et peinture (ou sculpture). Explicite dans l’œuvre de jeunesse, la figure mythique ou légendaire subira de multiples métamorphoses : syncrétique, elle fond les versions d’un mythe avec des traditions éloignées, superpose figures et faits mythiques et réels, historiques et contemporains. Implicite, elle est présente sous forme de traces dans l’abstraction du nom commun, pronom, qualificatif ou geste. La richesse des formes d’émergence lui assure son pouvoir d’irradiation. A la flexibilité de forme et contenu correspond la diversité des fonctions : la figure mythique se prête à toute figure stylistique et fonction grammaticale. Elle crée ainsi la cohésion dans l’œuvre et participe intimement à la construction du sens. La contamination atteint l’ensemble de l’œuvre mythopoétique. Autour des figures se forme une constellation d’images qui génère un nouveau mythe anthropocentrique, résumé et dépassement des traditions. D’abord « réservoir d’images » (Yeats) pour des créations futures, l’œuvre des poètes correspond de fait à une tentative bien plus ambitieuse : offrir une réponse à la quête du sens de l’Histoire et de la vie de l’Homme moderne qui ne croit plus en Dieu et dessiner les contours d’une société nouvelle. La figure mythique ou légendaire représente l’élément essentiel de la création poétiqueThe suggestive mythical and legendary figure holds a central position in the aesthetic of European symbolism at the end of 19th and the beginning of 20th century. This doctoral thesis proposes to study its apparition and function in the works of three distinguished representatives: Stéphane Mallarmé (1842–1898, France), William Butler Yeats (1865–1939, Ireland) and Stefan George (1868–1933, Germany). A look on contemporary society (arts, scientific discoveries) will allow discovering the place due to myth and legend. Beyond their differences, affinities and personal contacts bring these poets closer together. Two generations of symbolists, speaking different languages, join in one and the same view on poetical creation. Poetic works (poetry, prose and theatre), theoretical texts, letters and conversations reveal joint approach to image and myth: the mythical and legendary figure takes shape among dreams and vision, reminiscence, musical evocation and literary symbol. A personal theory emerges from speech on myth. Poetry and drama draw from the heterogeneous sources of various traditions, enriching with philosophy, religion, psychology, occultism and private experience. Transposition of art conveys the mythical text of the painted subject or is contaminated by it. Hence a compound link from text to painting (or sculpture). Explicit in the poet’s early work, mythical and legendary figure will go through multiple metamorphosis: synthetic, it melts the different versions of a myth with traditions from far away, it superimposes mythical figures and facts on others taken from history and contemporary reality. Implicit, it will be present as a trace, a common noun, a pronoun, a qualifying adjective, or a gesture. Great diversity of forms provides him power of radiation. Flexibility of form and content matches with diversity of functions: the mythical figure lends itself to every stylistic figure and grammatical function. This way it creates cohesion within the work and contributes intimately to the construction of sense. Contamination affects all the mythopoetic work. Around these figures a constellation of images forms and produces a new anthropocentric myth, summarizing and going beyond traditions. Hoard of images for future creations in the beginning (Yeats), the poet’s work actually comes up to a bid far more ambitious: give an answer to the quest for sense of history and life of modern man who doesn’t believe in God any more, and draw the outline of a new society. Mythical and legendary figure represent the essential element of poetic creation
Die mythische und legendäre Gestalt nimmt in der Ästhetik des europäischen Symbolismus (Ende des 19. – Anfang des 20. Jahrhunderts) eine zentrale Position ein. Diese Doktorarbeit stellt sich zur Aufgabe, ihr Vorkommen und ihre Funktion in den Werken von drei bedeutenden Vertretern zu untersuchen: Stéphane Mallarmé (1842-1898, Frankreich), William Butler Yeats (1865–1939, Irland), Stefan George (1968-1933, Deutschland). Ein Blick auf die zeitgenössische Gesellschaft (Kunst, wissenschaftliche Entdeckungen) ermöglicht es, herauszustellen, welche Stellung Mythos und Legende zufällt. Über alle Unterschiede hinaus sind sich die drei Dichter durch gemeinsame Interessen und persönliche Kontakte nahe. Symbolisten zweier Generationen und aus verschiedenen Sprachbereichen stimmen miteinander in dergleichen Auffassung von dichterischer Schöpfung überein. Dichterische Werke (Lyrik, Prosa, Theater), theoretische Schriften, Briefwechsel und Unterhaltungen lassen eine miteinander verbundene Betrachtungsweise von Bild und Mythos erkennen: die mythische und legendäre Gestalt nimmt Form an zwischen Traum und Vision, Erinnerung, musikalischer Evokation und literarischem Symbol. Aus der Rede über den Mythos geht eine persönliche Theorie hervor. Lyrik und Drama schöpfen aus den Quellen der heterogenen Traditionen, werden durch Philosophie, Religion, Okkultismus, Psychologie und intime Erfahrung bereichert. Die Übertragung bildender Kunst in Dichtung ("transposition d’art") vermittelt den im Gemälde zugrunde liegenden mythischen Text oder wird von ihm kontaminiert. Dadurch entsteht eine komplexe Beziehung zwischen Text und Malerei (oder Skulptur). Die mythische und legendäre Gestalt, in den Jugendwerken eindeutig erkennbar, erfährt später vielfältige Metamorphosen: synkretistisch verschmilzt sie die Varianten eines Mythos mit entfernten Traditionen, überlagert mythische Gestalten und Ereignisse mit reellen, historischen, zeitgenössischen. Implizit ist sie präsent in Form von Spuren, in der Abstraktion von Nomen, Pronomen, Adjektiv oder in einer Geste. Der große Formenreichtum sichert ihre Ausstrahlungskraft. Der Flexibilität von Form und Inhalt entspricht die Vielfalt der Funktionen: die mythische Gestalt passt sich jeder Stilfigur und jeder grammatischen Funktion an. Sie schafft somit die Geschlossenheit eines Werkes und nimmt im Innersten an der Sinnkonstruktion teil. Die Kontamination greift auf das ganze mythopoetische Werk über. Um die Gestalten herum bildet sich eine Konstellation von Bildern, die einen neuen anthropozentischen Mythos hervorbringt, der die Traditionen zusammenfasst und übertrifft. Zunächst „Bilderreservoir“ (Yeats) für zukünftige dichterische Schöpfungen, verfolgt das Werk der Dichter in Wirklichkeit einen viel ambitiöseren Versuch: auf die Frage nach dem Sinn in der Geschichte und im Leben des modernen Menschen, der nicht mehr an Gott glaubt, eine Antwort geben und die Konturen einer neuen Gesellschaft skizzieren. Die mythische oder legendäre Gestalt ist wesentliche Konstituente der Dichtung
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Estrade, Charlotte. "" Mythomorphoses " écriture du mythe, écriture métapoétique chez Basil Bunting, T. S. Eliot, Ezra Pound et W. B. Yeats." Phd thesis, Université du Maine, 2012. http://tel.archives-ouvertes.fr/tel-00770332.
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Les mythologies - gréco-romaine, irlandaise, perse, indienne, japonaise, chinoise -sont omniprésentes dans la poésie de Bunting, Eliot, Pound et Yeats. Les prédilections desauteurs pour certaines mythologies, véritables choix identitaires et politiques, montrenttoutefois une péroccupation commune pour les mythes violents, aux niveaux martial et sexuel.Ce premier niveau thématique se combine avec une réflexion plus distanciée sur le mythe,outil critique qui permet la reformulation de croyances rituelles et spirituelles, et de nouvellesthéories poétiques qui visent à ordonner et donner un sens au monde chaotique du XXe siècle.Le mythe, subversif, permet donc l'articulation de nouvelles spiritualités et denouvelles expériences poétiques. Enfin, matériau vivant et modelable, dont la mention est à lafois un raccourci de récits anciens et un horizon élargi vers d'autres références et réécritures,le mythe est objet linguistique. En traduction, le mythe transfert les contenus thématiques,déplace les rythmes et fait circuler et s'entremêler les arts. En effet, retour fantasmé à uneorigine du langage artistique, le mythe est parfois fiction d'un art total où les figuresmythiques seraient à la fois objet linguistique, représentation imaginaire picturale etmanifestation musicale. De cette vision du mythe émane une poésie polyphonique et hybride,à l'image du centaure et des autres créatures monstrueuses présents dans l'oeuvre poétique deBunting, Eliot, Pound et Yeats.
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Troeger, Rebecca Louise. "The Formation of Musical Communities in Twentieth Century Irish Literature." Thesis, Boston College, 2014. http://hdl.handle.net/2345/3837.
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Thesis advisor: Marjorie HowesThis dissertation is situated within the opening field of Irish literary and musical interdisciplinary studies and argues that a scholarly focus on the presence of music within Irish literature and culture opens new readings and perspectives. Drawing on cultural studies and musicology, I focus on the musical moment as a limited space during which identities and relationships are dynamically refigured. Through this approach, I look at the formations of communal and individual identities in and through musical performances, the production of gendered identities through music, and musical constructions of memory and the past. The first two chapters of my study deal specifically with the development of gendered identities through musical performance. Chapter 1 focuses on William Butler Yeats' and Augusta Gregory's variations on the trope of the male wandering musician as reflected in their writings on the Galway singer and poet Anthony Raftery, and the effects of Yeats' interest in Raftery on the evolution of his poetic persona, Red Hanrahan. I argue that Raftery, as introduced to Yeats by Lady Gregory, was pivotal to the evolution of Yeats' self-image as a national poet and helped to define his thoughts on poetry as a performed and musical art. Chapter 2 focuses on opera as a venue for an increased range of personal expression for female characters in Joyce. In it, I argue that the strictly disciplined nature of operatic roles allow Julia Morkan of "The Dead" and Molly Bloom of Ulysses a level of agility with gender identity otherwise unavailable to them. Chapter 3 moves from the gendered individual to communal and national identity as reflected in the musical events at the 1932 Eucharistic Congress in Dublin. In it, I argue that the musical performances throughout this event briefly opened a unique social space in which contradictory versions of Irish identity could coexist. Finally, Chapter 4 moves ahead to the late twentieth and early twenty-first centuries, focusing on Roddy Doyle's approaches to communal musical experience, the negotiations of identities through music, and constructions of memory through music in The Commitments and The Guts. Here, I consider the issues of cultural connections and appropriations examined by critics of The Commitments and extend these questions to a reading of The Guts. Drawing on Arjun Appadurai's work on the mobility of cultures and the availability of the past as "raw material" for the present, I argue that The Guts shows how a fraudulent "found" recording of a fictional singer can provide a needed ancestor who articulates a needed narrative of defiance and survival for a 2012 audience
Thesis (PhD) — Boston College, 2014
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: English
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Brady, Bronwyn. "The idea of gaiety in Yeats's lyric poetry." Thesis, Rhodes University, 1990. http://hdl.handle.net/10962/d1015642.
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In June 1917 W.B. Yeats wrote to his father : Much of your thought resembles mine . . but mine is part of a religious system more or less logically worked out, a system which will I hope interest you as a form of poetry. I find the setting it all in order has helped my verse, has given me a new framework and new patterns. (Wade 1954, 627) The new framework and new patterns that he claimed to have found in his system generated a new, and for Yeats, radically different sort of poetry. Before 1919 (The Wild Swans at Coole), the poetry had as its subject various traditional themes: the pity of love; the romance and heroism of Irish mythology; the threat of age, change and death. The poetry up to this point is, formally speaking, highly skillful, but locked into its own admissions of failure to touch or incorporate reality in any but a romantically defeatist way. However, the order which Yeats refers to in his letter, and the system he generated as a propaedeutic to this new order, once assimilated into the habit and texture of the poetry, generated new topics of its own which made those of the earlier work seem subjective, self- indulgent and intellectually uninformed. Yeats's poetry now changed drastically in focus and form, from subjective to objective poetry. Whereas the earlier poetry had opposed reality with romantic heroism or selfdestructive despondency, the poetry subsequent to his change of practice, incorporates a new vision of reality as the intrinsic architechtonics of poetry itself. Now the measure of human and aesthetic completion is no longer an inexplicable and inscrutable sadness, but an intelligent and informed detachment, an energy of mind that Yeats called "gaiety". My thesis explores this energy of mind and what it meant for Yeats and his poetry. My contention is that the idea of gaiety provides a way for Yeats to grant meaning to his life, a way for him to create himself. As the poetry is completed thanks to the new system, so is the poet. In order to see this, it is necessary to read the poems as a series of collections, or stories, that resonate back and forth with meaning and qualification and understanding. Yeats's system is his myth, and he writes his poetry in terms of and informed by that myth, shaping and re-shaping the experience of the created and fictional self until it has meaning in a way that the real self does not. The thesis explores this process of creation firstly in theoretical terms, using Lotman's ideas of Story and Myth, and looking at Yeats's intellectual and poetic inheritance. It goes on to examine some of the great poems in an attempt to define gaiety, and how Yeats achieves it in the poetry, and then to look at the early, pre-system poems to see how they differ. Finally, it takes the last of Yeats's lyric collections, Last Poems, and shows how gaiety works in the most mature poetry when the poems are read as narrative events within a story.
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Lee, Deng-Huei. "The Evolution of Yeats's Dance Imagery: The Body, Gender, and Nationalism." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4312/.
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Tracing the development of his dance imagery, this dissertation argues that Yeats's collaborations with various early modern dancers influenced his conceptions of the body, gender, and Irish nationalism. The critical tendency to read Yeats's dance emblems in light of symbolist-decadent portrayals of Salome has led to exaggerated charges of misogyny, and to neglect of these emblems' relationship to the poet's nationalism. Drawing on body criticism, dance theory, and postcolonialism, this project rereads the politics that underpin Yeats's idea of the dance, calling attention to its evolution and to the heterogeneity of its manifestations in both written texts and dramatic performances. While the dancer of Yeats's texts follow the dictates of male-authored scripts, those in actual performances of his works acquired more agency by shaping choreography. In addition to working directly with Michio Ito and Ninette de Valois, Yeats indirectly collaborated with such trailblazers of early modern dance as Loie Fuller, Isadora Duncan, Maud Allan, and Ruth St. Denis. These collaborations shed important light on the germination of early modern dance and on current trends in the performative arts. Registering anti-imperialist and anti-industrialist agendas, the early Yeats's dancing Sidhe personify a romantic nationalism that seeks to inspire resistance to the cultural machinery of British colonization. In his middle career, these collective Sidhe transmute into the solitary figure of a bird-woman-witch dancer, who, resembling the soloists of early modern dance, occupies center stage without any support from men and (to some extent) contests patriarchal assumptions. The late Yeats satirizes the imposition of sexual, racial, and religious purity on postcolonial Irish identity by means of Salome-like dances in which "fair" dancers hold the severed heads of "foul" spectators. These dances blur customary socio-political boundaries between fair and foul, classical and grotesque. Early to late, the evolution of Yeats's dancers reflects his gradual incorporation of more innovative female roles partly resembling those created by the pioneers of modern dance.