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Dissertations / Theses on the topic 'Women in literature. Romanticism'

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Published: 4 June 2021

Last updated: 9 February 2022

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1

Gómez, Luis Marcelino. "La mujer en defensa de la mujer: voces femeninas del romanticismo cubano (Poesía y cuento)." FIU Digital Commons, 2001. http://digitalcommons.fiu.edu/etd/55.

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Throughout history, women have played an important role in literature. Nevertheless, since Sappho's poetry until now, feminine voices have had to struggle for recognition of their works. Before the nineteenth century, women were almost ignored in Spanish literature. Society kept them as "ángeles de la familia," taking care of their homes, husbands, and children. Some of them, such as María de Zayas y Sotomayor in Spain and Sor Juana Inés de la Cruz in Mexico, complained about their situation in their writings. However, they expressed their fight not as a generation but as individuals. In the nineteenth century, the ideas and ideals of Romanticism, were brought to Latin America from Europe. Cuba was among those countries where the new movement took roots. Initiated by Gertrudis Gómez de Avellaneda, a group of women began to participate in literary reunions, and to found newspapers and magazines where works authored by women, dedicated to feminist ideas, were published. They indeed through literature started to live out womanhood in order to intellectually leave the ideological prisons where society had been keeping them. This study scans the literary works of all Romantic women writers in Cuba. It specifically analyzes poetry and short stories, and investigates how these authors expressed themselves in their works against the patriarchal society, where they lived and wrote their books. An eclectic critical method has been used. Findings were very revealing. Only three of the fourteen writers studied in my dissertation had been previously mentioned by major critics. Most of them had been ignored. However, the greatest discovery was that they prompted something new: For the first time they projected themselves as a group, as a collective consciousness, and this fact established a difference with former women writers in Cuban literature before Romanticism. In other words, they produced a "Renaissance" in Cuba's literature. In spite of how they lived between 1820 and 1900, their struggles for women's rights have linked them to our current times.

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2

Powers, Miriam Ute. "Powerful Women Writers in Eighteenth Century Germany: A Comparison of the Two German Women Writers Sophie Von La Roche (Gutermann) and Dorothea Schlegel (Mendelssohn), Exploring their Upbringing, Marriages, Love, Literary Works, And Social Atmospheres." Wright State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=wright1556377494317911.

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3

Ailwood, Sarah Louise. ""What men ought to be" masculinities in Jane Austen's novels /." Access electronically, 2008. http://ro.uow.edu.au/theses/124.

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4

Paixao, Grace Alves da. "Natureza e artificialidade nas mulheres das poesias de Victor Hugo e Charles Baudelaire." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-12112010-161229/.

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O objetivo da presente pesquisa é comparar as figuras femininas das poesias de Victor Hugo e Charles Baudelaire, tendo como eixo de análise a expressão da natureza e da artificialidade. O trabalho realiza-se especialmente a partir da leitura de poemas e consiste numa reflexão sobre as comparações entre os poetas encontradas na fortuna crítica, em uma apresentação geral de suas obras voltada para o estudo do progresso, da função do poeta e da paisagem em relação ao contexto do século XIX, e na análise de correlações e diferenças nas imagens de mulheres de suas poesias.
The aim of this research is to compare the female figures of poems by Victor Hugo, Charles Baudelaire considering the expression of nature and artificiality as their center. The comparison applied to these works will take place especially through reading poems. In addition to a literature review of the comparisons between them previously undertaken and an overview of their work focused on the study of progress, the role of poet and landscape in relation to the context of the nineteenth century, the work allows correlations and differences in the images of women on their poetry to be analyzed.

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5

Saunders, Julia Edwina. "White slavery : Romantic writers and industrial workers, 1790-1840." Thesis, University of Oxford, 2000. http://ora.ox.ac.uk/objects/uuid:655d1502-34a7-4bf7-b0e6-fa8a85a31b43.

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In this thesis, I argue the case for putting the industrial revolution back into literary accounts of the Romantic period. Writers of fiction played an important part in disseminating knowledge about the changes to technology and society, as well as helping to form the image of the newest social class: that of the industrial workers. Literature aspired to educate and integrate this class, as well as to influence the parallel process of educating the upper classes about the advent of the new manufacturing order. I have taken as the governing metaphor for industrialization that of 'white slavery', drawing the contrast to the contemporary movement to abolish black slavery. To illustrate the thesis, I have chosen six writers: three Romantic poets - Coleridge, Southey and Wordsworth - and three women educationalists - Hannah More, Maria Edgeworth and Harriet Martineau, each of whom represents a significant philosophical approach to a manufacturing society and who each made an important contribution to imaginative literature. Whilst the Romantic poets analysed industrialization as a divisive and demoralizing phenomenon and looked to the past for solutions, the educationalists responded to the challenge presented by the factory system by suggesting new visions of social relationships which bound moral and economic behaviour together. The thesis aspires to restore the voices of neglected women writers in the industrial debate with the aim of promoting a deeper understanding of the dynamics of the Romantic period and a fuller comprehension of its creative expression.

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6

Fairbank, Rebecca Bennett. "Devastating Diva: Pauline Viardot and Rewriting the Image of Women in Nineteenth-Century French Opera Culture." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3788.

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Historically vilified, the vocalizing woman developed a stereotyped image with the emergence of the prima donna in eighteenth-century opera. By the nineteenth century, the prima donna became the focal point for socio-cultural polemics: women sought financial and social independence through a career on the operatic stage while society attempted to maintain through various means the socio-cultural stability now threatened by women's mobility. The prima donna represented both a positive ideal for women as well as a great threat to western patriarchy. A discourse emerged in which the symbol of female independence and success ”the prima donna" became the site of tactical control and containment. The prima donna stereotype, opera plot and music, and literature all presented the vilified image as a warning of the disaster awaiting women who overstepped the social boundaries established in the patriarchal image of ideal womanhood. Pauline Viardot confronted this attempt at containment by fulfilling society's expectations of her as a woman and simultaneously confounding its presentation of women opera stars. Viardot performed the role of social woman: she married young, she raised a family, she held a salon, and she engaged in other approved social activities. Madame Viardot's acceptance and fulfillment of the roles established for her by her contemporary society provided her a unique freedom within society in which she could maintain a career on the operatic stage without succumbing to the traditional detritus of the popular press, literature or social ostracizing. She crafted her own image rather than allow society to stigmatize or vilify her. Her success was chronicled in contemporary literature written by women who viewed prima donnas as spokespersons for the female plight. Much of this literature explores women's hopelessness and despair in the face of highly restrictive social codes. Prima donnas engaged in a very public career through which they established financial independence, professional success, and an identity literally shaped by their own voices. George Sand briefly explored the artist-woman's search for freedom and independence in her 1833 Lélia, but it was not until Sand met Pauline Viardot that she was able to create a heroine who could gain a respected position in society, enjoy lasting personal happiness, maintain social and financial independence, and who lived to enjoy the fruits of her labor. Consuelo stands as a permanent record of Viardot's impact on her contemporary society. Pauline Viardot successfully revised the image of the prima donna and that of women in the process. Viardot navigated the centuries-old tradition which demonized publicly vocalizing women and created a new image of the woman-artist. An accomplished actress among other things, Viardot successfully performed the roles of social woman, inspiration of a literary heroine, and prima donna. It is her successful negotiation of these roles which allowed her to carve out a unique position in her contemporary society, a position that allowed her to teach at the Paris Conservatory, support the careers of budding male musicians, garner the respect of royalty, publish and perform her own musical compositions, and live a long, fulfilling life. Letters addressed to Viardot, contemporary accounts by male musicians, and her immortalization in Sand's Consuelo all record the new image Viardot created: that of a respected member of society and operatic performer of great artistic and musical genius.

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7

Stones, G. P. "Parody and romanticism." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240606.

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8

Lee, Debbie Jean 1960. "Slavery and English Romanticism." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288753.

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During the Romantic period, England, which then led the world in slave exports, abolished both the African slave trade and West Indian slavery, setting a trend that the Portuguese, Danish, French, Germans, and Americans would follow. Abolition, a powerful moral engine, barreled through England on the tracks of pamphlets, poetry, engravings, speeches and sermons. Abolition was clearly the moral (as well as economic and social) issue of the age. My dissertation investigates the ways in which Romantic writing emerged from and responded to the issues brought on by the slavery question. Through primary and archival research, I reconstruct not only the voices of abolition, but also of various contributing discourses such as medicine, travel, cartography, labor, and iconography. This range of sources provides the basis from which I read major Romantic poems, advancing interpretations that make clear seemingly discordant relationships, like that between Keats, slavery and voodoo; between cartography, slavery and sonnets; and between Wordsworth, slavery, and abortion. The way Romanticism is haunted by the slavery question, I argue, needs to be recovered within literary history as much as within Romantic poetry itself. My dissertation thus combines three kinds of projects: a contribution to historical reconstructions based on primary research; a contribution to knowledge of specific literary works; and a contribution to ongoing arguments about critical method.

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9

Königkrämer, Lobke. "Frankenstein: a monstrous romanticism." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/9036.

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The purpose of this thesis is to examine the relationship between Mary Shelley's first novel Frankenstein and her own understanding of Romanticism. The overarching theme is to illustrate how Mary Shelley navigates her criticism of Romanticism through the medium of Victor Frankenstein as a character. With the inspection of Victor Frankenstein some autobiographical similarities are drawn between the protagonist and Percy Bysshe Shelley. Another aim and extension of this autobiographical project is to examine how Percy Shelley's editing of the original manuscript of Frankenstein added or detracted from the plot. Finally, the genre implications of Frankenstein are examined in this thesis. In the first chapter, Romanticism is examined in relation to how the Romantics themselves envisioned their ideology so as to ascertain which aspects Mary Shelley draws particular attention to. The Romantic theorists used in this section specifically, Abercrombie and Schueller, are used to highlight the fact that Romanticism can be defined as a unified system of belief. Certain tenets of this ideology are then shown to be the main points that Mary Shelley criticises. In the second chapter, the autobiographical element of Mary Shelley's relationship with Percy Shelley is examined. The parallels between Victor Frankenstein and Percy Shelley are made apparent through the use of biographers Hoobler and Seymour. From that, the precise changes that Percy Shelley made to the original manuscript of Frankenstein are scrutinised with Mellor's insightful explication of the original that exists in the Bodleian Library. The conclusion of this chapter solidifies the argument of the first chapter, and as close attention is paid throughout both chapters to the novel as a primary source of confirmation, the complex navigations and articulations of Romanticism throughout Frankenstein are made apparent. In the third chapter, attention is given specifically to the genre implications of Frankenstein, and the relationship and consistent oscillation between Romanticism and the Gothic is traced. The theorists used in this part of the thesis vary widely and include Botting, Golinski and Alwes. It is argued that in her destabilisation of Romanticism, Mary Shelley invariably incorporates the Gothic into her text. It is this complex weaving of genres which is particularly interesting in relation to how Mary Shelley's disillusionment with Romanticism produces a text that has such a vast array of genre possibilities. Finally, this thesis looks at the negative interpretation of Romanticism specifically in relation to Mary Shelley's critical expressions of its ideology in Frankenstein. As a cautionary tale, the consequences of Romantic principles unchecked by a societal conscience, Mary Shelley seems to have used Frankenstein as a way of expressing her disillusionment. The repercussions of what ultimately is an original story of a scientist who unleashes his creation without concern for its welfare are still present in the common consciousness of modern society.

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10

Kielmann, Jules. "„Gaben, welche sie zur Entfaltung vorwärtsdrängen“ : Amalie von Helvig, geb. von Imhoff, und ihr Werk im Spannungsfeld zwischen Geschlecht und Künstlerschaft um 1800." Licentiate thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-438907.

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11

Howard, Darren Phillip. "Imperial animals romanticism and the politicized animal /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1495946181&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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12

Johnston, Richard Rutherford. "Romanticism and Mortal Consciousness." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11043.

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The Romantic period coincides with a fundamental shift in Western attitudes toward death and dying. This dissertation examines how Romantic poets engage this shift. It argues that "Romantic mortal consciousness" - a form of mortal reflection characteristic of English Romantic poetry - is fundamentally social and political in its outlook and strikingly similar to what one might now call a liberal social consciousness. During the Romantic period, mortally conscious individuals, less able or willing to depend on old spiritual consolations, began to regard Death not as the Great Leveler of society but rather as a force that sealed social inequality into the records of history. Intimations of mortality forced one to look beyond the self and, to quote Keats, "think of the Earth." This dissertation considersthe development of Romantic mortal consciousness. Death’s transformation from the Great Leveler of social inequality into its crystallizing agent is evident in the Romantic response to Graveyard School poetry. This is the subject of my first chapter, which focuses on Gray’s "Elegy" and Wordsworth’s "The Ruined Cottage." Chapter Two examines Lord Byron’s Cain, where mortal consciousness transforms Cain’s personal lament about mortality into a protest on behalf of a doomed race. Cain anticipates death studies by dramatizing the shift from what Ariès calls the "death of the self" to the "death of the other" and by recognizing that mortality is essentially a cultural construct. However, the other idea of mortality as a solitary reckoning with death does not disappear entirely. Poems by Hemans and Keats, the subjects of my third and fourth chapters, show how the "death of the self" flourishes as the other side of Romantic mortal consciousness. Romantic mortal consciousness has centripetal and centrifugal aspects. It exhorts the ruminative soul to engage sympathetically with the suffering of others. At the same time, it turns the soul inwards, bringing the fate of the self into focus. One aim of this dissertation is to unify these aspects through an analysis of the sublime. In Chapter Five, which focuses on Byron and Smith, I illustrate the connection between mortal consciousnesses, social or political consciousness, and aesthetic awareness.

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13

Rieley, Honor. "Writing emigration : Canada in Scottish romanticism, 1802-1840." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:cbeac4b3-cb79-4c22-a308-03be120d2c26.

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This thesis is a study of the representation of emigration to Canada in Scottish Romantic periodicals and fiction, and of the relationship between these genres and the little-studied genre of the emigrant's guide. Chapter One tracks the Edinburgh Review and Quarterly Review's reviews of books on Canadian topics and demonstrates how the rival quarterlies respond to, and intervene in, the evolving public debate about emigration. Chapter Two examines depictions of Canada in Blackwood's Magazine and Fraser's Magazine, and reveals connections between these magazines' engagement with Canadian affairs and the concurrent reception of Scottish Romanticism in early Canadian literary magazines. Chapter Three argues for an understanding of the emigrant's guide as a porous form that acts as a bridge between nonfictional and fictional representations of emigration. Chapter Four reads novels with emigration plots in relation to the pressures of American, Canadian and transatlantic canon formation, arguing that these novels trouble the stark division between the American and Canadian emigrant experiences which was insisted upon by contemporary commentators and which continues to underpin criticism of transatlantic literary works. Chapter Five considers the relationship between Scottish Romanticism and nineteenth-century Canadian literature, a relationship which has often been framed in terms of the portability of a 'Scottish model' of fiction associated most strongly with Walter Scott. Overall, this thesis contends that foregrounding the literature of emigration allows for greater understanding of the synchronicity of Scottish Romanticism and the escalation of transatlantic emigration, offering an alternative to conceptions of Canada's colonial and transatlantic belatedness.

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14

Kim, Joanne S. "Romanticism and the Poetics of Orientation." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523659373305353.

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15

Young, William H. "The long way home: Studies in twentieth century romanticism." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/279778.

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These studies trace the development of a mid-twentieth century romanticism, a Neo-Romanticism distinct from both an earlier High Romanticism and a later Postmodernism. The focus is on six twentieth century writers, all but one American: D. H. Lawrence (English), Paul Bowles, Robert Lowell, John Ashbery, William Stafford, and Tim O'Brien. Neoromantics seek to relandscape the derealized self by venturing outward; venturing outward they both empty and refurbish the self. By pursuing a new self or taking an extreme course--that is, the long way home--they come to an unexpected conclusion: they discover the illusion of liberty, of democracy, of self-agency, and thus the great truth of old orders, deeper than tradition.

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16

Kollias, Hector. "Exposing romanticism : philosophy, literature, and the incomplete absolute." Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/57579/.

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The aim of this thesis is to present the fundamental philosophical positions of Early German Romanticism, focusing on the three following writers: J. C. F. Holderlin, Novalis, and F. Schlegel. Chapter 1 begins with an examination of the first-philosophical, or ontological foundations of Romanticism and discusses its appropriation and critique of the work of Fichte, arriving at an elucidation of Romantic ontology as an ontology of differencing and production. The second chapter looks at how epistemology is transformed, in the hands of the Romantics, and due to the attention they paid to language, semiotic theory, and the operations of irony in discourse, into poetology - a theory of knowledge, into a theory of poetic production. In the third chapter a confrontation between the philosophical positions of Romanticism and those of the main currents of German Idealism (Schelling, Hegel) is undertaken; through this confrontation, the essential trait of Romantic thought is arrived at, namely the thought of an incomplete Absolute, as opposed to the absolute as totality in Idealism. The final chapter considers the avenue left open by the notion of the incomplete Absolute, and the Romantics' chief legacy, namely the theory of literature; literature is thus seen as coextensive with philosophy, and analysed under three conceptual categories (the theory of genre, the fragment, criticism) which all betray their provenance from the thought lying at the core of Romanticism: the incomplete Absolute. Finally, in the conclusion a summation of this exposition of romanticism is presented, alongside a brief consideration of the relevance of the Romantic project in contemporary critical/philosophical debates.

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17

Law, Wai-han Grace. "Dreams and their significance in romanticism." [Hong Kong : University of Hong Kong], 1989. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12752174.

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18

Torres, Gabriella. "An exploratory study : romanticism in modern day men and women." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1509.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Sciences
Psychology

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19

Hitt, Christopher J. "The natural sublime : romanticism and the aesthetics of wilderness /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3018373.

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Thesis (Ph. D.)--University of Oregon, 2001.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 277-286). Also available for download via the World Wide Web; free to University of Oregon users.

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20

Horton, Patricia. "Romantic intersections : romanticism and contemporary Northern Irish poetry." Thesis, Queen's University Belfast, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337039.

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Lu, Jian-de. "F.R. Leavis : his criticism in relation to romanticism." Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.279589.

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22

Relation, Mark. "Railways and the End of British Romanticism." Thesis, Boston College, 2014. http://hdl.handle.net/2345/bc-ir:104257.

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Thesis advisor: Penelope Ismay
This thesis examines how the railways created a new experiential world for ordinary British people by forcing them to confront the new realities of industrialized society. The railways quickly became a part of nearly every person’s daily life and experience, which heralded a fundamental change in the way people interacted with each other and understood themselves in the context of their world. This thesis uses a theory of “cultural language” within society to explore the ramifications of that change as seen in literature. The rise of the railways and the change in experience can be linked to the end of Romanticism in Britain and the rise of Victorian Realism. The new literature was reflective of the new post-railway industrialized world
Thesis (BA) — Boston College, 2014
Submitted to: Boston College. College of Arts and Sciences
Discipline: Departmental Honors
Discipline: History

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23

Woolner, Victoria Evelyn. "Scottish romanticism and its impact on early Canadian literature." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5071/.

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This research considers the impact of Scottish romanticism on the construction of literary identity in the Canadas prior to Confederation (1867). I argue that early Scottish dominance in literary Canada, and similarities faced by both countries in defining a sense of self—including participation in a wider empire (or Union), populations divided by language and religion, and the need for a distinct identity in the face of a dominant neighbour to the south—all contributed to a tendency on the part of Canadians to look to Scotland as a model. Through an examination of early Canadian literature and on-going British constructions of the colony, the thesis considers the manner in which Scottish romantic strategies of literary nationalism are deployed and manipulated in the process of articulating a Canadian identity. Particular attention is paid to the works of John Galt and Major John Richardson, while tropes examined include the construction of landscape and settlement narratives, stadial histories, the historical novel, national tale and the depiction of a national history, and the manipulation of a romanticised Scottish military past in constructing Canadian history.

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Law, Wai-han Grace, and 羅慧嫻. "Dreams and their significance in romanticism." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31949496.

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Masfen, Eugenie Alison. ""My words echo thus in your mind" four quartets, T.S. Eliot and romanticism." Thesis, Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161410.

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Lloyd, Nicola. "Sensibility, enlightenment and Romanticism : British fiction, 1789-1820." Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/61578/.

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This thesis is a study of the discourse of sensibility in Romantic-period fiction. It suggests that sensibility was not, as has often been assumed, merely a transient and fashionable mode that peaked in the mid eighteenth-century before its association with radicalism and subsequent demise in the 1790s. Instead, it was redirected and refashioned during the first decades of the nineteenth century, functioning in effect as a metanarrative for the Romantic novel. The discourse of sensibility was both a formative influence on and a central ideological component of literary Romanticism and this thesis reads it as a creative, protean and self-conscious force that is capable of challenging many of our assumptions about the Romantic period. Analysing representative fictions by Ann Radcliffe, Charlotte Dacre, William Godwin, Sydney Owenson and Walter Scott, each chapter traces the complex interactions of eighteenth-century discourses of moral philosophy and perception in the sub-genres of the gothic novel, the Jacobin novel, the national tale and historical fiction. In doing so, the evidence of sensibility’s pervasive influence destabilises any notion of discrete and fixed generic categories by suggesting widespread correlations and overlaps. Likewise, this generic assimilation and mutation that operates under the banner of sensibility proposes a challenge to conventional notions of Romantic aesthetic unity and spontaneity, suggesting instead a self-conscious and experimental engagement with genre. Finally, the novels considered depict a hybrid model of sensibility in which Enlightenment formations of feeling and perception as a means of social coherence coexist with Romantic models of alienated selfhood. As a result, the exploration of the discourse of sensibility in the Romantic novel provides an opportunity to reassess the complex and often contradictory relationship between the aesthetics of Enlightenment and Romanticism.

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Ingram, Catherine. "Word and Song: The Paradox of Romanticism." TopSCHOLAR®, 1996. http://digitalcommons.wku.edu/theses/805.

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Among the various outcomes of the Romantic period, an interest in the relationship of the arts remains a widely recognized yet rarely examined field of study. Music and literature seemed to develop a particular kinship, yet to identify the exact relationship is as difficult as defining Romanticism itself. In this study, I attempt to do both. In exploring the concept of Romanticism, its paradoxical development from Classicism is examined through the comparison of six great composers and poets of the period. By tracing the similarities and differences in style of Beethoven/Wordsworth, Schumann/Keats, and Brahms/Tennyson, hopefully a clearer understanding of the evolution of Romanticism is achieved. These artists, although creating through different mediums, address the apparent rejection of Neoclassicism, the apex of Romanticism, and the realization of its limitations. The result is the revelation of the paradox of Romanticism. For each artist, the realization of the Romantic spirit presents contrasts. Ultimately, the rejection of Neoclassic thought becomes as important to Romanticism as its dependence on Neoclassic form. These six artists achieved success not only because of their talents but also because of their acknowledgement of this fact. In this study, I trace their development through the rise and fall of Romanticism as more than instances of shared techniques or borrowed texts; the similarities in thought, poetic vision, and style shared by these artists are explored as well. The paradox of Romanticism is revealed through the interrelationship of poetry and music.

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Bradshaw, Penelope Joyce Elizabeth. "Unsex'd women : the politics of transgression in the poetry of Anna Laetitia Barbauld and Charlotte Smith." Thesis, Lancaster University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324081.

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McCue, Maureen Clare. "British Romanticism and Italian Renaissance art." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2680/.

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This study examines British Romantic responses to Italian Renaissance art and argues that Italian art was a key force in shaping Romantic-period culture and aesthetic thought. Italian Renaissance art, which was at once familiar and unknown, provided an avenue through which Romantic writers could explore a wide range of issues. Napoleon’s looting of Italy made this art central to contemporary politics, but it also provided the British with their first real chance to own Italian Old Master art. The period’s interest in biography and genius led to the development of an aesthetic vocabulary that might be applied equally to literature and visual art. Chapter One discusses the place of Italian art in Post-Waterloo Britain and how the influx of Old Master art impacted on Britain’s exhibition and print culture. While Italian art was appropriated as a symbol of British national prestige, Catholic iconography could be difficult to reconcile with Protestant taste. Furthermore, Old Master art challenged both eighteenth-century aesthetic philosophy and the Royal Academy’s standing, while simultaneously creating opportunities for new viewers and new patrons to participate in the cultural discourse. Chapter Two builds on these ideas by exploring the idea of connoisseurship in the period. As art became increasingly democratized, a cacophony of voices competed to claim aesthetic authority. While the chapter examines a range of competing discourses, it culminates in a discussion of what I have termed the ‘Poetic Connoisseur’. Through a discussion of the work of Lord Byron, Percy Shelley and William Hazlitt, I argue that Romantic writers created an exclusive aristocracy of taste which demanded that the viewer be able to read the ‘poetry of painting’. Chapter Three focuses on the ways in which Romantic writers used art to produce literature rather than criticism. In this chapter, I argue that writers such as Byron, Shelley, Lady Morgan, Anna Jameson and Madame de Staël, created an imaginative vocabulary which lent itself equally to literature and visual art. Chapter Four uses Samuel Rogers’s Italy as a case study. It traces how the themes discussed in the previous chapters shaped the production of one of the nineteenth century’s most popular illustrated books, how British art began to appropriate Italian subjects and how deeply intertwined visual and literary culture were in the period. Finally, this discussion of Italy demonstrates how Romantic values were passed to a Victorian readership. Through an appreciation of how the Romantics understood Italian Renaissance art we can better understand their experience and understanding of Italy, British and European visual culture and the Imagination.

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Chu, Sin-man Alison, and 朱善雯. "Artist (poet) as critic: T.S. Eliot's modernist ambiguities : turning the old upside down." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31953013.

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Bainbridge, Simon. "The 'master-spirit' of the age Napoleon Bonaparte and English Romanticism." Thesis, University of York, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306246.

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32

Risinger, Jacob Barth. "Confirmed Tranquility: The Stoic Impulse in Transatlantic Romanticism." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11489.

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Spontaneous feeling has been a cornerstone of Romantic aesthetics since Wordsworth wrote his Preface to Lyrical Ballads. This dissertation unsettles the link between Romantic poetry and the overflow of emotion by arguing that writers from Wordsworth to Emerson persistently turned to Stoicism in reconsidering the role of the passions in both literature and the conduct of life. Drawing on poetry and a broad range of journals, letters, and intellectual prose, I argue that the Romantics were attuned to the way diffuse Stoic attitudes informed the politics and moral psychology of their age. More than a prompt for resignation or acquiescence, Stoicism was a radical and controversial term in a revolutionary age; philosophers like Kant, Spinoza, and Godwin drew on Stoic accounts of the passions in articulating their new ethical systems. In chapters on Wordsworth, Coleridge, Byron, and Emerson, I argue that the period most polemically invested in emotion as the mainspring of art was also captivated by the idea that aesthetic and ethical judgment demanded a transcendence of emotion. In their poetic search for "confirmed tranquillity," the writers in my transatlantic study transformed Stoicism's austerities as they confronted the limitations of sympathy and redefined their own relations to a cosmopolitan and war-torn world.

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Franson, Craig. "Suspended pangs : figures of agony in the discourse of Romanticism /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1421623051&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2007.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 222-230). Also available for download via the World Wide Web; free to University of Oregon users.

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Dineen, Mark David. "Of romance and the real information technology and social function in the evolution of romantic aesthetics /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ56226.pdf.

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35

Chan, King. "Organic form and its discontents : the modernist critique of organicism /." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18783223.

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36

Campbell, Nick. "Children's Neo-Romanticism : the archaeological imagination in British post-War children's fantasy." Thesis, University of Roehampton, 2017. https://pure.roehampton.ac.uk/portal/en/studentthesis/Children’s-Neo-Romanticism(d8dd7f80-d6a7-4e02-a103-c627adc0fad1).html.

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The focus of this study is a trend in British children’s literature concerning the ancientness of British landscape, with what I argue is a Neo-Romantic sensibility. Neo-Romanticism is marked by highly subjective viewpoints on the countryside, and I argue that it illuminates our understanding of post-war children’s literature, particularly in what is often called its Second Golden Age. Through discussion of four generally overlooked authors, each of importance to this formative publishing era, I aim to explore certain aspects of the Second Golden Age children’s literature establishment. I argue that the trend I critique is characterised by ambiguity, defined by the imaginative practice entailed in the archaeological view.

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37

Lopez, John-David. "The British Romantic reconstruction of Spain." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1692097271&sid=19&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of California, Los Angeles, 2008.
Vita. Individual works cited are included for each chapter and are noted in the table of contents. Description based on print version record. Includes bibliographical references.

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Masland, James Gillinder. "Narratives of romantic masculinity within the long eighteenth century." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1679298161&sid=7&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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39

Grinnell, George C. Clark David L. "On hypochondria: interpreting romantic health and illness (Samuel Taylor Coleridge, Mary Shelley, Thomas de Quincey, Thomas Beddoes, Charles Brockden Brown) /." *McMaster only, 2005.

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40

Coffey, Bysshe Inigo. "Broken worlds : Shelley's fractured materiality." Thesis, University of Exeter, 2018. http://hdl.handle.net/10871/34242.

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Percy Bysshe Shelley is often seen to exhibit a linear intellectual development. He moves, allegedly, from a thoroughgoing materialism in his early years to embrace, with varying levels of enthusiasm, a diametrically opposed idealism. Yet, if we are attentive to even an early, supposedly naïvely ‘materialist’ work like Alastor (1816), we discover a much more complex reality. Here, Shelley’s materialism concerns not only the sonorous and physiological elements of existence, but also the gaps, vacancies, silences and interstices of thought. These too, after all, comprise part of our lived experience, and deserve to be designated material. But materialism has struggled, by definition, to explain the real but not-manifest phenomena of human experience. Shelley’s poetry actuates diverse kinds of intermittence and disjunction, and engages with philosophical contexts not previously associated with the poet. He did not seek to resolve the relation between the material and immaterial world of the soul (a quite impossible task anyway), but enact the dynamic between sensuous reality and the gaps and pauses that punctuate it. We see this not only through the incidents that his verse describes; importantly, Shelley also enacts this through performance: through the way in which we recite his poetry into existence, through the pauses and ‘fainting periods’ that our own voice describes. The need to take into account this vocal, performative element of Shelley’s verse belies the notion that he was ever a simple, unreconstructed idealist. Where the recent turn toward materialism has hitherto been somewhat narrowly conceived as a return to objects, things and their thing-ness, Shelley’s sensuousness permits us to ask further: to ask into the nature of the relations between objects, and the ways in which they come into being. His ‘intermitted song’, a poetry of radical pauses, is not only a resonant example of how prosody intersects with, and achieves, philosophically significant thinking, it is also a stinging critique of any account of life or matter that is offered solely in terms of motion, fullness, functionality, and continuity. His achievement is not only of relevance to the Romantic Period and the history of philosophy, or an answer to vital materialism, Shelley’s poetry and prose offer a remarkable reassessment of the notion of a continuing life.

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41

Jones, Kristin Alise. "Revitalizing Romanticism: Novalis' Fichte Studien and the Philosophy of Organic Nonclosure." Thesis, Harvard University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3566943.

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This dissertation offers a re-interpretation of Novalis' Fichte Studien. I argue that several recent scholarly readings of this text unnecessarily exclude "organicism," or a panentheistic notion of the Absolute, in favor of "nonclosure," or the endless, because impossibly completed search for knowledge of the Absolute. My reading instead shows that, in his earliest philosophical text, Novalis makes the case for a Kantian discursive consciousness that can know itself, on Jacobian grounds, to be the byproduct (or accident) of a self-conditioning being or organism, and even more specifically a byproduct of God's panentheistic organism, at the same time that Novalis does not allow the possibility of discursive immediacy with that absolute standpoint; the epistemic consequence is that, while empirical science can proceed in the good faith that it makes valid reference to being, nonetheless it can never know its description of being to be final or complete. I call this position "organic nonclosure," and argue that Novalis holds it consistently throughout his very brief philosophical career. The keys to understanding Novalis' reconciliation of organicism and nonclosure are contextual and textual. Contextually, Novalis appreciates the inadvertent organicism in Jacobi's metacritique of Kant and also applies Jacobi's organicist metacritique to Fichte as well, with the result that Novalis' position in the Fichte Studien bears much resemblance to Herder's panentheistic ontology and modest epistemology. Textually, Novalis engages in a polysemy in the fragments of his Fichte Studien that performs the dependence of the sphere of empirical consciousness on a higher, intellectually intuitive being (a being that could only be a divinely creative intellection), and, simultaneously, the impossibility of presenting that identity in discursive terms. In other words, for Novalis, human knowledge of the existence of the organicist Absolute is enabled by, but also limited to, the merely contingent, empirical, and private experience of the dependence of the human subjective standpoint on an objectivity simply given to it.

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42

Slagle, Judith Bailey. "Joanna Baillie and the Poetry of Intellectual and Historical Romanticism." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/459.

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Book Summary: The Encyclopedia of Romantic Literature is an authoritative three-volume reference work that covers British artistic, literary, and intellectual movements between 1780 and 1830, within the context of European, transatlantic and colonial historical and cultural interaction. Comprises over 275 entries ranging from 1,000 to 6,500 words arranged in A-Z format across three fully cross-referenced volumes Written by an international cast of leading and emerging scholars Entries explore genre development in prose, poetry, and drama of the Romantic period, key authors and their works, and key themes Also available online as part of the Wiley-Blackwell Encyclopedia of Literature, providing 24/7 access and powerful searching, browsing and cross-referencing capabilities

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43

Walton, S. J. "Images of the peasantry in Norwegian National Romanticism and the works of Ivar Aasen." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372915.

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44

Sandner, David. "The fairy way of writing : fantastic literature from the romance revival to romanticism, 1712-1830 /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9978599.

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Thesis (Ph. D.)--University of Oregon, 2000.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 322-334). Also available for download via the World Wide Web; free to University of Oregon users.

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45

Bleecker, Timothy Jonathon. "The Christian romanticism of George MacDonald : a study of his thought and fiction /." Thesis, Connect to Dissertations & Theses @ Tufts University, 1990.

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Thesis (Ph.D.)--Tufts University, 1990.
Submitted to the Dept. of English Literature. Adviser: Martin Green. Includes bibliographical references (leaves [261]-269). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

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46

Romanczuk, Barbara L. "Screening Zola's women /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486402544590054.

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47

Svensson, Filip. "Tolkien's Natural Pathos." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-6585.

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48

Bruhm, Steven. "Gothic bodies : the politics of pain in romantic fiction." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39416.

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In the ideology of sentimentalism, physical sensation integrates the parts of the body into a whole, and the fragmented members of the body politic into a social community. However, intense pain is always an individual experience. It not only isolates us from other people, but is also isolates us from our own bodies: pain renders our bodies out of control. Moreover, pain attacks our very notion of self by threatening to render us unconscious, and unable to perceive that self. This complex of problems became especially acute for late eighteenth-century writers, as they tried to reconcile their sympathy for the French Revolution with the intense pain that the Revolution signified. What they articulated was a process by which the self initially identifies with the pained body of the other, but then appropriates that pain to make it one's own, thereby isolating the self from infectious Revolutionary sympathies.

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49

Sakamoto, Chiyo. "Interprétations romantiques de Jeanne d'Arc." Villeneuve d'Ascq : Presses universitaires du Septentrion, 1998. http://catalog.hathitrust.org/api/volumes/oclc/41525198.html.

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50

Prasad, Anjali. "Does "Little Women" Belittle Women?: Female Influence in Louisa May Alcott's "Little Women"." W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539625888.

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