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McClellan, Leah. "The psychosexual growth of the poet in The prelude." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1996. http://www.kutztown.edu/library/services/remote_access.asp.
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Ellis, Matthew Ryan. "William Wordsworth: Religion and Spirituality." Thesis, Boston College, 2005. http://hdl.handle.net/2345/358.
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Thesis advisor: John L. MahoneyAn exploration of the spirituality present in seleceted poems of William Wordsworth. Occasionally reference his personal relationship to and influence of the Anglican Church, but is a study of the way he developed his own spirituality, not an argument for or against his classification as a "Christian poet."
Thesis (BA) — Boston College, 2005
Submitted to: Boston College. College of Arts and Sciences
Discipline: English
Discipline: College Honors Program
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Ryu, Son-Moo. "Imagining society William Blake, William Wordsworth, and George Eliot /." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3167282.
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Thesis (Ph.D.)--Indiana University, Dept. of English, 2005.Title from PDF t.p. (viewed Dec. 3, 2008). Source: Dissertation Abstracts International, Volume: 66-03, Section: A, page: 1010. Chair: Nicholas Mark Williams.
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Mishiro, Ayumi. "William Wordsworth and education, 1791-1802." Thesis, University of Bristol, 2001. http://hdl.handle.net/1983/258b93c4-29b9-48d5-9267-3210f8e4e0ea.
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Chen, Piera. "Of rocks and trees and the unconscious." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B17957606.
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Keanie, Andrew. "William Wordsworth : a life beyond a life." Thesis, University of Ulster, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268608.
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Roberts, Hillary M. "Seeing green nature and human relationships with the environment in Wordsworth /." Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Thesis/Spring2009/h_roberts_050209.pdf.
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Lee, Mei-mei. "A study of the narrative in Wordsworth's The prelude." [Hong Kong : University of Hong Kong], 1987. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12352329.
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Touil, Abdelkader. "La conscience cosmique dans l'œuvre poétique de William Wordsworth." Paris 4, 1995. http://www.theses.fr/1994PA040258.
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Wordsworth est l'un des grands poètes romantiques anglais. Au début, il s'enthousiasme pour la Révolution française, mais devant ses excès, il devient pessimiste. Grace à son amitié avec Coleridge, Wordsworth retrouve un nouvel équilibre, après une adolescence difficile. Ses poèmes deviennent simples. Il y introduit le langage quotidien, la nature et l'imagination. Les ballades lyriques dont le thème principal est la misère des opprimés révèlent leurs affinités littéraires. Wordsworth découvre par la suite que le but du poète est la joie de vivre, et son propos le bonheur humain. A la philosophie hautaine qui s'exprimait à l'époque, il voulait substituer sa vision humaniste et, par conséquent, révolutionnaire. C'est donc un art de vivre que Wordsworth veut transmettre : la joie est la raison d'être de l'homme, car tout homme rêve d'être heureuxWordsworth is one of the great English romantic poets. At first, he was an ardent supporter of the French revolution, but as a result of its excesses, he became a pessimist. Thanks to his friendship with Coleridge, Wordsworth regained his equilibrium, following a difficult and turbulent youth. His poems subsequently became simpler as he infused them with everyday language, nature and imagination. The lyrical ballads, inspired mainly by the sufferings of the oppressed, reveal the literary affinity between the two poets. Wordsworth finally discovered that the poet's quest is "joie de vivre" and his aim human happiness. In place of the lofty philosophy that prevailed at the time, he sought to substitute his humanistic and consequently revolutionary vision. It is therefore an art of living that Wordsworth strives to convey: the "raison d'être" of mankind is joy, for happiness is the dream of every human being
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Ray, Mrinalkanti. "Wordsworth and the French Enlightenment." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29025/29025.pdf.
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Nicholl, Kaila, and Kaila Nicholl. "Some Other Being: The Autobiographical Phantom in Wordsworth and Byron." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12504.
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I explore Wordsworth and Byron's use of a mediating "other Being," or a third-person narrative voice, that functions as a "guide" through their autobiographical texts. After establishing this poetic voice, both poets employ their "other Being" to navigate spaces of ruin. Founded on fragments of memory and experience, as well as mediatory gaps, the poetry of Wordsworth and Byron illuminates the autobiographical poet's struggle with textual self-representation and the sustention of a poetic subjectivity that often substitutes for the poet's own. Through the rhetorical device of prosopopoeia, Wordsworth and Byron find distinct ways to create a voice that will continue to "speak" for them in the lines of their text. While The Ruined Cottage represents a version of Wordsworth's understanding of breakdowns and poetic subjectivity, Byron's Childe Harold's Pilgrimage III and IV push Wordsworth's boundaries even to their limits and turn the autobiographical "other Being" into a "tyrant spirit."
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Gaillet, de Chezelles Florence. "Wordsworth ou la déambulation : marche et démarche poétique." Grenoble 3, 2003. http://www.theses.fr/2003GRE39030.
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La marche est un point nodal où s'entrecroisent les thèmes favoris et les problèmes fondamentaux du poète romantique William Wordsworth (1770-1850) : elle permet une approche transversale de sa vie et de son oeuvre, car elle ouvre un champ d'étude situé à la croisée de la littérature, de la philosophie et de l'histoire des formes et des idées. Période de grandes mutations socio-culturelles, le tournant du dix-neuvième siècle marque l'émergence de la marche comme loisir. Grand marcheur lui-même,Wordsworth offre dans son oeuvre poétique, un tableau complet des marcheurs de l'époque. Les vers où il évoque ses déambulations londoniennes présentent en outre une perception nouvelle de la ville via la marche. A l'image de l'écriture, la marche était pour lui un puissant instrument d'ancrage et de découverte. Véritable hygiène de vie, elle l'aidait à définir son être et à assurer sa stabilité psychologique car elle lui permettait, comme la composition poétique, de lutter contre ses tendances mélancoliques. En décuplant ses sensations, elle évitait que sa perception ne soit émoussée par le quotidien, favorisant ainsi une ouverture émerveillée au monde dans laquelle il puisait son inspiration poétique. Ses promenades dans la nature étaient par ailleurs souvent des chemins intérieurs parce qu'elles permettaient la découverte de paysages sur lesquels il pouvait se projeter, tout en facilitant la méditation ou les rencontres inopinées. La marche jouait enfin un rôle essentiel dans sa création car il composait généralement ses poèmes en marchant. L'écriture s'apparentait même chez lui à une marche intériorisée, comme le suggère le rythme ambulatoire de ses vers. Prenant le relais de ses promenades dans la nature, ses déambulations poétiques participaient de la même quête fondamentale - celle de la continuité - puisqu'elles étaient guidées par sa volonté de retrouver son être passé pour l'enchâsser dans l'écrin de ses vers.
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Hayes, Tim. "The crisis autobiography Augustine, Rousseau, and Wordsworth /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5709.
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Thesis (M.A.)--University of Missouri-Columbia, 2008.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 3, 2008) Includes bibliographical references.
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Clucas, Tom. "Romantic reclusion in the works of Cowper and Wordsworth." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:6fecb323-7ddc-43bd-a592-35694f8addaf.
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The end of the eighteenth century witnessed an imaginative mass migration as authors wrote about withdrawing from society. This thesis traces the origins of 'Romantic reclusion' in the works of Cowper and Wordsworth, particularly Cowper's poem The Task and Wordsworth's unfinished masterwork The Recluse, which epitomise the tradition. Romantic reclusion differs from 'solitude' and 'retirement' in that its motives were social. Cowper and Wordsworth wrote about withdrawing in order to criticise the increasing commercialism and competition they saw in British society. Both poets imagined seceding into a community of individuals who would care for a shared set of values, envisaging this as a form of non-violent political protest leading to reform. The thesis builds on recent studies of Romantic community, and develops Raymond Williams's cultural criticism, to refute the New Historicist position that Romantic writing elides history. It proceeds by historicising Cowper's and Wordsworth's concepts of reclusion, tracing echoes of their extensive reading about this subject in what they wrote. Romantic reclusion emerges as an artistic attempt to defend the individual against the dehumanising effects of contemporary society. Its aims can be grouped under four interrelated headings-'creative', 'medical', 'political', and 'natural'-which form the basis of the chapter divisions. Chapter One argues that Cowper and Wordsworth both presented Milton as a precedent for their poetic reclusion. They withdrew from literary society and cut themselves off from the diction of eighteenth-century poetry, because they believed that it turned words into luxury items which could only be purchased by the imaginations of a few. Cowper's translations of Madame Guyon and Wordsworth's modernisations of Chaucer both attempted to develop a plain style which would unite a wider, non-hierarchical community of readers. Chapter Two explores the origins of Cowper's reclusion in his spiritual crisis of 1763-5. Beginning with a study of medical books owned by Cowper's doctor, Nathaniel Cotton, it argues that Cotton regarded Cowper's illness as a product of eighteenth-century models of sociability. Both Cowper and Wordsworth employed Robert Burton's concept of 'Honest Melancholy', or sorrow for the state of one's country, to critique social competition and call for new models of community. Chapter Three examines Cowper's and Wordsworth's presentations of reclusion as the best response to the violence of the American and French Revolutions. Drawing on the works of Classical and modern historians, both poets argued that political revolutions would only succeed once individuals learned to renounce self-interest and govern their selfish passions. The 'retired man' becomes the unexpected political hero of The Task, which in turn forms the basis for Wordsworth's conception of The Recluse. Finally, Chapter Four explores Cowper's and Wordsworth's interests in natural theology, arguing that both poets built on the works of writers including Calvin, David Hartley, and Joseph Butler to explain the psychological mechanism by which reclusion in nature could help to reform the mind, eliminating the selfish passions and teaching individuals to live in an active, mutually responsible community.
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Moores, Donald J. "Mystical discourse as ideological resistance in Wordsworth and Whitman : a transatlantic bridge /." View online ; access limited to URI, 2003. http://0-wwwlib.umi.com.helin.uri.edu/dissertations/dlnow/3103714.
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Owens, Thomas A. R. "'The language of the heavens' : Wordsworth, Coleridge and astronomy." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:e2967508-a7fe-4558-82a2-9db41105d476.
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This thesis proposes that astronomical ideas and forces structured the poetic, religious and philosophical imaginings of William Wordsworth and Samuel Taylor Coleridge. Despite the widespread scholarly predilection for interdisciplinary enquiry in the field of literature and science, no study has been undertaken to assess the impact and imaginative value of mathematics and astronomy upon Wordsworth and Coleridge. Indeed, it is assumed they had neither the resources available to access this knowledge, nor the capacity to grasp it fully. This is not the case. I update the paradigm that limits their familiarity with the physical sciences to the education they received at school and at Cambridge, centred principally on Euclid and Newton, by revealing their attentiveness to the new world views promulgated by William Herschel, William Rowan Hamilton, Pierre-Simon Laplace, and the mathematicians of Trinity College, Cambridge, including John Herschel, George Peacock, and George Biddell Airy, amongst others. The language of astronomy wielded a vital, analogical power for Wordsworth and Coleridge; it conditioned the diurnal rhythms of their thought as its governing dynamic. Critical processes were activated, at the level of form and content, with a mixture of cosmic metaphors and nineteenth-century discoveries (such as infra-red). Central models of Wordsworth’s and Coleridge’s literary and metaphysical inventions were indissociable from scientific counterparts upon which they mutually relied. These serve as touchstones for creative endeavour through which the mechanisms of their minds can be traced at work. Exploring the cosmological charge contained in the composition of their poems, and intricately patterned and pressed into their philosophical and spiritual creeds, stakes a return to the evidence of the Romantic imagination. The incorporation of astrophysical concepts into the moulds of Wordsworth’s and Coleridge’s constructions manifests an intelligent plurality and generosity which reveals the scientific valency of their convictions about, variously, the circumvolutions of memory and the idea of psychic return; textual revision, specifically the ways in which language risks becoming outmoded; prosody, balance, and the minute strictures modifying metrical weight; volubility as an axis of conversation and cognition; polarity as the reconciling tool of the imagination; and the perichoretic doctrine of the Holy Trinity. The ultimate purpose is to show that astronomy provided Wordsworth and Coleridge with a scaffold for thinking, an intellectual orrery which ordered artistic consciousness and which they never abandoned.
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Boden, Helen. "Autobiography and eighteenth-century psychology in the early poetry of William Wordsworth." Thesis, University of Newcastle Upon Tyne, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239684.
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Arabi, Durkawi Ayah. "Nature and place in the poems of William Wordsworth and Walter Scott." Thesis, University of Newcastle upon Tyne, 2014. http://hdl.handle.net/10443/2578.
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This thesis originates in the lack of studies comparing poetry by William Wordsworth (1770–1850) and Walter Scott (1771–1832). Living in the north of Britain, the two writers not only knew each other’s works, but also enjoyed a friendship spanning three decades. My study places together texts by the two writers which invite comparison and showcase their attitudes toward issues pertinent to their lives and society. A driving principle behind my thesis is the role nature and the poets’ native regions–the Lake District and the Scottish Borders–play in their poetry. With the exception of ‘Yarrow Revisited’ my project covers poems composed up to 1814. The Introduction compares the education and early writing of the two poets, outlines the thematic and theoretical concerns of the thesis, and gives brief accounts of relevant historical contexts. Four chapters explore Wordsworth’s and Scott’s approaches to the self, its representation and examination, and to society, its problems and inevitable evolution. The first considers Wordsworth’s The Prelude (1805) and ‘Tintern Abbey,’ and Scott’s Memoir and the epistles to Marmion. It traces the influence the two writers attribute to nature in their own development as revealed in their autobiographical writings. The second chapter tackles Scott’s Lay of the Last Minstrel, reading it as an invitation to society to look on the past for warnings and examples of how to best withstand today’s challenges. The third studies the social themes in Wordsworth’s The Excursion and ‘Michael,’ placing a particular emphasis on the portrayal of Grasmere as an ideal community. The fourth and final chapter brings the two men-of-letters together in a reading of Scott’s role, and that of the ballad tradition, in Wordsworth’s Yarrow poems. It is followed by a short Conclusion.
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Shipman, Barry M. (Barry Mark). "Wordsworthian Romanticism in the Fiction of Bernard Malamud." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278167/.
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Tweedie, Gordon. "Wordsworth and later eighteenth-century concepts of the reading experience." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=70242.
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Influential later eighteenth-century critics and philosophers (Stewart, Knight, Alison, Jeffrey, Godwin) argued that poetry's moral and practical benefits derive from "analytical" modes of reading rather than from the poet's instructive intentions. Frequently exploiting the philosophical "language of necessity," Wordsworth's essays and prefaces (1798-1815) protested that poetry directly improves the reader's moral code and ethical conduct. This dissertation discusses Wordsworth's criticism in the context of analytical principles of interpretation current in the 1790s, providing terms for exploring the theme of reading in early mss. of Peter Bell and The Ruined Cottage (1798-1799), the 1798 Lyrical Ballads, and later poems such as "A narrow girdle of rough stones and crags," "Resolution and Independence," "Elegiac Stanzas," and The Prelude (Book V).These poems anticipate Wordsworth's presentation of reading as the "art of admiration" in the "Essay, Supplementary" to the 1815 Poems, and indicate a sustained search for alternatives and correctives to detached investigative approaches to the aesthetic experience. Attempting to reconcile the extremes of the credulous or fanciful response, reflecting a childlike desire to be free from all constraints, and the analytical response, fuelled by perceptions of contrast between poetic illusion and reality, Wordsworth's criticism and poetry depict the reader as the"auxiliar" of poetic genius. The purpose, traditionally undermined by critics as peremptory and egotistical, was to challenge readers to examine their basic motives in seeking poetic pleasure.
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Cohen, Ruth Marianne. "Wordsworth, poète moral : problèmes de création." Toulouse 2, 2001. http://www.theses.fr/2001TOU2A001.
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Cette thèse tente la démonstration d'un projet moral de grande ampleur chez Wordsworth, né de sa foi en la valeur éducative de la poésie qui contribue ainsi au progrès moral des hommes. Le volume I présente la genèse des problèmes de création à travers l'étude de la composition de The Excursion et les complexes désaccords avec Coleridge, écrivain métaphysique. De sa crise poétique résultera chez Wordsworth un dilemne artistique perceptible dans l'ensemble de son oeuvre. Les problèmes liés à The Excursion révèlent les sources d'un credo, d'un art moral s'enracinant dans l'acte de perception. Le volume II est consacré à l'étude de plusieurs textes qui couvrent la carrière poétique de Wordsworth. Celle du Prospectus de The Excursion s'attache à montrer les ambigui͏̈tés syntaxiques, la complexité des rôles énonciatifs, la nébulosité des intentions morales. Elle souligne le mélange curieux de style épique miltonien et de moralité rurale wordsworthienne. Ensuite une confrontation de plusieurs manuscrits du livre I de The Excursion met en évidence, grâce à l'étude des métaphores et de la métatextualité, des épiphanies morales. Enfin l'ode tardive "On the Power of Sound", longue gestation de l'écoute créatrice, donne lieu à un examen du réseau sémantique de la musique dans des hypotextes et intertextes afin de montrer comment l'art de Wordsworth transforme plusieurs manuscrits, divers écrits, certains encore inédits, révélateurs de la méthode de travail de Wordsworth, qui contribuent à mettre en relief l'unité de son projet poétique moralThis thesis attempts to demonstrate the existence in Wordsworth's work of a great moral project founded on his belief in the educative value of poetry fundamental to the moral progress of man. Volume I presents the creative problems of The Excursion and the complex conflicts with Coleridge and his metaphysical approach to creation. Due to the resulting poetic crisis between the two poets, Wordsworth had to confront an artistic dilemma in his work as a whole. The creative problems he had with The Excursion reveal the emergence of a credo, a moral art developing in the very act of perception. Volune II is devoted to a close examination of several texts written at the various stages of his career which give convincing proof of the poet's moral intention. A linguistic study of the Prospectus to The Excursion shows that the ambiguity of the syntax, the complexity of the enunciative roles and the deliberately nebulous technique point to an underlying moral art. The grammatical and stylistic approach also highlights the curious mixture of epic Miltonian style and one of Wordsworthian pastoral morality. A detailed comparison between the variants of several metatextuality, the moral epiphanies in Wordsworth's early poetry. At the end of his career, the ode "On the Power of Sound", the result of a long creative gestation of the poet's moral voice, provides the material for a close examination of the semantic field of music in the hypotexts and intertexts. These show how the moral art of Wordsworth blends and transforms several poetic traditions to express his own authentic interior poetic voice. Volume III contains transcriptions of manuscript fragments, some of which are still unedited, that illustrate Wordsworth's method of work, particulary with the intention of bringing the unity of his poetic moral project into relief
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Titus, Craig. "Toward a Wordsworthian Sublime: Symbols of Eternity in Wordsworth's Poetic Vision." Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/TitusC2008.pdf.
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Nestrovski, Sofia Scarinci. "O único lugar, afinal, onde podemos encontrar a felicidade: o mundo e William Wordsworth." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-25032019-111239/.
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Esta pesquisa é uma introdução à obra do poeta inglês William Wordsworth (1770-1850). Ela se estrutura em seis capítulos, divididos em dois eixos paralelos. Os capítulos de número par são voltados exclusivamente a obras do poeta: o primeiro é sobre o livro Baladas líricas (1798), analisado em contraponto com o cenário da poesia inglesa da época. O segundo é sobre o poema conhecido como \"Tintern Abbey\", e se volta mais detalhadamente à singularidade do autor, passando por questões teóricas sobre a representação do pensamento na poesia e a invenção do \"eu\" no poema. O último capítulo da série é sobre o livro O prelúdio (1805/1850), autobiografia do poeta; o capítulo é uma breve discussão sobre o que são livros. O segundo eixo -- o dos capítulos de número ímpar --, compõe um ambiente para a leitura do poeta: são retratos de pessoas que participaram de seu círculo íntimo. O primeiro é sobre sua irmã, Dorothy Wordsworth, e os diários que escrevia; o segundo, sobre o poeta S.T. Coleridge, coautor das Baladas líricas; o último é sobre o utopista e viajante John \"Walking\" Stewart.This dissertation is an introduction to the works of William Wordsworth (1770-1850). It is divided into six chapters, organized under two main lines. Chapters 2, 4 and 6 focus exclusively on William Wordsworth\'s poems: chapter 2 discussing the Lyrical Ballads (1798) in comparison to the different literatures of the period; chapter 4 focusing on Tintern Abbey and the poet\'s uniqueness, while at the same time researching the modes of thought that occur in poetry, and the invention of the poetic \"I\". The last chapter of this triad focuses on the author\'s autobiography, The prelude (1805/1850); it is a short text, concerned with the notion of what books are. The second triad chapters 1, 3 and 5 creates an environment for the reading of the poems: three portraits of people who were part of the poet\'s circle of friends and influences. The first one is on the poet\'s sister, Dorothy Wordsworth, and on her diary-writing. The second one is on S.T. Coleridge, who co-wrote the Lyrical Ballads. The last one is on John \"Walking\" Stewart, an utopian as well as a literal fellow-traveler.
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May, Kimberly Jones. "Wordsworth's Evolving Project: Nature, the Satanic School, and (underline) The River Duddon (end underline)." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2166.pdf.
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Sanchez, Rachel Marie. "The "real language of men" and the "dialect of common sense" in the prefaces of William Wordsworth and Walt Whitman." Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Thesis/Spring2009/r_sanchez_042309.pdf.
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Bois, Catherine. "Wordsworth et Constable : la représentation du paysage." Paris 3, 1989. http://www.theses.fr/1989PA030115.
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Face au debat esthetique academique du ut pictura poesis, la representation du paysage, chez wordsworth et constable, inaugure une apprehension originale du visible, demarche scientifique doublee d'une aperception entierement subjective de la realite, visant a depasser les limites de l'objectif et du subjectif vers une totale integration, et a abolir la question de la correspondance entre les arts. Peintre et poete partagent, avec le meme mecene, une dette envers le pittoresque, qui leur ouvrit les yeux sur les objets humbles. Leur mode de perception, herite de l'empirisme anglais, oscille dialectiquement entre tyrannie de l'oeil, externe et soumission a une vision interne ; il aboutit a un dualisme qui preserve le sujet en cherchant a ressaisir le monisme de la perception immediate, dans les poemes autour de tintern abbey et les scenes de canaux, ouplasticite des elements, dynamique vibratoire de l'espace, et jeu unifiant de la lumiere, battent en breche les principes de la mimesis. L'isolement de la subjectivite definit au sein du paysage romantique des lieux d'inclusion et d'exclusion symptomatiques du bonheur et du malheur de la conscience, qui tend a se fondre dans les elements aeriens. Cette attitude adaptatrice et mystique insere au paysage un humain solitaire ou errant voue a se naturaliser, faisant coincider espace exterieur et topos de la subjectivite. La presence des schemes castrateurs et schizomorphes de l'angoisse et de la mort se resoud par la moralisation du paysage ; sa spiritualite immanente traverse les etapes de la revelation cathartique jusqu'a la hierophanie apocalyptique des oeuvres finaAs opposed to the academic debate upon ut pictura poesis, wordsworth and constable's representation of landscape initiates an original approach to visible reality. This scientific process, combined with pure subjective aperception, goes beyond the limits of objectivity and subjectivity, and invalidates the question of the correspondence between arts. Both poet and painter had the same patron and were indebted to the picturesque tradition, which taught them how to look at humble objects. Their mode of perception, influenced by english empiricism, varied from the tyranny of the external eye to the submission to inner vision, and reached a kind of dualism in which the subject is saved, and monist immediate perception tentatively recaptured : in tintern abbey and similar poems and in the canal scenes, plastic elements, dynamic treatment of space, unifying light, stand against the principles of mimesis. As the subjectivity grows more and more isolated in their romantic landscapes, places of inclusion and exclusion become significant of how happy or unhappy the ego feels : it keeps trying to identify mystically with atmospheric elements. Human figures, mostly solitaries or wanderers, also tend to adjust the topos of their subjectivities to external space by gradually turning into natural elements. The castrating, schizomorphic structures of anxiety and death that stand out in a number of scenes are neutralized when the landscape becomes moralized
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Xiao, Yu. "The representation of memory in the works of William Wordsworth and George Eliot." Thesis, University of Newcastle upon Tyne, 2011. http://hdl.handle.net/10443/2261.
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Studies of memory in the works of William Wordsworth and George Eliot have hitherto focussed mainly on individual recollective memory. By contrast, this study explores habit-memory in the work of both writers, on both an individual and a collective level. It proposes that for Wordsworth as well as for Eliot, habit-memory can enhance moral awareness and maintain the cohesion of a community. The thesis is divided into four chapters. The first discusses ‘The Old Cumberland Beggar’, Middlemarch and Daniel Deronda. Drawing on the idea of an ethics of memory in the work of the philosopher Avishai Margalit, I argue that the two writers regard habit cultivation as an important means of developing a sense of universal humanity in their characters as well as in their readers. The second chapter looks at the relationship between habit and duty through a discussion of ‘Ode to Duty’, Silas Marner and Romola. Wordsworth’s notion of duty, a universal law governing both the natural and the human world, is different from that of Eliot, which is identified with the habitual feelings of the body. Despite this difference, both believe that habit can help mould an individual into a duty-bound being. Chapter Three deals with the relationship between habit and guilt in Book X of The Prelude, Adam Bede and ‘Janet’s Repentance’. Rather than looking at guilt over a real transgression, it examines what Frances Ferguson terms ‘circumstantial memory’, the remorse that occurs when the unforeseen outcome of an action is interpreted as though it had been intentional. Wordsworth and Eliot differ in their view of the origin of wrongdoings and the pattern of recovery from guilt, but they both believe that this recovery can never be complete. The final chapter shifts from individual to collective habit-memory. Adopting a phenomenological approach to habit in discussing ‘Michael’ and The Mill on the Floss, I suggest that Maurice Merleau-Ponty’s theory can help us to understand Michael’s and Mr. Tulliver’s embodied relationships with their patrimonial land. I also draw on the theories of Pierre Bourdieu and Maurice Halbwachs to show that the habitual lives these characters lead and their attachments to their habitual states of being are collectively rooted. The chapter concludes by examining the two writers’ criticism of the intrusion into agrarian society of capitalism, which disrupts the transmission of collective memory from one generation to another.
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Eltringham, Daniel Paul. "Tracking the commons : pastoral, enclosure and commoning in J.H. Prynne and William Wordsworth." Thesis, Birkbeck (University of London), 2017. http://bbktheses.da.ulcc.ac.uk/268/.
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This thesis is the first study of the poetry of William Wordsworth and J.H. Prynne of its length. Its main argument is that Wordsworth, Prynne and their respective historical moments are joined by the conceptual frame of ‘the commons’, their enclosure, and representations of agrarian labour, especially in literary pastoral. While essay-length treatments of Wordsworth and Prynne exist, this thesis extends and broadens these beginnings by reading Wordsworth’s earlier work (c. 1793-1805) as it turns and returns throughout Prynne’s writing life, both in poetry and criticism, from the 1960s until the early years of the twenty-first century. In doing so it makes an intervention into the contested field of ‘the commons’, unearthing a buried history of ongoing accumulation, ‘new’ enclosure and dispossession from the parliamentary enclosures to the globalized present. The methodology of this thesis combines archival research in the fields of literary history and material and local histories of place, worked through theoretical thought and poetic practice localized around the commons, commoning and enclosure. I make extensive archival use of Prynne’s correspondence with the North-American poets Charles Olson and Edward Dorn and of the poetry ‘worksheet’ The English Intelligencer (1966-68), to demonstrate that Wordsworthian concerns with community and cultivation, and dwelling and vagrancy, are central and unacknowledged constituents of Prynne’s poetic working-through of the commons. I also employ archival material on Romantic enclosure and customary culture in Wordsworth’s Lake District, uncovering a textured understanding of ‘the common’ that complicates the idealizations of communitarian life in Wordsworthian pastoral. I demonstrate how Wordsworth’s common speech is taken into contemporary poetry by Prynne and, differently, by Lisa Robertson’s notion of the vernacular. This thesis argues throughout for a common poetics of agrarian labour linking Wordsworth and Prynne, and develops new conceptualizations of the temporality, space and poetics of commoning and enclosure.
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Ben-Zid, Mounir. "La quête du bonheur chez Wordsworth." Paris 4, 1993. http://www.theses.fr/1993PA040249.
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La quête du bonheur est une approche optimiste dont le but essentiel est de réaffirmer l'espoir et le bonheur dans le monde d'aujourd'hui. Dans la première partie de cette thèse, nous nous sommes efforcés de montrer que le monde extérieur est une source de souffrance, d'obscurité et de misère à toute époque. Nous avons consacré la deuxième partie de cette recherche à l'étude d'une première quête wordsworthienne du bonheur. Nous avons insisté sur l'idée que le poète semble incapable de transformer son malheur en une joie pour autant qu'il néglige ses forces intérieures, à savoir : la conscience, la volonté et l'imagination. La troisième et dernière partie de cette recherche est une étude approfondie d'un modèle wordsworthien de bonheur. Ici, le poète insiste plus sur les lois véritables de son royaume intérieur qui consistent surtout à intérioriser le monde extérieur et à extérioriser le monde intérieur. Wordsworth semble, en effet, s'appuyer sur une participation active de son choix subjectif et personnel, et soutient que la conscience et la volonté représentent un appui essentiel dans la recherche du bonheurThe quest for happiness is an optimistic approach which aims mainly at reasserting hope and happiness in today's world. In the first part of this thesis, we endeavoured to show how the external world is a source of suffering, obscurity, and misery at any age. The second part of this research is a study of Wordsworth's first journey in quest of happiness. We insisted here on the idea that the poet seems incapable of transforming his sadness into joy in as much as he relegates his inner powers namely consciousness, will, and imagination. Part three of this study is a deep analysis of Wordsworth's contention of happiness. Here, the poet focuses more on the authentic laws of this inner world which consist mainly of internalizing the outer world and externalizing the inner world. As a matter of fact, Wordsworth seems to rely on an active participation of his subjective and personal choice, and asserts that consciousness and will are fundamental backbones to his quest for happiness
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Kim, Soong Hee. "A resistance to growing-up: a comparative study of The Prelude and David Copperfield." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332515/.
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The Prelude and David Copperfield reveal strikingly similar patterns of their heroes' development from boyhood to manhood; the idiosyncrasy of their growth can be found in its retrogressive rather than progressive aspect.
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Kelley, Robert Paul. "The literary sources of William Wordsworth's works, 10 July 1793 to 10 June 1797." Thesis, University of Hull, 1987. http://hydra.hull.ac.uk/resources/hull:5863.
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Wordsworth's works between his departure from London on 10 July 1793 and the visit by Coleridge on 10 June 1797 are key documents in any discussion of the development of his poetry as they span the transition from Descriptive Sketches to Lyrical Ballads. Despite the key critical question of the originality of Lyrical Ballads, no exhaustive examination of Wordsworth's use of literary sources during this period has yet been undertaken. In this thesis a pattern of sources for each poem written during the period 1793-1797 is established, especially Wordsworth's developing use of his own verse as a source. There are many literary sources that had not previously been discovered, and this necessitated a reassessment of the role of sources in Wordsworth's poetry generally. In particular, the importance of certain eighteenth-century authors and ideologies had been underrated as influences on Wordsworth's poetry. An overview of Wordsworth's use of his sources shows significant changes during the period. In earlier poems they were incorporated into his poetry with little modification, but in later poems they were often radically transformed and complexly assimilated. Literary sources played a key role in the development of Wordsworth's works, critical theories, and world view. Finally, a brief examination of passages from The Prelude confirms the view that the importance of literary sources in Wordsworth's changing poetry and the workings of his poetic imagination was not confined to the period 1793-7.
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Lacey, Andrew. "The philosophy of death in the poetry of William Wordsworth and Percy Bysshe Shelley." Thesis, University of Newcastle Upon Tyne, 2012. http://hdl.handle.net/10443/2637.
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The one aim of those who practice philosophy in the proper manner’, says Socrates in Phaedo, ‘is to practice for dying and death’. From its earliest beginnings, philosophy has sought to illuminate the phenomenon of death, and there is a rich body of writing on the subject. William Wordsworth and Percy Bysshe Shelley are, I posit, the most death-facing of the Romantics, and that both expressed a desire to write ‘philosophical poetry’ at various stages in their poetic careers sets them somewhat apart from their peers. Fundamentally, this thesis explores Wordsworth’s and Shelley’s rich and varied philosophical thinking on the common subject of death over the period 1798-1821. More theoretically, and advancing the view that reading poetry and philosophy in parallel is of mutually illuminating benefit, it makes new cross-connections between traditionally separate categories (death in poetry, and death in philosophy), and thus attests to an often underappreciated commonality of traditions. In Chapters 1 and 2, on Wordsworth, I trace a death-focused intellectual trajectory from Lyrical Ballads (1798-1800) to The Excursion (1814), and find the progression, from typically ‘earlier’ to ‘later’ thinking, to be both distinct and fairly linear. In Chapters 3 and 4, I read Queen Mab; A Philosophical Poem: with Notes (1813), Alastor; or, The Spirit of Solitude: and Other Poems (1816), and Adonais (1821), and show Shelley’s always-impassioned attitudes towards death to be in a state of marked flux over the course of eight highly productive years. I identify a hitherto overlooked circularity in Shelley’s thinking on death which is not present in Wordsworth’s, and conclude by stressing, in light of my readings of the poems, the particular appropriateness of the poetic form as a means of exploring the phenomenon of death.
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Sullivan, David Bradley. "Composing experience, experiencing composition : placing Wordsworth's poetic experiments within the context of rhetorical epistemology." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063197.
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This text recontextualizes Wordsworth's writings by showing the ways in which they question the assumptions about "philosophy" and "poetry" that have been constructed within the field of Cartesian dualisms. It employs the ideas of classical rhetoricians, particularly Isocrates and Quintilian, contemporary rhetorical thinkers such as Kenneth Burke, and twentieth-century scientists, particularly Gregory Bateson, David Bohm, and Antonio Damasio, to show that Wordsworth's efforts to establish connections between mind and body, mind and world, and feeling and thinking were coherent and highly relevant rather than simply paradoxical. And it argues that Wordsworth's writings embody his effort to develop a "rhetorical epistemology" or an "epistemic rhetoric" that could counterbalance the dangers of the reductive scientific epistemology of his time.Employing his knowledge of classical rhetoric, particularly Quintilian, and his own sense of the complexities of perception and representation, Wordsworth developed a model of knowing founded on personal experience, representation, relationship, and revision rather than on the establishment of "demonstrable" or "objective" knowledge. His model, like Gregory Bateson's "ecology of mind," was built on an integrated view of mind and world. He believed that perception, feeling, thinking and acting were related in a continuum of mental process (rather than being separate categories), and that individual minds had a mutually-shaping, integrative relationship with what he saw as larger mindlike processes (particularly "Nature").Within this ecology of mind, Wordsworth positioned poetry as a mental process which completed science by providing the means for joining fact and value, "objective knowledge" and personal meaning, reflection and participation. In his construction, poetry was to be an accessible, experience-based discourse of learning and knowing. He aimed to return poetry to its origins, not in "primitive utterance of feelings" but in "poesis" or meaning-making.By countering the assumptions of scientific epistemology, and offering a vital alternative, he sought to reshape and revalue poetry, to broaden his society's narrowing view of knowledge, and to reconstitute moral vision and belief in a society on its way to terminal doubt. His model of knowing is worth considering as we reshape our own views of knowing in the late twentieth century.Department of English
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Wright, Patria Isabel. "On Man, on Nature, and on Human Life: William Knight's Life of William Wordsworth and the Invention of "Home at Grasmere"." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/3975.
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Victorian scholar William Knight remains one of the most prolific Wordsworth scholars of the nineteenth century. His many publications helped establish Wordsworth's positive Victorian reputation that twentieth and twenty-first century scholars inherited. My particular focus is how Knight's 1889 inclusion of "Home at Grasmere" in his Life of William Wordsworth, rather than in his chronological sequencing of the poems, establishes a way to read the poem as a biographical artifact for his late-Victorian audience. Knight's detailed account of the poet's life, often told through letters and journal accounts, provides more contexts-including Dorothy's journal entries and correspondence of the early 1800s-to understand the poem than MacMillan's 1888 stand-alone edition of the poem (whose pre-emptive publication caused a small debate in 1888-89). Knight presents "Home at Grasmere" as a document of Wordsworth's personal experience and development as grounded in the Lake District. Analyzing the ways Knight's editorial decisions-both for his biography as a whole and his placement of "Home at Grasmere" within it-shape the initial reception of "Home at Grasmere" allows me to enrich the conversation about Wordsworth and the Victorian Age. Currently scholarship connecting Knight and Wordsworth remains sparser than other areas of Wordsworth commentary. However, several scholars have explored the connections between the two, and I augment their arguments by showing how Knight's invention of the poem creates an essential part of the "Home at Grasmere" archive-a term Jacques Derrida uses to describe a place or idea that houses important artifacts and determines the power of the knowledge it preserves. I argue this by showing that Knight's editorial decisions embody the characteristics of an archon-keeper or preserver of archival material-as he creates the way to read the poem as a biographical artifact while also responding to Wordsworth's own beliefs about the poetry and biographical theory. Knight's archival contribution allows Victorians to view the poem as a product of Wordsworth's developing poetic genius and helps establish Wordsworth as the great Romantic poet.
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Kennedy, John P. "Metametascience Towards Reconciliation." Oberlin College Honors Theses / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1411133539.
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Khan, Sajjad Ali. "William Wordsworth, James Joyce and E.M. Forster : the romantic notion of education and modern fiction." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/45846/.
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This thesis examines modern fiction's debt to Romantic poetry for its key concepts in terms of educating an individual. The persistence of William Wordsworth's views on education in the modern fiction of James Joyce and E. M. Forster is evidence of The Prelude as a classic study of the growth of an individual. It is argued that Wordsworth does not envisage the institutional mode of education as a totally reliable means of educating an individual. He challenges the assumptions underlying the institutional mode of education. It is argued that the influence of Wordsworth's views on education is not limited to Victorian writers alone. Joyce and Forster take up a position similar to Wordsworth. Almost all the protagonists in the novels and short stories discussed in this thesis are educated at privileged institutions of education, and yet they rebel against the mode of education there. All the novels and short stories discussed, in a series of close readings, bear testimony to the fact that Wordsworth's The Prelude is fundamental to both Joyce and Forster in terms of the growth of an individual. Seen within the framework of the Romantic notion of education, this thesis contributes to an increase of the understanding of modern fiction. It is possible to study this theme in other modern writers such as D. H. Lawrence, Virginia Woolf, and Ford Madox Ford. The thesis retrieves a traditional reading of the writers under discussion by foregrounding the pattern of humanitarian values the Wordsworthian model of growth engenders. The recent studies in my field are referred to where necessary to indicate what they are missing in their study of Joyce and Forster.
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Krouse, Melanie. "Nature and the Infanticidal Mother in William Wordsworth's "The Thorn"." University of Toledo Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1418986278.
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Gislason, Neil B. "Wordsworth's reflective vision : time, imagination and community in "The prelude"." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21212.
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This thesis examines the role of imagination in "The Prelude," within the context of recent criticism. In accordance with the impact of new historicism on contemporary Wordsworth studies, considerable attention is given to new historicist readings. It is argued that new history's methodological approach generally undervalues the complex texture of subjectivity in "The Prelude." New historical critiques tend to interpret the Wordsworthian imagination merely as a narrative strategy that enables the poet to displace or elide socio-historical realities. However, "The Prelude" does not entirely support such a reading. On the basis of Wordsworth's autobiography and related prose works, it is asserted that the poet's consciousness of creative decline and mortality potently informs his sense of imagination, and eventuates in a mode of self-perception that precludes subjective autonomy and socio-historical displacement.
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Macdonald, Shawn E. (Shawn Earl). "Wordsworth's spots of time : a psychoanalytic study of revision." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60663.
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In the introductory definition of spots of time, Wordsworth claims that these important childhood episodes are virtuous and worthy of celebration. This definition is incongruous with the episodes considered independently, because they reveal themselves as essentially disturbing memories. As he revised the spots of time, Wordsworth attempted to mitigate the disturbing nature of the episodes, betraying his need to repress certain undesireable aspects of the early texts.The following study is a Freudian reading of Wordsworth's spots of time in their various stages of revision. The Introduction to this study addresses some of the problems of interpretation. Chapter One places a Freudian reading of Wordsworth within the context of previous scholarship. Chapter Two is a close reading of the earliest spots of time as informed by Oedipal memories. Chapter Three examines Wordsworth's attempt, through revision, to repress these Oedipal memories.
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Critchfield, Susan C. "Wordsworth and discovery: A romantic approach to composing." CSUSB ScholarWorks, 1985. https://scholarworks.lib.csusb.edu/etd-project/427.
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Hüffer, Angela. ""Action in character" die Dramatik von Selbstreflexion und Selbstentwurf im lyrischen Drama der englischen Romantik ; Wordsworths "The Borderers", Byrons "Manfred" und Brownings "Paracelsus"." Trier Wiss. Verl. Trier, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2826336&prov=M&dok_var=1&dok_ext=htm.
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Healey, Nicola. "Dorothy Wordsworth and Hartley Coleridge : the poetics of relationship." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/787.
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Morrison, Kenneth E. "Wordsworth's Decline: Self-editing and Editing the Self." TopSCHOLAR®, 2010. http://digitalcommons.wku.edu/theses/220.
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In critical discourse surrounding the poetry of William Wordsworth, it has become generally acceptable to describe the course of the poet’s career by means of a theory of “decline.” In its most common form, this theory argues that Wordsworth’s best poetry was written during one “Great Decade” (1798-1807)—an isolated epoch of prolificacy and genius. His subsequent works, it is argued, neither surpass nor equal his initial efforts; the course of his career after 1808 may be best described in terms of declivity, ebb, and decline.
Due to its ideological complicity with the very texts it engages, and due to its construction as a “myth” of criticism, the theory of decline ultimately becomes a reductive premise that precludes understanding Wordsworth’s apparent downtrend as a complex but explicable process. This study therefore seeks to provide a critical explanation for the process of decline so often observed in Wordsworth’s poetry. In essence, I contend that the perceptible downtrend in Wordsworth’s verse is the direct consequence of continuous, career-long processes of revision or self-editing. This self-editing took two forms: First, the explicit form, whereby Wordsworth actually emended his poetry; and second, the implicit form, whereby Wordsworth sought, through his poetry, to amend his self-image by constructing an autobiography tailored to fit an idealized poetic identity.
This analysis thus reveals and explicates Wordsworth’s possible motives for revision—the fluctuating demands made upon the poet by the poet himself. Because these demands represent the operative (if unstable) principle underlying specific textual changes, one may infer from their character the reasons why Wordsworth’s later poetry suffers in revision. By attending to the process whereby earlier verse was continually revised in order to fit a conceptual or poetic context for which it was not originally intended, I demonstrate how the actual substance of Wordsworth’s poetry was compromised or attenuated through a reductive (re)appropriation of its own materials.
Unlike many critics, I do not treat Wordsworth’s revisions as the signifiers of some external change. Instead, my approach keys upon the conflict between Wordsworth’s efforts to realize a stable poetic identity and the representational and rhetorical limitations of poetic form, particularly with regards to autobiography. Drawing on the work of Susan Wolfson, Paul de Man, and Harold Bloom, I argue that Wordsworth’s revisionary practices are motivated by an agonistic process best described as “autobiographical anxiety” or the “‘anxiety of influence’ turned inward.” Ultimately, I conclude that Wordsworth’s decline was the consequence of an overarching ethic of composition which, because it privileged revision as a means of changing not only poetry but the poet himself, allowed self-consciousness to become a self-defeating agent.
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Xu, Hongxia. "Poet as teacher : Wordsworth's practical and poetic engagement with education." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9463.
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This thesis revisits William Wordsworth’s practical and poetic engagement with education as epitomised in his claim that “Every Great poet is a Teacher: I wish either to be considered as a Teacher, or as nothing.” By situating this claim in the larger contexts of Wordsworth’s writings and Britain’s educational development from the late eighteenth century to the end of the nineteenth century, it argues that Wordsworth advocated a poetic education of receptive and creative imagination as a corrective to the practical education of passive learning and reading, and that his authority as a poet-teacher was confirmed rather than challenged by the wide divergence of his reception in Nineteenth Century Britain. The introduction defines the research topic, argues for Wordsworth’s relevance as a poet-teacher against his dubious reception in contemporary educational institutions, and examines some mistaken notions of him as a poet of nature and childhood. Chapter One investigates Wordsworth’s lifelong critique of contemporary pedagogical theories and practices for their confusion of education with instruction and their neglect of religion. Chapter Two studies Wordsworth’s proposal for an alternative mode of poetic education that relies on nature, books, and religion to foster the individual’s religious imagination, which informed Wordsworth’s vocation as a poet, and underlay the revisions of the educational backgrounds of his major poetic speakers. Chapter Three explores Wordsworth’s endeavours to cultivate readers’ receptive and creative imagination against the prevalent literary taste through differentiating strategies of communication in his poetic theories and short poems written between 1794 and 1815. Chapter Four discusses the educational uses made of Wordsworth’s poetry through studying the representative selections of his poems edited by Victorian educators, so as to reveal the slow, winding, but steady process of his being recognised as a teacher in both practical and poetic senses. The thesis concludes with a reaffirmation of Wordsworth’s authority and relevance as a teacher, both then and now.
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Liebel, Caroline Jean. "Dorothy Wordsworth's Distinctive Voice." Thesis, Virginia Tech, 2021. http://hdl.handle.net/10919/104063.
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The following study is interested in Dorothy Wordsworth's formation of her unique authorial identity and environmental ethos. I attend to her poetry and prose, specifically her journals written at Grasmere and her Recollections of a Tour Made in Scotland (1874) to demonstrate how she shaped her individual voice while navigating her occasionally conflicting roles of sister and writer. My project begins with a chapter providing a selective biographical and critical history of Dorothy Wordsworth and details how my work emerges from current trends in scholarship and continues an ongoing critical conversation about Dorothy Wordsworth's agency and originality. In my analysis of Dorothy's distinct poetic voice, I compare selections of her writing with William's to demonstrate how Dorothy expressed her perspectives regarding nature, community, and her place within her environment. In my chapter on Recollections of a Tour Made in Scotland, I analyze the ways in which Dorothy's narrative embraces the tenets of the picturesque while simultaneously acknowledging the tradition's limitations. Her environmental perspective was inherently rooted in domesticity; the idea of home and her community connections influenced how she engaged with and then recorded the environments she traveled to and the people she met. My project concludes by demonstrating how Dorothy Wordsworth's environmental ethos relates to the values promoted by modern environmental writers. Dorothy was intimately connected to her home and environment and modern environmental protection and conservation efforts encourage human connection to home and place. I consider how modern environmentalist movements could benefit from embodying the empathy that Dorothy showed for the natural world in their practices today.Master of Arts
My thesis argues that while Dorothy Wordsworth was intrinsically involved in her brother William's poetic process, she actively created a unique writerly identity that can be detected throughout her journals and poems. My project begins with a chapter detailing how my work emerges from current trends in Dorothy Wordsworth scholarship, including feminist and ecocritical studies. In my analysis of Dorothy's individual poetic voice, I suggest that through her distinctive style and her mingling of poetry and prose, Dorothy was strongly asserting herself and her perspectives even when they conflicted with William's. Dorothy's Recollections of a Tour Made in Scotland exemplifies her unique environmental perspective, which was influenced by her community-centered identity; this contributes to what she chooses to recollect in her journal. My project concludes by demonstrating how Dorothy Wordsworth's environmental ethos relates to the values promoted by modern environmental writers. Dorothy was intimately connected to her home and environment and modern environmental protection and conservation efforts encourage human connection to home and place. I consider how modern environmentalist movements could benefit from embodying the empathy that Dorothy showed for the natural world in their practices today.
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Stimpson, Shannon Melee. ""The River Duddon" and William Wordsworth's Evolving Poetics of Collection." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3541.
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Despite its impact in generating a more positive reception toward Wordsworth's work among his contemporaries, The River Duddon volume has received comparatively little critical attention in recent scholarship. On some level, this is unsurprising given the relative unpopularity of Wordsworth's later work among modern readers, but I believe that the relative shortage of critical scholarship on The River Duddon is due, at least in part, to a symptomatic failure to read the volume in its entirety. This essay takes up the challenge of following Wordsworth's directive to read The River Duddon volume as a unified whole. While I cannot account for every inclusion, I set out to explore how the idea of collection functions as the unifying force governing the volume's organizational and thematic structure. I argue that although the individual pieces that make up the collection are distinct from each other in their style, subject matter, and date of composition, together they constitute an exploration of the beauty of Wordsworth's native region and his interest in harmonizing aesthetic principles of variety and unity. When read as parts of a dialogical exchange rather than as self-contained units, the individual texts in The River Duddon collectively present an array of perspectives through which Wordsworth not only celebrates the rich diversity of the Lake District's local customs and landscapes, but also theorize a sophisticated poetics of collection which he hoped would help justify his poetic program and reinforce the literary and cultural weight of his future work.
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Khalip, Jacques. "Loss unlimited : sadness and originality in Wordsworth, Pater, and Ashbery." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0002/MQ43895.pdf.
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Prothero, James. "The influence of Wordsworth on twentieth-century Anglo-Welsh poets." Thesis, University of Wales Trinity Saint David, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683327.
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Thiria-Meulemans, Aurélie. "Reflets et résonances : poétique et métapoétique des mythes d’Écho et de Narcisse dans la poésie de William Wordsworth." Paris 4, 2007. http://www.theses.fr/2007PA040191.
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Cette étude a pour but de montrer l’importance sous-jacente du double mythe, principalement dans sa version ovidienne, dans les poèmes de Wordsworth. A un niveau littéral, les deux figures sont évoquées par les nombreuses scènes d’auto-contemplation ou d’échos. A un niveau plus figuré, Wordsworth revendique une poésie qui répète la Nature, comme un écho. Connu pour la crise poétique à laquelle il eut à faire face à la fin de sa Great Decade, le poète s’admire dans ses vers à travers des doubles, caractérisés, comme lui, par une perte fondamentale. Enfin, Wordsworth tente de transformer son lecteur en double de lui-même et en écho de sa voix, de lui apprendre à lire ses vers, à lafaçon d’un catéchisteThe point of this thesis is to show the importance of this double myth – mainly in its Ovidian version – in the poems of William Wordsworth. The two figures are implicitly present in the many scenes of self-contemplation and of echoes. Wordsworth also wishes his verse to repeat Nature’s voice, like an echo. He is equally famous for the poetic crisis that affected him after his Great Decade, and he admires himself in his verse through a series of doubles, many of which are characterized by a loss which reads as an allegory of his own. Eventually, Wordsworth aims at turning the reader into a reflection of himself and an echo of his voice
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Winberg, Christine. "Figurative language in the prose works of William Wordsworth and its bearing on some central themes of his poetry." Doctoral thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/23065.
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