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Swaab, Peter Alexander. "Wordsworth and patriotism." Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333380.
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Lennon, Joan. "Wordsworth and death." Thesis, University of St Andrews, 1985. http://hdl.handle.net/10023/6459.
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Wordsworth is known as the poet of joy and hope, and to associate his name with death may seem at first strange. Yet, according to his own estimation, he was the poet not simply of joy but of “the very heart of man," of "human kind, and what we are”, of "men as they are men within themselves." Any vision of human nature which does not take into account the facts of mortality and bereavement is blinkered and inevitably inadequate and Wordsworth was committed to clarity of perception and the fullest insights of the Imagination. He did not shy away from the implications of “our mortal Nature”; throughout his career, he sought to portray in poetry the place of death in human life. Two basic ways of understanding mortality are considered in this thesis: the first is death as disjunction, extinction, the end; the second is death as part of a larger continuity, a threshold, a stage. The conflict between these two visions was fundamental to Wordsworth's thought, and writing. Isolation and despair were the corollaries of the first vision, while the capacity for love and hope which was essential to the life of the human spirit was nurtured and made possible by the second. Wordsworth wrestled in his writings with the effects of these different visions of death on the complexities of human nature. The thesis has been divided into three main parts. Section I - Death in Wordsworth's Time - seeks to place the poet into a historical context. Section II - Death in Wordsworth' Life - is concerned with Wordsworth's personal experiences of loss and feelings about his own mortality, And in Section III - Death in Wordsworth's Poetry - what he had to say about death is considered in relation to some of the other major themes in his poetry.
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Baker, John Haydn. "Browning and Wordsworth." Thesis, King's College London (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298138.
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Castell, James Alexander. "Wordsworth and animal life." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610804.
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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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Ray, Mrinalkanti. "Wordsworth and the French Enlightenment." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29025/29025.pdf.
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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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Fleming, Anna Mairead. "Wordsworth, creativity, and Cumbrian communities." Thesis, University of Leeds, 2017. http://etheses.whiterose.ac.uk/18149/.
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This thesis examines how Wordsworth interacted with non-literary communities within Cumbria, his impact on these communities, and their impact on his work. Analysing texts from across Wordsworth’s lifetime, including published poetry and prose, manuscripts, and personal writing, my study charts how his engagement with Cumbrian communities changed and his portrayals of local life developed. It argues that there are three phases to his writing about local communities: ‘remembering’ (1790s), ‘experiencing’ (1800-8), and ‘determining’ (1808 onwards). In the first phase, his writing about communities is defined by a sense of nostalgia and detachment; in the second phase he is immersed in the locale, writing with a vivid sense of exploration and discovery; in the third phase he writes from a more authoritative position, seeking to prescribe the ideal model for Cumbrian communities. The study reveals that although he was drawn to an attractive ideal of community cohesion, he also responded to local tensions and divisions, and ambivalence can also be read within his portrayals of the locale. The unresolved disjunctions between ideal and reality, cohesion and division, provide a significant motivation for his creativity.
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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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Kinsella, Michael. "Poet to poet : Seamus Heaney's Wordsworth." Thesis, University of York, 2003. http://etheses.whiterose.ac.uk/14185/.
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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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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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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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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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Al-Saleemi, Elham Saleh. "Wordsworth and the language of romantic poetry." Thesis, Bangor University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357313.
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Newbon, Peter Jonathan. "Representations of childhood in the Wordsworth circle." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610729.
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Yuan, Wenjuan. "A cognitive poetics of kinaesthesia in Wordsworth." Thesis, University of Nottingham, 2013. http://eprints.nottingham.ac.uk/28585/.
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This project is an effort to explore the kinetic aspects of Wordsworth's works on the one hand and scale up cognitive grammar (Langacker, 2008; Talmy, 2000a, 2000b) to literary discourse on the other hand, both of which stand as relatively underdeveloped areas in a cognitive approach to literature. Specifically, I focus on the kinetic and kinaesthetic notions of motion, force and energy expounded in cognitive grammar, mainly, fictive motion, force dynamics and energy chains, addressing issues not only related to kinetic representation in literary texts but also its possible effects upon readers. With the English Romantic poet Wordsworth as the case study, I conduct detailed cognitive poetic analyses of selected poems, mainly informed by some cognitive grammatical constructs, to reveal the 'invisible' meaning of the text (Langacker, 1993). I outline a cognitive aesthetics of motion by drawing on findings from cognitive science, cognitive grammar and aesthetic theory. Based on this account, I conduct a systematic examination of the fictive motion and fictive stationariness in Wordsworth's works as regards their literary representation and poetic effects. Particularly this reveals how Wordsworth instils fictivity, dynamicity and subjectivity in the literary representation of nature. I relate this manner of describing nature to the picturesque tradition, which is closely associated with a static representation of nature originating in the eighteenth century. I present my analysis as evidence of Wordsworth's attempt to transcend this tradition. With respect to force, I link the notions of force dynamics, texture and poetic tension (Tate, 1948), arguing that force dynamics on the one hand constitutes one important dimension of texture and on the other hand is the conceptual core of poetic tension. I then apply the force-dynamic model to demonstrate how a force-dynamic view could illuminate the differing texture of two poems by Wordsworth. My analysis of the two poems helps account for their differing conceptual complexity and also their contrasting popularity among literary critics. In the case of energy, I draw on Langacker's action chain model, which proposes an energy flow across clauses. I scale the model up to the discourse level and then develop an energetic reading of Wordsworth, examining how energy is represented in another two poems by Wordsworth. This thesis sets out to be a significant work in both cognitive poetics and critical studies of Wordsworth. In the field of cognitive poetics, it is a timely response to redress the imbalance between a majority of macro-level analyses and a minority of close stylistic analyses, and to answer a growing call for returning the focus back to the textuality and texture of the text. The frameworks I have drawn on are not limited to the appreciation of Wordsworth or nature poetry; they can be fruitfully applied to other poets and other types of poetry.
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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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Marshall, Alan. "Drama and value : between Wordsworth and Moderism." Thesis, University of York, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306421.
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Pei, Yun. "The prophetic Wordsworth : anxiety and self-fashioning." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/58875/.
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The thesis investigates the prophetic in Wordsworth's ‘golden decade' (1798-1808). It establishes the following arguments: the prophetic in Wordsworth should not be treated of only incidental interest; it is a mode of his self-fashioning, as well as a mode of his writing, channelling the poet's anxieties about his authorship, readership, reception and posterity. The thesis contains an introduction and a short conclusion, with two main sections amounting to 7 chapters. Chapter 1 to 3 form Part I, focusing on the prophetic as a mode of self-fashioning. Chapter 1 re-examines The Prelude, arguing that self-doubts and struggle are inherent to Wordsworth's prophetic aspirations. Chapter 2 discusses three major reasons that make Wordsworth's self-fashioning as a poet of prophetic quality possible: personal aspirations, knowledge economy, and prophetic discourse of his time. Chapter 3 investigates anxieties generated in self-fashioning: anxiety of influence and anxiety about reception. Chapter 4 to 7 form Part II, exploring the prophetic as a mode of writing. Chapter 4 studies the apocalyptic vision of the rupture in human history in Lyrical Ballads. Chapter 5 looks into Wordsworth's concern with the nation in ‘Sonnets Dedicated to Liberty'. Chapter 6 focuses on the dual prophetic quality of The White Doe of Rylstone and its links to discourse of duty and Catholic Emancipation. Chapter 7 studies the prophet-like speaker and the prophetic nature of the narrative in Peter Bell. It also considers the discrepancy between the poet's ideal reader and his actual reader as the reason why the poem fails to appeal. The claim to innovation in the thesis is that it offers a corrective reading of the prophetic as a mode of self-fashioning and a mode of writing in Wordsworth. It also sheds new light on the poet's acclaimed major works such as Lyrical Ballads, as well as widely criticised minor ones such as Peter Bell.
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Deboo, James. "The Anglican Wordsworth : broadening a religious tradition." Thesis, Lancaster University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420487.
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This thesis studies the relationship between William Wordsworth and the Anglican religious tradition, both in terms of the formative influence of Anglicanism over Wordsworth's life and work, and, reciprocally, in terms of the effects Wordsworth may have had on that tradition, during his lifetime and since. Widely-held assumptions of the poet's early secularism and radicalism versus late orthodoxy are examined and supported but problematised. Through a consideration of Anglican and other religious influences on the young poet, the dissemination of these influences later in Wordsworth's life as his commitment to the Anglican tradition grew, and the part played by the Wordsworth family in moulding the religious outlook of the poet and his work and its posthumous interpretation, the nature of Wordsworth's faith is interrogated. Through considerations of specifically, Wordsworth and the Reformation and Wordsworth's contributions to a later tradition of liberal theology, a contribution which sits counter-intuitively with the usual identification of Wordsworth as a conservative High Churchman, a profound contradiction inherent in Wordsworth's religious position will be isolated, and will be resolved by recourse to the application of contemporary, rather than Victorian, religious labels to Wordsworth's Anglicanism.
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Fay, Jessica. "'The most affecting eloquence' : Wordsworth and silence." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:cccb2bd6-ac9d-4f71-8a8b-e3cd58fd2280.
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This thesis is the first close study of Wordsworth and silence. It uncovers the comprehensive investigation into monastic history and hagiography (with special emphasis on St Basil) that Wordsworth engaged in between 1807 and 1810, showing that the type of silence he valued came from the monastic tradition. I trace Wordsworth’s material commitment to the power of silence through his use of hermit figures and his habit of visiting ruined monasteries. I concentrate on the poetry he composed from 1807 onwards and mark his eight-month residence in 1806-7 at the home of Sir George and Lady Beaumont as the locus at which his intensive interest in monasticism germinated. I thus reveal a new dimension to this important patronal relationship, while additionally offering an analysis of a previously unstudied manuscript pamphlet ('An account of an English Hermit' by Thomas Barnard) which Lady Beaumont sent to the Wordsworths in 1809. I show how Wordsworth’s fascination with monastic sites and silence influenced his understanding of linguistic and political representation, inheritance, community, and pastoral retreat. At the same time, this critical attention to silence aids a revaluation of the religious vision of his work. The thesis uses this historical and biographical information as a means of closely reassessing formal, linguistic, and generic features of Wordsworth's poetry. At its root, my work is about the natures of language, poetic representation, and readerly experience. How does Wordsworth communicate via silence? How does he use silence to 'create the taste' for his poetry? Where does silence impact on his renovation of genre and conceptions of form? I conclude that, for Wordsworth, silence is a positive gathering of stillness from within that is nourished by patterns of repeated activity and community. It is one of his most profound heuristic tools.
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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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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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Bailey, Quentin. "Wordsworth and the vices of the penal law." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423349.
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Boyles, Helen Margaret. "Wordsworth, Wesley, Hazlitt, and the embarrassment of enthusiasm." Thesis, Open University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.579803.
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This thesis addresses an area which has been neglected within the predominantly secular emphasis of post nineteenth-century Romantic scholarship: the impact of religious revivalism on literary Romanticism. It argues that the affective culture of Methodist evangelism actually anticipated literary Romanticism in its commitment to a religion and a language 'of the heart' . My study considers the stylistic and ideological affinity between some Methodist and 'Romantic' writing from the eighteenth to the early nineteenth- century, with specific reference to the culture of 'enthusiasm'. I explain how enthusiasm is identified with both religious and creative inspiration, but consider the problematic implications of this association. The problem is centred in enthusiasm's historical identification with religious fanaticism, and thus with subversive challenge and excess. My thesis discusses the acute embarrassment which this association generated for the Wesleyan Methodist leadership, and for some prominent Romantic writers. I consider how this embarrassment was manifested, within a literary context, in strenuous efforts to distinguish a respectable, genuine inspiration from its dangerous or spurious equivalent. I argue that the ambivalent feelings aroused by religious enthusiasm reflect a persistent discomfort with its plebeian and feminine associations. My study explores the various stylistic strategies employed by John and Charles Wesley, William Wordsworth and William Hazlitt, to distance themselves from vulgar and insincere religious zeal while remaining committed to the affective precepts which inspired their work and writing. This involves examining affinities in the literary theory and practice of John Wesley and Wordsworth, and Hazlitt's implicit distinction between 'gusto' and enthusiasm. I provide an analytical balance between the production and reception of key texts, including Wordsworth's Lyrical Ballads and The Excursion. Close stylistic analysis demonstrates how the writers' language reveals contradictory allegiances to rational precepts and the ardent impulses of a 'religious' inspiration.
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Offord, Mark. "Wordsworth, enlightenment anthropology, and the literature of travel." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611957.
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Boyson, Rowan Rose. "Communis Voluptas : pleasure in Wordsworth and Enlightenment philosophy." Thesis, Queen Mary, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.509668.
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Wyatt, John Frederick. "Wordsworth and the geologists : a correlation of influences." Thesis, University of Southampton, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316528.
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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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Waldegrave, Katie. "The poets' daughters : Dora Wordsworth and Sara Coleridge." Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/53380/.
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Dora Wordsworth and Sara Coleridge were lifelong friends. They were also the daughters of best friends: William Wordsworth and Samuel Taylor Coleridge, the two poetic geniuses who shaped the Romantic Age. Living in the shadow of their fathers’ extraordinary fame brought Sara and Dora great privilege, but at a terrible cost. In different ways, each father almost destroyed his daughter. And in different ways each daughter made her father. Growing up in the shadow of genius, both girls made it their ambition to dedicate themselves to their father’s writing and reputation. Anorexia, drug addiction and depression were part of the legacy of fame, but so too were great friendship and love. In this thesis I give the never-before-told story of how two young women, born into greatness, shaped their own histories. In doing I also re-examine the lives of Wordsworth and Coleridge and the significant role Dora and Sara played in their lives, their writing and their legacies. My study of the lives of Dora Wordsworth and Sara Coleridge was written as a biography aimed at a readership beyond academia. While the narrative is based on primary manuscript sources, I have deliberately used the techniques of the professional biographer to create character, pace, conflict and drama. In order to fit within the PhD assessment criteria, which requires me to submit no more than 100,000 words, the material submitted here is an abridged version of a full-length double biography of Dora and Sara. This main thesis is preceded by a short critical essay with some details about the nature of the research as well as assessment of the PhD’s contribution to knowledge.
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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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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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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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Kang, Gina Mallory Anne. "The Death of Women in Wordsworth, Byron, and Poe." [Greenville, N.C.] : East Carolina University, 2010. http://hdl.handle.net/10342/2830.
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Bourke, Richard. "Economies of loss : Wordsworth and the judgement of modernity." Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335693.
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Pierpan, Nicholas Cole. "Landed property and the dispossessed in Bunyan and Wordsworth." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.418836.
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Allen, Stuart James. "Wordsworth, aesthetics and allegory : a critique of second nature." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249794.
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O’Boyle, Patricia Marie. "Staging imagination : transformations of Shakespeare in Wordsworth and Coleridge." Thesis, Durham University, 2008. http://etheses.dur.ac.uk/2549/.
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This thesis examines the ways that Wordsworth and Coleridge transform the works of Shakespeare, in order to stage the imagination as it functions in the lives of the characters in their poetry. I look especially at the importance of the play A Midsummer Night 's Dream to their poetic project, and show how elements of the play resurface in various poems, prefaces and prose writings of the two poets over a span of nearly twenty years. I argue that Wordsworth's transformations of Shakespeare contribute to a democratising of poetry, and a valorising of 'our common human heart'. Chapter one discusses Lyrical Ballads as a series of poems, which have Theseus' speech on Imagination as their unifying theme, emulating Shakespeare’s staging of passion. Chapters two and three examine Alexander Tytler's Essay on Translation as a 'negative' stimulus for Wordsworth's challenging poetic theories, and a source for some of his earliest 'transformations' of Shakespeare. Chapter four is a detailed survey of the critical background, and the Romantic reception of A Midsummer Night's Dream, and examines key themes in the play to elucidate the poets' poetry and prose. Chapter five is a comparison between 'The Last of The Flock' and The Merchant of Venice, showing how Wordsworth 'imitates' the tale, and transposes the 'tone' of the comic play into a quieter and sadder 'music'. Chapter six analyses 'Michael', as a transformation of Gaunt in Richard into the 'history homely and rude' of Michael the shepherd. Chapter seven is on Coleridge's Biographia Literaria, which re-tells the tale of the genesis of Lyrical Ballads, and Wordsworth's transformative poetics, as a 'translation' of A Midsummer Night’s Dream. Chapter eight returns to Alfoxden, and Hazlitt's 'First Acquaintance with Poets', to revisit the poets as the protagonists of 'the dream' that was, and became, Lyrical Ballads.
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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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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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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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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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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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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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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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Pace, Joel. "Wordsworth in America : publication, reception, and literary influence, 1802-1850." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313171.
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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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Peyrache-Leborgne, Dominique. "Poétique du sublime romantique (Diderot, Schiller, Wordsworth, Shelley, Hugo, Michelet)." Paris 3, 1993. http://www.theses.fr/1994PA030003.
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Aux dix-huitieme et au dix-neuvieme siecles, le sublime s'est progressivement constitue comme une tradition esthetique et philosophique, en france, en angleterre et en allemagne, autour de grands textes theoriques et poetiques, notamment ceux de diderot, schiller, wordsworth, shelley, hugo et michelet. Du sublime du crime au concept d'humanite ideale, le sublime chez diderot et schiller sous-tend un humanisme conquerant. Avec le romantisme, il devient plus paradoxal en se definissant surtout par son contraire, l'humble et le grotesque. Le sublime devient aussi une experience visionnaire et poetique fondee sur une dialectique entre nature et esprit, monde sensible et transcendance, histoire et mythe. La modernite du sublime, sa valeur d'actualite, vient de cette fonction d'inauguration, de "tabula rasa" poetique, que lui ont assignee les romantiquesDuring the eighteenth, then the nineteenth centuries, the sublime became an aesthetic and philosophical tradition, in english, french and german literature, particularly in the theoretical and poetical works of diderot, schiller, wordsworth, hugo and michelet. With diderot and schiller, the sublime is not only linked to the burkian "delight", it underlies a concept of ideal humanity. With the romanticism, the sublime becomes more paradoxical, being defined by its contrary - the grotesque, the humble, in hugo and wordsworth - or by a visionary experience (in hugo, shelley, michelet) based upon a dialectic between nature and spirit, sensible universe and transcendance, history and myth
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Lee, Chia-Jung. "Timely utterances : re-reading the Wordsworth of the 1805 Prelude." Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/timely-utterances-rereading-the-wordsworth-of-the-1805-prelude(f96d37bd-6f41-4cd2-8f9f-12f761c44428).html.
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My thesis explores how Wordsworth develops his poetic identity in ‘Growth of a Poet’s Mind’ in The Prelude. I argue that Wordsworth’s attempt to stabilize an identity in the mutability of time – in writing – results in a self precariously situated between past and present, speech and silence, for example. This thesis will examine how Wordsworth engages with time and language in his creation of ‘timely utterances’ about the self in The Prelude throughout the process of his writing. The identity Wordsworth seeks to stabilize in writing is not stabilizable because of ‘two consciousnesses’. However, Wordsworth projects a continuity of self by looking back to ‘a dark / Invisible workmanship’ in his childhood communion with nature, which generated the aspiration to ‘some philosophic Song’ that Wordsworth, now, still feels and acts upon. My thesis goes on to look at how Wordsworth, in the act of writing, tries to establish an identity as a poet in the very act of rising to the challenge of being a poet posed by the French Revolution. As a result, it is precisely such recognition of fragmentations and contradictions in his identity-formation that keeps Wordsworth’s writing moving forward and evolving into an epic poem for humanity. In the formulation and reformulation of self, Wordsworth comes to recognize that his self is subject to continual revisions of his poetic ‘self’ in The Prelude. The represented self of Wordsworth vanishes into language in his act of writing. But in the act of self-representation, Wordsworth protects his self from the ‘defacing’ power of language by locating the self in the silence left by ‘life’. Nevertheless, Wordsworth also recognizes the generative powers of language for poetically reconstructing the self as a ‘[prophet] of Nature’. However, a profound recognition of and restless dissatisfaction with the otherness of language locates the Wordsworth of The Prelude ‘midway’ between the construction of a coherent textual identity and the recognition of identifications that reach beyond textuality. One of these identifications is to be found in Wordsworth’s relation to Coleridge. Taking up the poetic project of prophesying hope to the humankind Coleridge assigned him, Wordsworth attempts to escape the contradiction between his own aims and those of Coleridge by using the recreative powers of language to recreate Coleridge and his project while recognizing his poetic obligation to Coleridge. Equally, in the act of rewriting a self, Wordsworth recognizes a sense of self perpetually subject to change and revision, and his relationship with Coleridge is valued for its power to stimulate such change. Wordsworth’s lifelong re-interpretation, re-evaluation and revision of his project constitute an identity that is perpetually shifting, evolving, self-transforming.