Though overlooked and largely unread today, the long narrative poem was a distinct genre available to nineteenth-century American poets. Thematically and formally diverse, the long narrative poem represents a form that poets experimented with and modified, and it accounted for some of the most successful poetry publications in the nineteenth-century United States. Drawing on contemporary theories of form and situating these poems within their literary-historical context, I discuss how our reading practices might be shaped by a greater attentiveness to the long narrative poem. My analysis will focus upon a small set of poems from across the nineteenth century, centering on works by Lucy Larcom and Henry Wadsworth Longfellow. More than mere recovery, this project aims to illuminate a tradition in which poets ambitiously melded genres, claimed poetry’s place to shape public discourse, and thought deeply about the reading practices available to their audience. Along the way, I consider how the dominant critical categories in the study of poetry have occluded these poems, and what these poems might offer in terms renewing or revitalizing our analytical tools and concepts.

Cet essai tente de proposer un concept, la « cartographie poétique ». La « cartographie poétique » provient de la tentative valéryenne de dresser une carte de l’esprit, en prenant appui sur la géométrie analytique de Descartes. Pour des raisons que cette étude expose, Valéry se détachera de cette topographie analytique au profit d'une conception plus dialectique de l'espace, intégrant le rapport de l'esprit au corps et au monde (le Corps-Esprit-Monde). Le modèle de cette cartographie serait alors la danse, faisant la part belle à des sens comme l'ouïe et le toucher, s'affranchissant de la tutelle de l'intelligence d'obédience scopique. La démarche valéryenne est aussi mise en rapport avec d’autres poétiques qui lui sont contemporaines : celles d’Artaud, de Mallarmé, de Segalen, Michaux et Bataille, afin d’examiner leurs zones de confluence. / This essay tries to propose a concept, the « poetical mapping ». The “poetical mapping” comes from the attempt by Valéry to map the mind, using the analytical geometry from Descartes. For reasons this essay explains, Valéry will give up this analytical mapping in favour of more dialectical an approach to space, taking into account the connection of the mind to the body and to the world (what he calls the “Corps-Esprit-Monde”). The model of this mapping would thus be the dance, giving their entire place to senses such as hearing and touch, releasing itself from the dominion of sight. Valéry’s poetics is also compared with other contemporary poetics: Artaud’s, Mallarmé’s, Segalen’s, Michaux’s and Bataille’s, in order to examine their common points.

These lyric poems were written between August 2003 and June 2005 and bear witness to the human condition in all its facets, from birth and the first taste of lemon ice to exile and suicide. Within a landscape that encompasses many locales, the poems included here attempt to portray the particular to denote the universal and are always confronted by the ineffable connection between the two.

Le roman catholique tel que nous le connaissons est le fruit d’une illusion rétrospective. Nous avons voulu, dans cette thèse, montrer que l’on ne peut lire le roman du second XIXe siècle au prisme de sa popularité au XXe siècle. Le succès qu’il rencontre dans l’entre-deux-guerres est le fruit d’une évolution lente. Des auteurs comme Jules Barbey d’Aurevilly, Joris-Karl Huysmans ou Léon Bloy, n’ont été acceptés de leur temps ni par le monde laïque, ni par le monde catholique. Ils occupent une place inconfortable entre le « prophète romantique » et l’« intellectuel catholique ». Si le monde intellectuel chrétien du XXe siècle s’est servi de ces auteurs pour accréditer l’existence du genre, le roman catholique est loin, au XIXe siècle, de constituer une évidence. Nos recherches explorent en conséquence sa visibilité à cette époque. Basées sur un travail d’archives qui se fonde sur le dépouillement des journaux et bibliographies catholiques, elles ont permis de reconstituer les difficiles rapports du monde chrétien avec le roman. Cette approche archéologique contribue à restituer l’ampleur de la tentative de réforme par l’art qu’ont essayé de mener à bien Barbey d’Aurevilly, Huysmans et Bloy. Elle sert de fondement à un travail de poétique qui interroge, dans le cadre de l’évolution de l’écriture romanesque, le sens qu’il faut accorder à cette tentative de révolution esthétique. / This dissertation explores the constitution of the Catholic novel as a genre in the second half of the 19th century. It aims to show how Jules Barbey d’Aurevilly, Joris-Karl Huysmans and Léon Bloy were misread, partly because of the success of the genre during the 20th century. The popularity of the 20th-century Catholic novelists such as Claude Mauriac or Georges Bernanos has indeed swept away the difficulties encountered by Catholic writers over the course of this anti-clerical period. This work invetigates the reception of the Catholic novel at that time. It is based on historical researches, especially the study of Christian "bibliographies", Catholic press and edition. This provides a better understanding of Barbey d’Aurevilly, Huysmans and Bloy’s conception of Catholic novel as an original theory of art.

En prenant appui sur une enquête que nous avons menée entre 2006 et 2013 auprès de groupes d’acteurs ayant participé à une formation professionnelle intitulée « Autonomie de l’Acteur » et conduite par le centre Ayn Seyir, nous avons tâché de décrire la discipline théâtrale européenne contemporaine dans sa complexité, à travers un filtre analytique métadisciplinaire. Par le regard de ces artistes déplacés entre France et Turquie, nous voyons se dessiner l’esprit d’une culture des acteurs professionnels de théâtre, à deux niveaux : interne et externe. L’on remarque ainsi, au niveau interne, une faille entre pensée et pratique, qui semblerait vouée, d’une certaine manière, à sa propre insolvabilité. Lorsqu’on envisage la discipline en ses aspects externes, l’on note que celle-ci semble prise dans un vertige entre phénomènes de singularisation et de globalisation. Et si tout cela n’était que la marque d’un fait culturel en train de se réinventer par ses hiatus, pour ne (re)devenir que la paraphrase de ce qu’il était déjà ? Le théâtre ne semblerait plus être alors pour ces acteurs qu’un art au fonctionnement aporétique, conduisant à l’anomie. Mais ce métier ainsi éprouvé, s’oppose à la somme des idéaux que ces artistes évoquent et qui semblerait faire sens vers un désir de réalisation quasi-anagogique : une voie poétique. Entrer dans cette voie supposerait, en premier lieu, un abandon des illusions présidant à leur approche factuelle de la discipline : la démarche raisonnée d’un tamisage, pour peut-être tenter de résoudre certains des aspects du défi posé par la complexité du théâtre en tant que fait culturel en permanente mutation. / By leading a field investigation between 2006 and 2013 with groups of actors who participated to an unique professional training called « Autonomy of the Actor » with Ayn Seyir Center, we tried to describe the theatrical fact in its complexity, as these actors are practicing and perceiving it, through the analytical filter of metadisciplinarity. By the look of these artists moved from their cultural area, between France and Turkey, we see a theater culture taking shape at two levels for these actors: internal and external. Thus, we notice at an internal level, a flaw between thought and practics, which seems to be consigned, in a certain way, to insolvency. And when we considerate the discipline in its external aspects, we notice that it is taken in a vertigo between super-individualization and globalization phenomenons. What if all of this was the mark of a cultural fact being reinvented by its hiatus, to only become again the paraphrase of what it was before? Then, theater would seem only be for these actors the illusion of an illusion : an art with an aporetic functionning, leading to lawlessness. But this art in this perception, is opposed to the sum of consensual ideals endlessly evoqued by these artists, who are all heading for a quasi-anagogic realization: a poetics path. To enter in this path presupposes at first abandoning their factual approach of theatre: a reasoned approach of a sifting, which may allow us to resolve certain aspects of the challenge of theatre’s complexity, considered as a cultural fact in crisis.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2007. / Title from title screen (site viewed Dec. 3, 2007). PDF text: xi, 213 p. ; 11 Mb. UMI publication number: AAT 3271913. Includes bibliographical references. Also available in microfilm and microfiche formats.

Project (D. Min.)--Iliff School of Theology, 2007. / Includes abstract. Includes bibliographical references (leaves 169-174).

Spaces are determined not only by their physical qualities, but also by the narratives created during their occupation. These persistent yet ephemeral stories infuse our experience of space with meaning and can be the vehicle through which we consciously express our world view and explore our evolving identity. In architecture, the immaterial is explained as a ‘genius loci’, a spirit tied to a physical space that gives it a specific character and allows for deep connection and identification to occur. Through an exploration of metaphors that have traditionally conveyed the presence of immaterial forces, this thesis reveals how the relationship between psyche and space is embedded in a logic of the imagination; interpreting the experience of space in a language of light and shadow. Additionally this thesis examines how spaces are transformed through the psychological process of mental projection and explores how associations that are deeply rooted in the collective unconscious affect the inner world of the individual. Architecture is therefore seen not as a practice that is psychologically neutral but one that is filled with rich emotional content. To build, constitutes a way to bring order, to set boundaries, to transform the apparent chaos of the world into a comprehendible form. This thesis investigates how the experience of inhabiting can be a catalyst for the imagination to project layers of memory, myth and symbolism onto a location, thereby facilitating the translation of space into place. For Architects the conscious incorporation and evocation of the immaterial is seen as a vital and necessary process that can uniquely contribute to the ensouling of architecture, and the creation of meaningful places.

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While scholars have carefully and rightly noted the profound influence that More’s abolitionist writings had on both the abolition movement and the developing women’s rights movement, they omit what is an essential examination of her poetics, particularly the self-conscious poetic form that she develops in her poem, “Slavery, A Poem” (1788). In conjunction with noting the rhetorical and textual devices that More implements in “Slavery” to illustrate the art of self-conscious poetics, this paper explores these same devices in a later satirical essay of More’s entitled Hints towards forming a Bill for the Abolition of the White Female Slave Trade, in the Cities of London and Westminster (1804), arguing that, by comparing the rhetorical points of overlap in these two pieces, we can identify that More’s contribution to her contemporary literary culture transcended mere female participation and publication. More importantly, through “Slavery” and Hints, More develops a unique rhetoric – a poetics of control – with which to discuss the physical constraints of slavery, the trope of the individual versus the collective, and the essential poetic and rhetorical practice of blending authorial creativity with conventional constraint. / text