This study addresses the issue of William Butler Yeats' use of Upanishad philosophy in his poetry. Although many analyses of Yeats' art vis-a-vis Eastern religion exist, none offer the thesis that the poet transformed certain religious concepts for his own purpose, thereby removing those concepts from the purview of Eastern religion. Quite the contrary, many of the analyses argue a parallel between Yeats' poetry and the religious concepts.In Chapter 1 this study gives a brief overview of the problem and proposes the thesis that instead of paralleling Eastern religious concepts, Yeats transformed those concepts; such transformations result in ideas which run counter to the yogic goal as expounded in the Upanishads.Chapter 2 summarizes yogic sources which help elucidate the concepts of Upanishad thought. Also Chapter 2 introduces various the critical analyses which present inaccurate conclusions regarding Yeats' use of Eastern religion.Chapter 3 explains certain Eastern religious concepts such concepts as karma and reincarnation and asserts that the goal of the discipline of yoga is self-realization.Chapter 4 discusses the poems of Yeats' canon which have been analyzed critically in terms of Eastern religious concepts and have erroneously been considered to parallel certain Eastern concepts. This chapter argues that Yeats' transformations resulted in an art which is chiefly based on the physical level of being, whereas the goal of yogic discipline places its chief emphasis on the spiritual level of being. Also it is argued that Yeats cultivated imagination, whereas the Eastern religious devotee cultivates intuition.Chapter 5 details the critical analyses which have erroneously argued the Yeatsian parallel to Eastern religion, showing how these critics have sometimes failed to understand concepts adequately and thus have misapplied them to Yeats' art.Chapter 6 contrasts Yeats' poetry with that of Rabindranath Tagore. Yeats failed to realize Tagore's motivation when Tagore referred to God. Yeats claimed that all reference to Cod was vague and that he disliked Tagore's mysticism. This lack of understanding on Yeats' part, I suggest, further supports the thesis that Yeats' use of Eastern religion constitutes transformations which do not reflect Upanishad philosophy but instead reflect a Yeatsian version of those concepts--a version which many critics have not clearly elucidated. / Department of English

This thesis analyses the development of Yeats's image of Japan from his introduction to Japanese culture through 'Japonisme' in the mid-1880's, until the end of his life in 1939. It also surveys the sources of information that Yeats had on Japan other than the Noh drama, and shows how these sources were as important as the Noh, if not more, in defining his image of Japan as an artistic utopia. Three periods of Japanese history were of particular interest to Yeats: The early nineteenth century, in which most Japanese colour prints were produced; the Ashikaga period (1333-1573), when the Noh flourished, and Heian Japan (794-1100), an extraordinary culture which produced some of the world's greatest works of art. Images of Japanese culture from these periods combined to produce a composite, mythical vision of Japan in Yeats's imagination.

Thesis (M.A.), Memorial University of Newfoundland, 1999. / Bibliography: p. 90-98.

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 195-201). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 195-201). Also available on the Internet.

In June 1917 W.B. Yeats wrote to his father : Much of your thought resembles mine . . but mine is part of a religious system more or less logically worked out, a system which will I hope interest you as a form of poetry. I find the setting it all in order has helped my verse, has given me a new framework and new patterns. (Wade 1954, 627) The new framework and new patterns that he claimed to have found in his system generated a new, and for Yeats, radically different sort of poetry. Before 1919 (The Wild Swans at Coole), the poetry had as its subject various traditional themes: the pity of love; the romance and heroism of Irish mythology; the threat of age, change and death. The poetry up to this point is, formally speaking, highly skillful, but locked into its own admissions of failure to touch or incorporate reality in any but a romantically defeatist way. However, the order which Yeats refers to in his letter, and the system he generated as a propaedeutic to this new order, once assimilated into the habit and texture of the poetry, generated new topics of its own which made those of the earlier work seem subjective, self- indulgent and intellectually uninformed. Yeats's poetry now changed drastically in focus and form, from subjective to objective poetry. Whereas the earlier poetry had opposed reality with romantic heroism or selfdestructive despondency, the poetry subsequent to his change of practice, incorporates a new vision of reality as the intrinsic architechtonics of poetry itself. Now the measure of human and aesthetic completion is no longer an inexplicable and inscrutable sadness, but an intelligent and informed detachment, an energy of mind that Yeats called "gaiety". My thesis explores this energy of mind and what it meant for Yeats and his poetry. My contention is that the idea of gaiety provides a way for Yeats to grant meaning to his life, a way for him to create himself. As the poetry is completed thanks to the new system, so is the poet. In order to see this, it is necessary to read the poems as a series of collections, or stories, that resonate back and forth with meaning and qualification and understanding. Yeats's system is his myth, and he writes his poetry in terms of and informed by that myth, shaping and re-shaping the experience of the created and fictional self until it has meaning in a way that the real self does not. The thesis explores this process of creation firstly in theoretical terms, using Lotman's ideas of Story and Myth, and looking at Yeats's intellectual and poetic inheritance. It goes on to examine some of the great poems in an attempt to define gaiety, and how Yeats achieves it in the poetry, and then to look at the early, pre-system poems to see how they differ. Finally, it takes the last of Yeats's lyric collections, Last Poems, and shows how gaiety works in the most mature poetry when the poems are read as narrative events within a story.

Yeats n'a cessé d'affirmer, dans toute son œuvre dramatique, la centralité de la question de la parole et de la voix. La présente étude s'attache à analyser les formes prises par ce questionnement, depuis ses développements dans l'œuvre théorique, jusqu'à ses modalités d'apparition dans les textes dramatiques, et ses incidences sur le travail de production scénique. Dans une première période, inspiré par la matière légendaire de l'Irlande, Yeats souscrit au mythe d'une oralité populaire, dont le théâtre se fait le porte-parole, avant de s'en écarter, au profit d'un concept d'oralité englobant sa propre "parole écrite" de poète lyrique. Il construit alors une esthétique tragique dans laquelle il oppose, à un orchestre de voix réelles et imaginaires, la voix perturbatrice d'une figure héroïque en quête de transfiguration. A partir des Plays for Dancers, écrites sur le modèle du théâtre Nô, le personnage collectif des musiciens-narrateurs est l’ordonnateur d'un "théâtre mental", d'un rituel scénique de parole, de chant et de danse, où voix et musique sont le medium d'apparitions spectrales. C'est alors dans le concret de l'activité scénique des voix et des corps que se jouent ces drames de l'incarnation et de la transfiguration. C'est pourquoi sont examinées, pour finir, quelques-unes des expérimentations scéniques du poète, par lesquelles il a tenté de toucher à cette conjonction rêvée entre le chant et l'enchantement : des "voix d'or" des comédiens Franck Fay ou Florence Farr, dans les années 1900, jusqu'aux constructions musicales élaborées de l'après-guerre de 1914. / Throughout his drama Yeats maintained the centrality of the question of speech and voice. The present study undertakes to analyse the forms taken on by this question, ranging from Yeats's analyses in his theoretical works, to its manifestations in his dramatic works, and finally to its effects on stage production. In a first period, inspired by Irish legends, Yeats endorses the myth of an oral tradition of the Irish people, for which his theatre becomes the speaker, before taking his distance from it in favor of a concept of oral form that includes his own, the lyrical poet's, "written speech". He then constructs a tragic aesthetic in which he opposes to an orchestra of real and imaginary voices the disrupting voice of an heroic figure in search of transfiguration. Starting with Plays for Dancers, written on the model of the Nô theatre, the collective character of narrator-musicians monitors a "mental theatre", a scenic ritual of speech, song and dance, in which voice and music are the medium of spectral appearances. It is then in the concrete medium of the scenic activity of voices and bodies that the drama of incarnation and transfiguration is in play. This is why, in the final part of this work, some of the scenic experimentations of the poet, by means of which he tried to reach the dreamed conjunction between chant and enchantment, are explored, ranging from the "golden voices" of Franck Fay or Florence Farr, in the years 1900, to the elaborate musical constructions of the post-war years, after 1918.

The Celts, as a distinct and culturally-unified people, are a social construction as much as an historical reality, endowing Celtic antiquity with a certain availability of outline, and a certain scope. When the Celtic world began to be scrutinised in the eighteenth century, its borders could, therefore, be filled with concepts drawn from other antiquities. Classical antiquity, and particularly its Greek variety, was a vital coordinate in this navigation of the past. This thesis explores the history of these Graeco-Celtic negotiations. Using Reinhart Koselleck's theory of asymmetric counterconcepts, it calculates the precise angles of the relation between Greek and Celt in antiquarianism, comparative mythology and folklore, Classics and Celtic Studies, from the early eighteenth and to the late nineteenth centuries. The thesis then puts forward one particular writer as an original and unique interpreter of the tradition of Graeco-Celtic relations, the Irish playwright J.M. Synge. Through archival research, it demonstrates quite how deeply Synge was immersed in this scholarly tradition; in the last years of the nineteenth century and the first years of the twentieth, he followed a deliberate path of reading in antiquarianism, Classics, Celtic Studies, comparative linguistics, mythology and folklore. It then argues that Synge transformed such Graeco-Celtic scholarship into a formidable authorial strategy, in his prose account of his travels on the Aran Islands and his famous, controversial plays. By identifying this strategy, it reveals how Synge's work exploits the continued presence and power of antiquity. Most studies of the reception of Greek antiquity in Irish literature in the twentieth and twenty-first centuries assume a straightforward, inherent connection between Ireland and Greece. This thesis complicates that connection by identifying the powerful history of Graeco-Celtic relations and, particularly, its transformation at the hands of J.M. Synge. This will allow for scrutiny of what actually happens at the crux between Greece and Ireland in literary texts.

Orientador: Francisco Maugeri Filho / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Engenharia de Alimentos / Made available in DSpace on 2018-08-27T13:11:06Z (GMT). No. of bitstreams: 1 HartwigDuarte_Susan_D.pdf: 24431149 bytes, checksum: c5a52419e7e78c24bfe96084aaeaa744 (MD5) Previous issue date: 2015 / Resumo: A constante busca por fontes alternativas de energia tem estimulado o mercado mundial de combustíveis limpos. Tendo em vista este cenário, o objetivo desta tese foi estudar a produção de lipídeos, pela levedura oleaginosa 'Candida sp'. LEB-M3 cultivada em glicerol bruto e o processo de recuperação lipídica para aplicação na síntese enzimática de biodiesel. Durante os cultivos em glicerol bruto e diferentes fontes de nitrogênio, a levedura apresentou conteúdo lipídico 30,8% (m/m) e concentração lipídica de 3,09 g/L, em relação carbono/nitrogênio de 90. As condições de menor agitação e aeração em biorreator (200 rpm e 0,5 vvm) favoreceram a formação de ácidos graxos que conferem melhores parâmetros de qualidade do biodiesel. Entre as técnicas de ruptura estudadas, a abrasão por cisalhamento com pérolas de vidro apresentou alta recuperação lipídica (125%), quando comparada à técnica padrão estudada. A extração com CO2 supercrítico indicou ser um método de extração de lipídeos microbianos promissor, porém é mais seletivo aos compostos apolares e por isso apresentou rendimento global máximo de 6,17%. A reação de síntese de biodiesel com lipídeo microbiano e metanol em meio reacional com n-hexano e lipase recombinante de 'Rhizopus oryzae' (rROL) imobilizada como catalisador da reação, apresentou rendimento de metil ésteres de ácidos graxos (FAMEs) de 40,6%. Além disso, foram realizadas 5 reutilizações da enzima, com perda máxima de 30% no rendimento de FAMEs. O estudo da produção e recuperação lipídica da levedura' Candida sp'. LEB-M3 possibilitou a síntese enzimática de biodiesel, contribuindo assim para o desenvolvimento sustentável da cadeia produtiva do biodiesel / Abstract: The constant search for alternative energy sources has stimulated the global market of clean fuels. In view of this scenario, the goal of this thesis was to study the production of lipids by oleaginous yeast 'Candida sp'. LEB-M3 grown in crude glycerol and the lipid recovery process for use in biodiesel enzymatic synthesis. During the cultivation in crude glycerol and different nitrogen sources, the lipid content of the yeast showed 30.8% (w/w) and lipid concentration of 3.09 g/L, for carbon/nitrogen ratiof of 90. The conditions of less agitation and aeration in the bioreactor (200 rpm and 0.5 vvm) favored the formation of fatty acids that give best biodiesel quality parameters. Among the cell disruption techniques studied, abrasion by shearing with glass beads showed higher lipid recovery (125%) compared to the standard technique studied. The extraction with supercritical CO2 showed to be a promising method of microbial lipid extraction, but is more selective to non-polar compounds and therefore presented the maximum overall yield of 6.17%. The biodiesel synthesis reaction with the microbial lipid and methanol in the reaction medium with n-hexane and recombinant 'Rhizopus oryzae' (rROL) immobilized catalyst of the reaction, showed a yield of 40.6% of fatty acid methyl esters (FAMEs). In addition, there were 5 reuses of enzyme, with a maximum loss of 30% FAMEs yield. The study of lipid production and lipid recovery of the yeast 'Candida sp'. LEB-M3 enabled the enzymatic synthesis of biodiesel, thus contributing to the sustainable development of the biodiesel production chain / Doutorado / Engenharia de Alimentos / Doutora em Engenharia de Alimentos

While it may seem that "The Cap and Bells" finds its primary source in Yeats's love for Maud Gonne, the poem is also symbolic of his search for truth in occultism. In the 1880s and 90s Yeats coupled his reading of Shelley with a formal study of magic in the Golden Dawn, and the poem is a blend of Shelleyan and occult influences. The essay explores the Shelleyan/occult motif of death and rebirth through examining the poem's relation to the rituals, teachings, and symbols of the Golden Dawn. The essay examines the poem's relation to the Cabalistic Tree of Life, the Hanged Man of the Tarot, two Golden Dawn diagrams on the Garden of Eden, and the concept of Kundalini.