Akademisk avhandling--Litteraturvetenskap--Lund, 1980. / Résumé en allemand. Bibliogr. p. 266-282. Index.

Une étude approfondie sur la poèsie amoureuse d'Apollinaire est une oeuvre étendue et nous n'avons certes pas la prétention d'avoir épuisé ici un tel sujet. Apollinaire est, d'autre part, l'un des auteurs les plus commentés. Nombreux sont les ouvrages qui lui ont été déjà consacrés. Les ignorer serait peu sérieux, s'en inspirer totalement enlèverait tout espoir de trouver quelques épis oubliés dans les champs abondamment moissonnés de sa poésie. Nous avons donc adopté la méthode suivante: étudier d'abord l'oeuvre elle-même, en approfondir nos connaissances, la cerner, en scruter les messages, les richesses. Ensuite, nous nous rapporterons aux commentaires souvent précieux, ingénieux et d'un haut intérêt, auxquels cette oeuvre a donné lieu. Lorsqu'il s'agit d'un auteur comme Apollinaire, peut-on ignorer la vie du poète et la séparer de son oeuvre? Ne pas en tenir compte est relativement possible, peut-être, lorsqu'il s'agit de l'oeuvre d'un Victor Hugo; la description détaillée de certaines faiblesses du poète vieillissant et de ses amours ancillaires n'ajoute rien à l'éclat de ses derniers textes et à notre compréhension de ceux-ci. Il n'en est pas de même lorsqu'il s'agit d'un Baudelaire, d'un Verlaine. Comment comprendre les vers de Sagesse sans en connaître la genèse: le drame Rimbaud, la prison, le remords, le repentir, la foi retrouvée? De même, un lyrique comme Apollinaire met dans ses vers beaucoup de sa vie et de son coeur. Peut-on comprendre sa poésie amoureuse sans connaître ses amours? Le ton change d'une amante à l'autre. Nous reconnaissons facilement que tel poème est pour Marie, tel autre pour Lou. Nous discernons même le corps qui se cache sous certains travestis, les yeux qui brillent à travers le masque. Si nous ne savions pas qu'Annie existait et quelle était sa vie, nous tournerions autour de la "Chanson du Mal-Aimé" comme autour d'un château-fort sans pont-levis. Il nous a donc fallu aller de l'oeuvre à la vie du poète pour revenir ensuite à l'oeuvre et la contempler avec un oeil neuf, car l'oeuvre d'art, on le sait, est parfois plus vraie que la vie elle-même. Elle nous donne parfois des renseignements que nul biographe ne connaît. Le poète lui-même les connaît-il toujours? Un vers profond et vibrant exprime parfois mieux qu'un acte la vérite des sens et des âmes. De plus, comment apprécier l'oeuvre d'un artiste sans étudier la technique qui l'a formée. C'est en elle qu'il faut trouver l'essentiel de la magie, l'armature du temple; c'est en elle qu'il faut peser et analyser les gouttes du breuvage enchanté. De l'oeuvre elle-même, nous avons donc été aux gloses qu'elle a suscitées, puis à la vie de l'auteur, pour revenir vers l'oeuvre qui contient, finalement, toute vérité essentielle. Dans la première partie de notre étude sur la poésie amoureuse d'Apollinaire, nous avons d'abord essayé de discerner ce que le poète entend par "amour", mot à la fois précis et vague. Puis nous avons essayé de définir les éléments de la poésie amoureuse d'Apollinaire: romantisme, fantaisie, simplicité fraîche des complaintes, tendresse et légendes, passion, érotisme. C'est la seconde partie de notre étude. Nous avons dit que le ton du poète change suivant l'objet de ses amours. Nous avons précisé et commenté cette variété d'accents dans notre Chapitre II: A chaque Muse sa Poésie. Le philosophe Bachelard exprime, dans L'Eau et les rêves, une théorie qui nous semble s'appliquer singulièrement à Apollinaire; nous en avons suivi et précisé les contours et les limites dans Ecrit sur l'Eau (Chapitre III). Enfin, nous avons étudié la technique poétique d'Apollinaire (plus spécialement envisagée dans sa poésie amoureuse) dans le Chapitre IV: Les Aspects Formels de la Poésie Amoureuse d'Apollinaire. Notre dernier chapitre, Héritage d'Apollinaire, termine cette étude. II s'agit évidemment d'un simple aperçu car étrangement nombreux sont les "héritiers" du poète, ceux qui portent ses armoiries au grand jour ou dans la pénombre. Car les vers d'Apollinaire n'ont pas fini de danser dans l'air du temps, influançant de leur grâce et de leur passion les générations nouvelles. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

This thesis, "Sean O'Casey's Last Plays: A Celebration of Life, " is a study of O'Casey's five last full-length plays: Cock-A-Doodle Dandy, The Bishop's Bonfire, The Drums of Father Ned, Behind the Green Curtains, and Figuro in the Night. The focus of the thesis is on O'Casey's dramatization of man's spiritual environment and conflicts. My point of view is that O'Casey is presenting a very humanized religion of love. The plays are, in fact, morality plays depicting the struggle of the forces of good and evil for the soul of man. The first chapter of the thesis will analyse the religious nature of the themes in O'Casey's morality plays. Chapter two will discuss the relationship between the structure of the plays and the themes. Chapter three will attempt to show that O'Casey uses theatrical effects as persuasive techniques to convince an audience of the validity of his themes. Each of the five plays dramatizes the struggle between the true religion of life-worship and the false faith of the organized Church. The struggle is made concrete through the presentation of various conflicts. There is the conflict between youth and age, between sexual expression and repression, between love of life and love of money, between celebration and gloom, between freedom and restraint. At the centre of the conflict are two opposing priest figures. In Cock-A-Doodle Dandy, it is Father Domineer who fights against the joy and beauty offered by the Cock. Father Domineer wins when the Cock and his followers flee in search of a better land. In The Bishop's Bonfire, there is no escape to another life. Father Canon prevails over Father Boheroe, The Codger is banished, Keelin and Manus must live a loveless existence, and Foorawn is shot. In The Drums of Father Ned, on the other hand, it is the forces of good that are completely victorious. The mythical Father Ned and his followers completely defeat Father Fillifogue. In Behind the Green Curtains, we are once again in the real world in which the love, kindness, and joy that Beoraan struggles for are defeated by the cruelty and repression that Komavaun, the Church's lieutenant, advocates. O'Casey's conviction, however, that man can find salvation is presented in Figuro in the Night where the Figuro is triumphant over all the repressive elements of traditional beliefs. To explain his religion of life and love, O'Casey developed a structure of interlocking levels of farce, satire, fantasy, and symbolism to replace the traditional plot structure of the drama. O'Casey’s last plays have only the most tenuous of plot lines. Instead, the conflict is heightened by playing off one level of development against another in a dramatic counterpoint. Each mode of development uses its own techniques, develops its particular type of character, and clarifies its individual aspect of the theme. Although the levels are largely independent of one a other, each, adds contrasts and parallels to the comment made by the other levels to give density to the thematic statement of the plays. The second chapter of this thesis will attempt to show how each of the structural levels of farce, satire, fantasy, and symbolism work independently and how they are brought together into a thematic and theatrical climax. Finally, the thesis will examine the theatrical effects of the last plays. In these plays, O'Casey uses all the possible visual and sound effects of the theatre to make his themes convincing. Essentially, the visual effects of lighting, costumes, and sets distance the audience from the events of the plays. Whereas, the sound effects tend to involve the audience in an emotional response to the ideas of the plays, not the events. Thus the theatrical effects cause the audience to make an objective assessment of the theme of the plays and, at the same time, to take part in the celebration of life that is presented in the plays. / Arts, Faculty of / English, Department of / Graduate

Throughout the work of Apollinaire are to be found references to mythological figures and incidents, drawn from many different areas of mythology and legend, both ancient and more modern. Apollinaire had a taste for somewhat bizarre and esoteric detail, such as these references. But they are clearly not interspersed throughout his writing in a gratuitous manner: it would seem that each one fits into a larger plan of the poet's inspiration and creation. The aim of this examination of myth in the work of Apollinaire is to try to trace a link between his interest in, and references to myths, and his own artistic expression. There appears to be a synthesis of the two elements of traditional mythology and personal expression, .which transforms both elements into a peculiarly Apollinairian form of myth. Personal inspiration draws upon mythology and, at the same time revitalizes the myths themselves, freeing them from the immobility, of tradition. For Apollinaire, myth becomes a constituent part of what he called "1'esprit nouveau", which was a new, free form of spiritual adventure. After attempting to define the areas of mythology and legend from which Apollinaire draws most often, we shall use these precisions in studying some aspects of Apollinaire's poetic imagery, to see how he incarnates and animates certain aspects of myth in his own way. In this is to be found an important aspect of Apollinaire's renovation of myth, in which myth merges with new, surprising images of the new kind of poetry that was being formed after the Symbolists. The solar myth, and other myths of fire, for example, are taken up by Apollinaire to the end of a personal poetic expression. Similarly, water, music or shadows are used to illustrate or dramatize Apollinaire's individual interpretations and transformations of myth. Finally, as a kind of cross-reference, we will turn to Apollinaire's biography in order to discuss the possible role played by mythology in his views and attitudes towards his own life and experiences. In some poems, for example, he likens himself to certain aspects of the figure or myth of Orpheus or Christ. His own life, and above all, his writing, bears this imprint of mythology, and, on the other hand, the myths that he uses bear the imprint of Apollinaire himself. From a reciprocal transformation such as this comes a new attitude to myth, which becomes part of the "new spirit", and also part of the vague legend of Apollinaire himself. Apollinaire's treatment and use of myth thus appears, in the context of early 20th century poetry, as an overture to a new poetic vogue, the themes of which were to be embellished by the Surrealists. His poetic and mythological example shows that 20th century poetry had not entirely broken with the former spirit and tradition of poetic mythology, but had merely adapted it to reflect the spirit of its own creation / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Frente al hecho de la rápida desaparición del gaucho y su tradicional cuna pampera, Benito Lynch consagra sus dotes literarias a salvar los residuos de un tipo popular y prestigioso de la región rioplatense. En su producción literaria, Lynch se atiene a un período bien delimitado. Recorta una época específica correspondiente a su niñez y adolescencia - finales del siglo XIX y principios del siglo XX- , retratando al gaucho y a la campaña que él conoció. Al emprender esta tarea tenía muy en cuenta que el material literario sobre el gaucho ya estaba virtualmente agotado. Todo lo que se pudiera haber dicho sobre el gaucho ya fue dicho por los escritores que le precedieron. En este estudio intentaremos subrayar los elementos por medio de los cuales Lynch supera esta dificultad y logra dar originalidad a su obras. En el primer capítulo se intenta definir el tipo de gaucho que Lynch retrata en.su obra. En el segundo capítulo se exponen los datos biográficos del autor, por medio de los que se sugiere su afinidad con la materia gauchesca; el escenario y los personajes de sus obras. En el siguiente capítulo se anota su innovación temática, la función de los personajes más exóticos y cultos, los conflictos psicológicos, y la visión naturalista y filosofía personal del autor. Y en el último capítulo se estudia la estructura y el estilo y su relación con la materia y el asunto. En este estudio nos limitamos esencialmente a la producción novelesca de Lynch y usamos sólo como referencia algunas de las restantes obras en prosa del autor. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Shakespeare clearly found a congenial medium of expression in kings and kingship; Pope tells us that from early childhood he ". . . lisped in numbers, for the numbers came." Similarly, George Eliot evinces an insistent tendency to image her view of human life in a battle of temptation. The plain facts of the novels—from Janet’s Repentance to Daniel Deronda—confirm the truth of this assertion. At least I would think so. But the extant criticism of George Eliot does not validate the supposition. My thesis originated in bewilderment at this discrepancy between expectation and fact. It seeks to deduce George Eliot's concept of temptation from her creative work, to elucidate its characteristic manifestations in the defeats or victories of individual temptees, to test its value in a detailed study of Maggie Tulliver and of Middlemarch, Book 7, to distinguish two concentric spheres of its cogency, showing how the more intense and more technical inner sphere lies embedded in a wider one reflecting George Eliot's moral philosophy, beliefs, and aims as a literary artist, and finally to intimate that the characteristic flavour of the novels stems in large measure from the felicitous interaction between these two mutually complementary spheres. A little reflection, grounded on some acquaintance with life and with literature, soon discloses temptation as a relational concept, composed of certain interacting elements: a strong desire, an opportunity to fulfill the desire, and a standard of conduct that prohibits fulfillment. The well-known temptation in the Garden of Eden, for example, clearly unveils all three. George Eliot accepts this traditional pattern, associated primarily with Biblical and medieval ways of thought, but substitutes humanistic for theological consequences, and thus helps to resuscitate its timeless truth. Desire, opportunity, and ethical ideal burgeon into counterbalancing forces of hitherto unsuspected mightiness, chiefly because the author sees good and evil as qualities within us rather than without. Her uncanny psychological penetration into the moral nature of man overwhelms readers with the shock of recognition. After listing the principal temptees in each of the novels, and pointing to their pivotal role in a Manichean battle, I examine the conduct of five in detail. Mr. Farebrother of Middlemarch eminently exemplifies the pattern of success, whereas Arthur Donnithorne, Bulstrode, and Gwendolen, despite vast individual differences, unite in illustrating the opposite pattern, which of course varies too. Nevertheless, the dividing line between the two contrasted camps remains clear; in fact, the recognizable bonds between the protagonists on the two sides help to throw it into sharper focus. Human weakness and propensity to evil may make the attainment of victory a hard struggle, or they may precipitate defeat; human strength and goodness account not only for victory, but also for the gnawing torture of remorse after defeat. Throughout, George Eliot unmistakably proffers one pearl of precious advice: A vow to oneself alone never suffices for victory; one must immediately and deliberately relinquish the means of breaking it, usually by taking others into one's confidence. Following these relatively straight-forward object lessons, I use the concept of temptation in an analysis of The Mill on the Floss, with emphasis on its principal temptee, Maggie Tulliver; and of Middlemarch, Book 7, whose title requires the reader to account for two temptations. In both instances I conclude that lack of my critical tool had hitherto prevented a satisfying reconciliation of all pertinent facts. Watching the reverberations of victory or of defeat spreading in ever-widening circles from the inner to the outer sphere of temptation, we realize, as do many temptees after losing their battles, that "No man is an island, sufficient unto himself"; that "Our echoes roll from soul to soul,/And grow for ever and for ever." / Arts, Faculty of / English, Department of / Graduate

The topic of my thesis is an analysis of Hans Hofmann's theoretical writings on art and their possible influence on his West-Coast Canadian students. I have included a short biography of Hofmann in order that the reader may become aware of the events that led up to his theoretical development. Through all available published material on and by Hans Hofmann, I have endeavoured to analyze and to explain his theories which are often quoted but seldom understood. Hofmann's art was inspired by nature. This inspiration enabled him to create on the canvas the perceivable movements of "push and pull" and "expansion and contraction." These movements are caused by form and color on a bare canvas which creates the combined effect of two and three dimensionality. However, the two dimensionality of the picture plane is retained momentarily because visually it appears two dimensional but past experience of the observer creates the effect of three dimensionality. These movements of "push and pull" and "expansion and contraction," which are perpendicular to each other, are created by the simultaneous development of form and color. If these movements are able to reflect the artist's mind, sensibility, temperament and past experience, a symphonic painting, a category of the fine arts, or a work of art will have been created. The spirit which has been captured, emits the artist's life for the physical duration of the painting. Although these theories were taught by Hofmann at his schools, he did not expect his students to accept them without a second thought. He wanted his students to develop from them as he had developed from others. The effect of Hofmann's teachings on the contemporary theories of individual students was ascertained by means of a series of interviews with Hofmann's West-Coast Canadian students, Lionel Thomas, Takao Tanabe and Donald Jarvis. Lionel Thomas was greatly influenced by Hofmann's role as an educator. Both Hofmann and Thomas stimulated their students and helped to raise the artistic level of their individual environments. Takao Tanabe said he had rejected Hofmann's theories. If Hofmann was influential on Tanabe, the latter has constricted, denunciated or attempted to forget that influence. Jarvis contrasts both Thomas and Tanabe for he neither accepts or rejects Hofmann's teachings. Jarvis has, as Hofmann had fifty years earlier in Paris, developed from what he learnt from his teacher. Hofmann's influence has not ended, for Thomas, Tanabe and Jarvis are teachers and they, with art historians influenced by Hofmann, still propagate his theories. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

A constant theme in George Eliot's novels is the individual's struggle to find a place in the community, by learning his own limitations and overcoming them. She herself felt the isolation, caused by her 'conversion' from Christianity, from the past. Linked with this feeling of isolation from past traditions and beliefs is her concern for the individual's attaining a clear vision of reality here and now. Meaningful social relations are impossible while the individual is deluded about the nature of the real world. Contact between the self and the world is only possible when the individual sees the necessity to cast off selfish desires and lose himself in concern for others. This is frequently by means of a true marriage or a sound vocation. Chapter II (The Dreamer) shows how George Eliot's choice of subject matter, and insistence on the ordinary nature of common humanity, caused her to show up the prevailing vice, of romantic dreaming, of her heroines. Self-delusion based on wish-fulfillment is a vice she is particularly averse to. The dreamer is often associated with the child-like innocent, cut off from the adult world, and also with animals or birds, and thus cut off from the human world. In Chapter III (The Transgressor) we will see the way in which a guilty past is unsuccessfully concealed. The transgressor frequently attempts to live a lie, to deceive others and himself. This inhibits the free flow of human relationships and excludes him from acceptance in society. The transgressor is locked in with his own guilty secret and unable to make contact with those who are most willing to help him. In Chapter IV (The Tyrant) a further manifestation of isolation is seen in the desire for power over others. This is often seen subtly in the attitude of men towards women. In denying the individuality of women, the tyrant, in varying degrees, inhibits free relationship. Chapter V (The Idealist) deals with those who have vision and principles, but who have in some way been unable to relate these to the human context. The idealist is always shown to be in some way cut off from a realistic vision of himself or society. The final chapter deals with the moral norm representing clear vision, social and domestic harmony. The Church of England clergy and the mentor characters have the functions of humanizing the idealists, and broadening the vision of the egoists. In the novels the attainment of clear vision is always linked with a realistic adjustment to society, an awareness of the needs of others, and an attempt to understand their problems. This process frequently attains a semi-religious significance for George Eliot, and Christian parallels are often drawn. I shall trace this process whereby the individual learns to see himself and others in their true nature, and thus breaks through the wall of restricting vision, and either becomes integrated into society or rejected by it. / Arts, Faculty of / English, Department of / Graduate

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