The thesis covers the critical theories of eight English critics of the nineteenth century: Wordsworth, Coleridge, Lamb, Hazlitt, De Quincey, Arnold, Pater, and Wilde. I have first defined the personal estimate as "that estimate of art in which the nature of the critic as an individual man has influenced his judgment.” I recognize that all criticism mast have something of the personal estimate in it, hut the true critic will, as much as possible, cleanse his criticism of it in order to reveal the nature of the work of art as in itself it really is. I have then analyzed the theories of Wordsworth and Coleridge in order to indicate that the basis on which they established Romantic criticism is one of personal emotion-first in the poet, and then in the reader and personal pleasure. In the theories of Lamb, Hazlitt, and De Quincey I have traced the development of impressionism in Romantic criticism, and the degree to which that impressionism leads these three men to a personal estimate of literature. In Arnold's theories I have analyzed his concept of poetry as a criticism of life, and indicated the way in which that concept leads Arnold to a recognition that although the critic must first feel the emotional effects of poetry, his ultimate aim must be to see the object as in itself it really is. I have then turned to the theories of Pater and suggested that although he bases his theories on impressions he recognizes that the experiencing of impressions alone is not the critic's sole aim: the critic must contemplate his impressions in order to arrive at a perception of the essence of a work, and, in the case of a great work of art, a perception of the ideals of life which it embodies. And I have last considered the theories of Wilde who also builds on impressions, but believes the end of criticism to be like poetry itself the communication of one man's emotional response, in this case the critic's response to a work of art: whether or not that response represents a balanced appreciation of the work itself does not matter. From the survey of the theories of these eight men I have arrived at the conclusion that all follow the right path when they recognize the importance of the personal response in criticism. Some, however, lose sight of their duty as critics when they allow their own experience of life to colour their response and offer a purely personal estimate of a work as criticism. The greatest of the eight - Wordsworth, Coleridge, and Arnold - recognize that in criticism we must see the poet's poem and not our own. Only by doing so can we arrive at a real estimate. / Arts, Faculty of / English, Department of / Graduate

The purpose of this paper is to observe and discuss the description of peasantry in Russian prose literature from the second half of 1840's to 1917. In the introduction is given an outline of the peasant theme before the forties. For that purpose all material is sub-divided into chapters; each chapter discusses an individual writer, except the fourth chapter which considers the raznochintzy writers. The initial chapter discusses the first works of Grigorovich which are concerned with peasant life in the forties. Chapter Two deals with Turgenev's stories from A Sportsman's Sketches which show the spiritual and poetical side of the peasantry. The Third chapter discusses the works of Pisemsky of the fifties; here the realistic description of peasantry reaches its height. Chapter Four is a detailed analysis of the works of the raznochintzy writers of the sixties and seventies: Sleptzov, Levitov, Reshetnikov and mainly Gleb Uspensky. They are compared with their predecessors as well as compared among themselves. Chapter Five discusses the main works of Korolenko who acquaints the reader with the way of life of the Yakuts, Tartars, the Siberian and Russian peasants, and nomads. The Sixth chapter deals with the main works of Chekhov concerned with the peasantry. His works retain in themselves the sober truth of both the portrayal of the raznochintzy writers of the sixties and the artistic beauty of Turgenev. The Seventh chapter considers the works of Bunin where they are compared with those of Chekhov. With Bunin's works ends the period of critical realism before 1917. This is followed by a short conclusion, where some works of Tolstoy are discussed. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

The object of the thesis is to look at some of the main factors governing the relations between the Treasury and the Departments of the central Government in the nineteenth century. It seeks to show how nineteenth century Treasury control, in both financial and Civil Service affairs, was the product of a unique period in the development of British administration. This period lies between the reforms of the administration at the end of the eighteenth century, which ended the surviving obsolete practices and political patronage, and the changes of the late nineteenth century which saw a new appreciation of the potential of administration and a weakening of the hold of the idea of public economy. The introductory chapter shows how the control of administration by a single Department was made possible by the gradual disappearance of political patronage and medieval administrative practices, which dates from the 1780's. Though the Treasury had long been the most important of the Departments, and though the legal powers it exercised dated back to the 1660's, it was only the reforms of the late eighteenth century which created an administration amenable to control, and deprived the Treasury of its political role. The work of the various Treasury officers was changing well into the nineteenth century, which emphasizes this late development of the Department's effective administrative powers. The Treasury's control of the Revenue Departments reflects its long existent legal powers to supervise the money voted to the Crown. They were absolute and well defined by the eighteenth century, and thus did not influence the Treasury's relations with other central Government Departments in the nineteenth century. The second chapter discusses the Treasury's role in curtailing public expenditure, which was the basis of all its activities in the nineteenth century. It seeks to show that, because public economy was an integral part of current thinking on economics and on government, the Treasury was in a position of great prestige. The remarks of Chancellors of the Exchequer and Treasury civil servants emphasize this point, and show how the Treasury was a Department with a high sense of responsibility. The chapter points out the various weaknesses of the Treasury in this field, and shows how in matters of high policy the relative political prestige of the Chancellor of the Exchequer and the departmental ministers was very important. In small matters however the Treasury was able to exercise something approaching autocratic authority. The Treasury felt it was not its business to interfere in departmental policy, but various examples show how the mere curtailing of expenditure could constitute interference. In conclusion the chapter looks at the way in which expenditure did in fact rise in the nineteenth century, despite the emphasis on economy. This indicates the Treasury was not able effectively to curtail the expenditure increases on commitments once they had been entered into, and that it became weaker towards the end of the century as the idea of retrenchment came to have less force. The third chapter discusses the reforms of routine financial administration, which at the end of the eighteenth century were instituted partly as a result of attempts to reduce the power of the Crown, and in the period from the 1830's to 1860’s largely to establish the constitutional principle of the Parliamentary control over grants. These reforms, which culminated in the Exchequer and Audit Act of 1866, radically changed the way in which money was supervised once it had been granted by Parliament to the Crown. At one and the same time they created a system which was far more open to control from the centre and one which required the enforcement of a large number of regulations. The reforms increased the duties of the Treasury, and greatly enhanced its effective power, although they were not introduced with that object in mind. The fourth chapter looks at the Treasury's control of the Civil Service, and shows how in personnel affairs the Department took an excessively financial approach. In supervising establishments and the growth of Government Departments it failed to look objectively at the problems involved, or to take up the initiatives which this period of unprecedented administrative expansion offered. The fifth chapter looks at the co-ordination of decisions involving several Departments, which constituted a more routine aspect of the Treasury's work. A study is made of the Zanzibar mail contract affair of 1873, and the way in which it demonstrates the confusion over how the Treasury might best co-ordinate interdepartmental decisions. In this instance the Treasury, under Robert Lowe, failed to take account of the knowledge available in some sections of the Government, with the result that important decisions had to be reversed. From this the conclusion is drawn that this side of the Treasury's work as the central Department was best conducted by closely following an efficient procedure rather than by exercising initiative. / Arts, Faculty of / History, Department of / Graduate

(no abstract available) / Education, Faculty of / Language and Literacy Education (LLED), Department of / Graduate

L'obiettivo che qui ci si propone, è quello di cercare di delineare le caratteristiche essenziali di un genere letterario nuovo, il romanzo sociale, attraverso l'analisi particolareggiata di alcuni scrittori 'impegnati' della prima metà dell'Ottocento. II presente lavoro esaminerà, quindi, l'evolversi complesso e, a volte, contraddittorio, di questo prodotto letterario che, nonostante i suoi limiti artistici, si inserì - sulle orme del romanzo storico - nella vicenda culturale del momento, ne assorbì comuni caratteristiche sociali, didascaliche e ideologiche, fino a diventarne un fatto a sè, identificabile e isolabile di notevole interesse. In un clima storico-politico così particolare, quale quello dell'Italia romantica pre-unitaria, la vicenda culturale e letteraria del romanzo sociale rappresentò, infatti, per gli scrittori borghesi del periodo, il mezzo espressivo ideale, attraverso cui poter manifestare le proprie opinioni politiche ed artistiche nei confronti di un pubblico nuovo, di volta in volta da 'educare' o da controllare, da 'guidare' o da reprimere. All1internò della polemica romantica si cercherà di definire, appunto, questo rapporto complesso e difficile tra scrittore e destinatario del prodotto artistico, attraverso l'analisi di espressioni diverse dello stesso filone di questa letteratura 'impegnata': il romanzo sociale di G. Carcano e A. Ranieri, il romanzo rusticale di C. Percoto e C. Ravizza, il romanzo filantropico di G. Longoni e F. Dall'Ongaro. Nella parte conclusiva di questo saggio si tenterà di collocare il romanzo 'impegnato' all'interno di un preciso contesto socio-politico-culturale e letterario, per cercare di determinare, infine, le prospettive di sviluppo di questo genere e le sue eventuali responsabilità nella formazione delle basi essenziali di quelle che sarebbero state, poi, le successive istanze veriste. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

This thesis explores two apparently contradictory problems. It assumes that the autobiographer would like to "tell the truth" about himself as no one else could tell it. If this assumption is just, however why does the nineteenth-century autobiographer so commonly use formal literary conventions in order to describe large stretches of experience? In particular, why does the myth of paradise and paradise lost so frequently describe childhood and the end of childhood? Why does a journey represent the maturing youth? What sense do standard descriptions of conversion and confession make of private experience? Attempting to reconcile this contradiction between the expression of personal experience and the use of stereotypical forms, this thesis looks first at the inevitability of fiction in any written account. Fiction is inevitable because words act as translation for experience and because the individual translates every experience into the altered form of his perception. Altering himself and his life by the primary acts of perception and writing, the autobiographer translates himself into a character in a book and the events of his life into a story. Autobiographical works by William Hale White and George Moore exemplify the translation of the living man into the fictive narrator. Newman's sickness in Sicily and De Quincey's departure from school exemplify the translation of variegated experience into the particular and familiar narrative forms of conversion and confession. If the fictive character and story are inevitable results of any attempt to write autobiography, then it makes sense to examine these literary conventions that recur so frequently in autobiography as myths described by Frye as the typical forms for typical actions or by Jung as forms without content. They are explored here, each in turn, as metaphors for private experience in a few core texts. Autobiographical works by Rousseau, Wordsworth, George Moore, and Thomas Carlyle provide basic exemplary material which is extended in particular instances by examination of autobiographical works by William Hale White, De Quincey, and John Stuart Mill. For exploration of childhood, I have turned to some Russian autobiographers who pay significant attention to childhood. For confession, some early confessional works provide an historical context. In order to understand why and how the myths of paradise, the journey, conversion, and confession can serve as metaphors for private experience, each form is examined in turn in its relation to myth, religion, and human psychology. Paradise and paradise lost, for example, examined in the light of other creation myths and of certain generally accepted truths about child psychology, can be seen to describe with considerable efficiency some essential truths about the life of every child and the problems inherent in recreating one's own childhood. Similarly, the heroic journey, which derives from myth, epic, and religion, and which takes the hero quite literally through hell, describes significant aspects both of maturation, the development of a coherent identity, and of the process of writing an autobiography. Confession, or the narration of the heroic tale, describes the return of the hero and represents the autobiography itself. This narration takes the form of metaphor at every stage precisely because its subject, the individual identity, is unique and inaccessible and because events and endings are less significant than meanings and identity; the character and his story depend on such complex representation for their hidden truths to be made manifest. Deriving from myths, which provide the forms for recurrent experience, and from those common psychological conditions from which the myths themselves derive, these metaphors are the servants of individual need and are efficient purveyors of intersubjective meaning. / Arts, Faculty of / English, Department of / Graduate

Inspired by the work of the Swiss psychotherapist Alice Miller (For Your Own Good, 1983) on the negative effects of traditional childrearing practices in Germany, this thesis posits the existence in France of a similar tradition of "poisonous pedagogy," also founded on a set of moral principles and pedagogical techniques designed to desensitize, demoralize, and blame the child while protecting the parent/teacher. Working under the banner of Cultural Studies, I study examples of pedagogical discourse taken from a variety of cultural productions, ranging from moral treatises (lay and religious) and books on infant care (puericulture) to children's stories, primary school readers, and civics texts. Drawing on Michel Foucault's paradigms of power/knowledge and the "archeology" of knowledge, this study focusses on the various constructions of the child in nineteenth-century France. Beginning with an analysis of Jean-Jacques Rousseau's influential Emile ou de l’education (1762), this study traces the legacy of poisonous pedagogy in France during the July Monarchy, the Second Empire and the Third Republic. During the nineteenth century the discourse on children was in constant mutation, and opposing perspectives clashed throughout the century, although criticism of poisonous pedagogy became strong only in the last quarter of the century during the Third Republic. Child advocates at this time can be found in many different spheres-education, politics, medicine-but the contribution of literary writers to the discourse on children is perhaps the most dramatic of any group. The harshest criticisms of poisonous pedagogy and its concomitant construction of the child came at the end of the century in the form of two literary works: Jules Valles's L'Enfant (1879), and Jules Renard's Poil de Carotte (1894). By skillfully weaving powerful attacks on the techniques and principles of poisonous pedagogy into their texts, these two writers prefigure the pedagogical discourse of modern-day psychologists and child specialists. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

My thesis revives the term raciology to describe collectively the literature which emanated out of philological ethnology, that is, out of the studies of man inspired by the rapid advances in linguistic science in the early nineteeenth century. Raciological Thought in Victorian Culture is divided into two parts: it examines the development and dissemination of nineteenth-century raciological knowledge in the works of celebrated philologists and anthropologists; and then investigates typical features of raciological discourse in Victorian and Victorian Canadian culture. It views this regional British literature as a field for the political and educational deployment of British raciological conceptions, and comments on some of the implications of the circulation of raciological doctrine. My argument begins with discussion of the often overlooked celebrity and authority of philologists in Victorian culture, tracing the derivation from philology of raciological typologies which established the raciological associations of terms like "Britons," "Anglo-Saxons," and "Teutons" during the early and middle-Victorian periods. An important aspect of the thesis is a re-evaluation of the influence of Friedrich Max Muller, the most influential comparative philologist and mythologist in the Victorian world. I argue that his use of etymological study for archaeological data greatly contributed to the rapid dissemination of raciological thought among the educated and educating classes. The first part of the thesis concludes with discussion of issues which animated raciological discourse. The second part follows the dissemination of Victorian raciological thought to Canada, and illustrates its effects in an imperial context. It demonstrates the use of raciology in establishing Canada's legitimacy as a British nation, and documents the place of raciology in establishing the authenticity of Canadian continuity with a British culture running into deep antiquity. After discussing neglected raciological aspects of several important Victorian Canadian source works, it goes on to outline the importance of raciological mythology to the preservation of the Dominion from American annexation and Fenian incursion. My epilogue briefly documents the decline of raciological thought in Britain after the 1890s. By investigating numerous neglected Victorian sources, Raciological Thought in Victorian Culture establishes raciology as an important element in Victorian political-and, in particular, nationalist-thinking. / Arts, Faculty of / English, Department of / Graduate

This dissertation examines nineteenth-century Canadian fiction in relation to the cultural context from which it emerged. The first three chapters present the difficulties which undermined the development of the novel in a conservative colonial community. Chapter I surveys the literary nationalists who called for the establishment of a distinctive Canadian literature and deplored the apathy of the Canadian public; chapter II documents Victorian Canada's suspicion of the novel as a valid literary form; chapter III looks at the problem of finding valid material for fiction in a recently settled land which appeared to lack the historical and cultural associations presumed necessary for literature. The fourth and fifth chapters provide the critical focus of this dissertation by analyzing nineteenth-century Canadian discussions of the theory of the novel. Sara Jeannette Duncan, post-Confederation Canada's most radical literary critic, argued consistently that the romantic novel was obsolete. Despite Duncan's vigorous promotion of Howellsian realism, most Canadians remained faithful to the standard of Sir Walter Scott, and read and wrote romantic fiction conforming to the moral and aesthetic principles outlined by Goldwin Smith in his 1871 address on "The Lamps of Fiction." The opposition between Duncan's realism and Smith's romanticism provides an indigenous critical framework in which to evaluate the work of nineteenth-century Canadian novelists. The last four chapters examine the efforts of Canadian writers to fit Canadian materials to the forms and conventions of popular romance. Chapter VI shows how John Richardson's search for exciting Canadian subjects suitable for the romance of high adventure was repeated by other writers throughout the century. Chapter VII discusses Victorian Canada's taste for historical romance as part of a movement to discover and recover Canadian history, and analyzes An Algonquin Maiden (1887) by G.M. Adam and E.A. Wetherald as a deliberate effort to prescribe historical romance as the proper mode for Canadian fiction. Most novelists interested in history abandoned English Canada for Acadia and Quebec, however, and their work is the subject of Chapter VIII. William Kirby's The Golden Dog (1877) provided a prototype for historical fiction about Quebec; the work of Susan Frances Harrison and Duncan Campbell Scott epitomizes the imaginative importance French Canada held for English Canada. Even when nineteenth-century writers turned to everyday experience their treatment of ordinary life was tinged by their taste for romance and didacticism, as Chapter IX shows. With a few exceptions, Canadian writers refrained from realism until many years after the route to modernism was indicated by Duncan Campbell Scott's stories of the North and Sara Jeannette Duncan's novel, The Imperialist (1904). / Arts, Faculty of / English, Department of / Graduate

No description available.