This thesis focuses on predisciplinary dialogue in the Romantic periodical press, and in particular, on the influence of medical thinking and the science of the mind on the writing of James Hogg (1770-1835). The applicability of twentieth-century psychology to Hogg’s masterpiece, The Private Memoirs and Confessions of a Justified Sinner (1824), is largely responsible for Hogg’s entrance into the modern world canon, and the tension between rational scientific and traditional supernatural explanations in Hogg’s corpus is now a critical commonplace. However, critics have been hesitant to recognise Hogg’s voice in the proto-psychological polemics of his era. The ongoing publication of the Stirling/South Carolina Research edition of the Collected Works of James Hogg has catalysed revisionist scholarship in Hogg studies and is leading to a growing recognition of his pervasive connections within the diverse intellectual culture of the era. This thesis examines his connections to the little-known Glaswegian surgeon and writer, Robert Macnish (1802-1837). Like Hogg, Macnish was an active contributor of short prose fiction and poetry to the Romantic periodical press, and at the same time, he worked as a practicing surgeon in Glasgow, publishing three popular medical texts: The Anatomy of Drunkenness (1827), The Philosophy of Sleep (1830), and An Introduction to Phrenology (1836). These texts engage with popular debates in the periodical press, including the reciprocal relationship between the mind and body, particularly regarding altered-states of consciousness, as well as methodologies in the science of the mind. Macnish’s literary contributions to Blackwood’s Edinburgh Magazine and Fraser’s Magazine for Town and Country under his pseudonym, ‘A Modern Pythagorean’, deal with similar themes, and by examining Hogg’s literary and biographical connections to Macnish, a clearer picture of Hogg’s engagement with medical thinking and the science of the mind is created. Macnish’s dedication of a dream-poem to ‘The Ettrick Shepherd’ and the utilisation of an extract from Hogg’s poem The Pilgrims of the Sun (1815) as a headpiece in The Philosophy of Sleep (1830) are the starting points for the first section, while Karl Miller’s assertion in Cockburn’s Millennium (1975) that Hogg’s Confessions may have influenced Macnish’s Blackwoodian prose fiction is examined in the second section. The final section questions why Macnish chose to use ‘James Hogg’ as his nom de guerre for his short prose tale, ‘A Psychological Curiosity’, published in The Scottish Annual (1836), and examines Miller’s assertion that Macnish’s Blackwoodian tale, ‘The Metempsychosis’ (1826), may have influenced Hogg’s tales, ‘On the Separate Existence of the Soul’ (1831) and ‘Strange Letter of a Lunatic’ (1830), both published in Fraser’s. It is concluded that Hogg and Macnish shared numerous preoccupations and influenced one another’s writings over the course of many years. The connection between moral virtue and health pervades both authors’ corpuses, as the relationship between cause and effect is literalised through physically and therefore mentally transformational experiences. The engagement of both authors with the debate surrounding the explained supernatural has a profound impact on their writings, and both are preoccupied with the methodologies of the science of the mind, including the metaphysics of the common sense philosophers and the ‘bump-reading’ of the phrenologists. By the end of his career, Macnish fully ascribed to the explanatory power of phrenology. In contrast, Hogg remains resistant to place full faith in modern conceptualisations of natural law, while also forwarding an embodied theory of the imagination, the mind, and the soul. For Hogg, one comes closest to a divine understanding of the natural world through aesthetic experience and imaginative belief, which ready the mind and body for the joys of the world to come. Finally, Hogg, as an autodidactic peasant-poet, was himself an object of study in the science of the mind, but an examination of the relationship of his life and writing to that of Macnish reveals that he was both ‘a psychological curiosity’ and psychologically curious.

The thesis is a study of Wordsworth and the sonnet. It is structured around detailed assessments of each 'type' of sonnet that Wordsworth wrote, but my overarching goal is to demarcate a sonnet corpus and place it in a position of eminence, and in so doing, gesture towards a re-evaluation of the poet's career, by positing an alternative to the traditional Prelude-centric view of his oeuvre. It has been customary, from influential critics such as Geoffrey Hartman onwards, to locate the familiar Wordsworthian ethos in the long poems and canonical Romantic lyrics, such as 'Tintern Abbey'. I argue that the large body of sonnets represents an alternate corpus, to be read both alongside, and counter to, the traditional interpretation of the career. The attempt is to encourage scholarship to rethink the poet's own metaphorical view of a 'gothic church' for his career, which has The Recluse as its primary body, and to reposition the sonnet form in that view, so that it may occupy a more prominent place. Wordsworth's sonnet groups are often overlooked by scholarship, or instead read out of context through unrepresentative anthologising. My thesis argues that the sonnets should not be read as subordinate to, or parasitic on, the longer work. I contend that the sonnets constitute a vital body of work in their own right. By reading the poet's career through his sonnets, a sense of continuity between the early and late Wordsworth is established, while at the same time, the familiar Wordsworthian ethos is present throughout. I also develop the standard interpretation of Miltonic inheritance, by suggesting that while Wordsworth was certainly influenced by Milton, he was also profoundly influenced in his sonnet writing by his contemporaries, including Charlotte Smith, William Lisle Bowles and Thomas Warton. I build on recent scholarship in this area, and offer a more extensive view, that sees Wordsworth appropriating and subverting the conventional sonnets of the late eighteenth century for his 'Miscellaneous Sonnets' and The River Duddon. My aim is to posit Wordsworth's sonnets as a corpus, and I argue that they occupy a prominent position in critical interpretations of the poet's career.

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.

Bibliography: leaves 304-316 / 316 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1994

This study suggests that Blake’s works can be understood as ‘conversion works,’ which seek to facilitate a broadly defined perceptual, spiritual, and intellectual conversion in the reader/viewer. This conversion is manifested in various ways in the texts, images, narrative structures, and style of Blake’s works. Part I discusses the genesis of the narrative of Blake’s own conversion and introduces critical discussions of the conversion narrative as a genre, showing how the predominant interpretative paradigm of the conversion narrative (as an autobiographical reportage describing a one-off experience) is challenged by the shapes that conversion narratives have taken throughout history, suggesting a broader definition of conversion literature. In Part II, I analyze Blake’s depictions of Christ in his illustrations to Night Thoughts in relation to eighteenth-century Moravian art, and the way in which they are later used in The Four Zoas. I discuss how Milton can be understood as a multilayered conversion narrative, how the manifestation of conversion in Jakob Boehme’s works might have influenced it, and how a related conversion is manifested in Jerusalem (1804-20). Finally, I show how Blake represents conversion in his illustrations to Pilgrim’s Progress and the Book of Job, emphasizing the importance of vision and the inclusion of protagonist and viewer in the divine body. Together, these analyses show conversion as a gradually developing presence in Blake’s works, exploring the conversion moment as a way into the shared salvific space of the body of Christ for fictive characters, author, and reader or viewer together.

Bibliography: leaves 421-464 / ix, 464 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of English Language and Literature, 1988

This dissertation concurs with the Jungian postulation that certain psychological archetypes are inclined to be reproduced by the collective unconscious. In turn, these psychological archetypes are revealed to emerge in literature as literary archetypes. It is consequently argued that science fiction has come to form a new mythology because the archetypal images are displaced in a modern, scientific guise. This signifies a shift in the collective world view of humanity, or a shift in its collective consciousness. It is consequently argued that humanity’s collective consciousness has evolved from mythic thought to scientific thought, courtesy of the numerous groundbreaking scientific discoveries of the past few centuries. This dissertation posits as a premise that Pierre Teilhard de Chardin’s supposition of humanity’s collective consciousness evolving towards what he calls the Omega Point to hold true. The scientific displacement of the literary archetypes reveals humankind’s evolution towards the Omega Point and a cosmic consciousness. / English Studies / M.A. (English)

This dissertation concurs with the Jungian postulation that certain psychological archetypes are inclined to be reproduced by the collective unconscious. In turn, these psychological archetypes are revealed to emerge in literature as literary archetypes. It is consequently argued that science fiction has come to form a new mythology because the archetypal images are displaced in a modern, scientific guise. This signifies a shift in the collective world view of humanity, or a shift in its collective consciousness. It is consequently argued that humanity’s collective consciousness has evolved from mythic thought to scientific thought, courtesy of the numerous groundbreaking scientific discoveries of the past few centuries. This dissertation posits as a premise that Pierre Teilhard de Chardin’s supposition of humanity’s collective consciousness evolving towards what he calls the Omega Point to hold true. The scientific displacement of the literary archetypes reveals humankind’s evolution towards the Omega Point and a cosmic consciousness. / English Studies / M.A. (English)