NEC(ROMANTIC) is a poetry collection thematically linked through images of insects, celestial bodies, bones, and other elements of the supernatural. These images are indicative of spells, but the parenthesis around romantic in the collection’s title also implies idealism. The poems explore the author’s experiences with death, grief, love, oppression, and addiction. NEC(ROMANTIC) employs the use of traditional forms such as the villanelle, sestina, and haiku to organize these experiences. Prose poetry and a peca kucha ground the center of NEC(ROMANTIC) which alternates between lyrical and narrative gestures. NEC(ROMANTIC) is influenced by Sylvia Plath. The author uses Plath’s methods of compression, sound, and rhythm to create a swift, child-like tone when examining emotionally laden topics. Ilya Kaminsky influences lyrical elements of the poems, including surrealism. Spencer Reese’s combination of the natural and personal world is also paramount to this book. Adrienne Rich and Audre Lorde influence NEC(ROMANTIC)’s political poetry.

<p>*missing page 78*</p> / <p>This thesis reflects an attempt to arrive at a full description of the ancient and medieval Indian Spring Festival (Vasantotsava) on the basis of descriptions found in Sanskrit texts and an analysis of the ritual activities of which this festival is composed. The thesis is divided into three chapters. The first contains a discussion of some of the problems encountered in studying the Spring Festival such as the time at which it was celebrated, differences in the manner in which it was celebrated and various sources which describe the festival. Chapter Two contains a description and analysis of the festival on the basis of five primary texts, the Ratnaval1, the Kathasaritsagara, the Vikramacarita, two chapters from the Bhavisya Purana, and the Virupaksavasantotsavacampu. Chapter Three provides a general concluding statement pertaining to the Vasantotsava and examines Vedic precedents often cited for this festival as well as selected descriptions of modern manifestations of this festival.</p> <p>The classic Ratnaval1, written by Ratnavali in the seventh century A. D. in central India, not only contains a detailed and vivid description of the Spring Festival but was written to be performed on this occasion as well. The Ratnaval1, in its description, emphasizes the rowdiness which characterizes this festival. Participants engage in drinking, singing, and dancing as well as the ritual of powder throwing. The Ratnaval1 also gives us information regarding the ritual worship of Kama, the Hindu god of love.</p> / Doctor of Philosophy (PhD)

<p>William Morris has for many years now been considered a minor figure in Victorian literature. His poetry, which enjoyed immense popularity in the nineteenth century, has become unfashionable, and his prose writings, which have never been popular except with a few poets seem very widely underestimated in academic circles~ even where they are read at all. On the other hand, his fabrics and wall-paper designs have never been more popular, and he is still quite well-known as a political figure, with the result that these aspects have dominated most writing on him since the Second World War, while his literary work has been largely ignored, or only treated by critics in other fields who have not felt themselves qualified to appraise his work in this area on any scale.</p> <p>This lack of concern for Morris's literary work, and particularly for his prose romances, which have been most unjustly neglected, has come about chiefly through two factors: the changes in taste which have caused twentieth century critics to be chiefly interested in lyric poetry and in the novel, instead of in narrative poetry and in the prose romance; and the resulting ignorance about the conventions of these genres which have led them to judge Morris's work by inappropriate norms. That Morris's work is relevant to the twentieth century is shown by the new non-academic revival of interest in his prose romances, and it seemed that the time had come when a serious attempt should be made to understand just what Morris was trying to do in his poetry and prose, and how far he succeeded.</p> <p>This thesis attempts therefore to distinguish a line of development in Morris's aesthetic theory, working from his writings on art and on literature, to analyse that development, and to apply it to his literary work. The thesis thus falls into five parts: a section which deals with critical attitudes to Morris and the break-down of suitable critical terminology for judging his work which has brought about his present low status; two sections setting out Morris's aesthetic theory in design-work and literature; and two sections in which this theory is related to his literary achievements in the earlier and the later work. This means that the thesis considers at least briefly most of Morris's literary production, but main areas of concentration are on the early prose tales, The Earthly Paradise, and the late prose romances. The resulting picture of Morris's theory and practice shows how his thought and art, modified by the needs of his political ideals, developed from his early naive work in design and literature towards a much more sophisticated art, which can be read on a number of levels, in which his wide knowledge of myth and legend and his own symbol-system taken from the world of nature blend in equal parts.</p> / Doctor of Philosophy (PhD)

<p>The present study is an attempt to describe and explain the institutional history and intellectual discussions of the Fellowship of Reconciliation in Britain during the period 1914-1945. Since its inception on December 31, 1914, the FOR has commonly been described by historians and other authors as an interdenominational Christian pacifist organization. Yet, the establishment and maintenance of peace was not the ultimate aim of the founding members. What they envisioned was the establishment of the Kingdom of God. Peace, they argued, would be an indubitable consequence of the Kingdom. However, FOR members often did not agree with one another about the method by which the Kingdom could be inaugurated. During the period discussed in this thesis, the FOR gradually narrowed its focus. From striving to achieve the Kingdom of God, which encompassed all aspects of life, the Fellowship shifted its attention to what are generally regarded as matters pertaining primarily to pacifism. By the advent of World War II, however, the wider perception of the FOR's mission had been reasserted by many members.</p> <p>This pendular movement is described in the four parts of the thesis. Part I looks at the matrix out of which the FOR grew, the gestation period, the nature of the envisaged Kingdom, the growth and the activities of the Fellowship until the end of World War I. Part II, covering the period 1919-1929, surveys the FOR's internal struggles, the changing theological climate and the Fellowship's attempts, however unsuccessful, at creating a new society. During the 1930s, described in Part III, the FOR was largely a single issue interdenominational Christian pacifist organization, providing the churches and other pacifist organizations with a vast amount of literature on pacifism. During the second world war, discussed in Part IV, the FOR entered a new phase which yet invites comparison to 1914. The publications and activities, especially those of the second half of the war, readily recall the original FOR vision.</p> / Doctor of Philosophy (PhD)

<p>Wordsworth is a mythopoeic or mythmaking poet. While the fell-sides, sheep-folds, and mountain roads of Cumberland-Westmorland provide an external reality in which his dramas can unfold, and while the shepherds, fell-folk, and travellers offer him the dramatis personae to people this natural stage, the drama is also, and perhaps even more so, an inner psychological ritual played upon the stage of Wordsworth's psyche, and the actors are just as much gods and goddesses and titans, representing the psychic forces which come into play in the various stages of his spiritual progress, as they are people.</p> <p>If one is to see this drama clearly, then, one must adjust one's eyesight as well to the dark inner landscape of the psyche in order to realize the full scope and quality of Wordsworth's pastoral. As he plainly warns us in the Preface to the 1814 Excursion, we must look</p> <p>Into our Minds, into the Mind of Man-My haunt, and the main region of my song.</p> <p>Those people who, by their own unwitting habit, see only the outer landscape--the outer light of consciousness is so bright that they fail to see the shadows--will have only a one-dimensional view of his poetry, for, like all Titans, Wordsworth is a creature of the caves and mountain bases, and a good portion of him is inside and underground.</p> <p>In the earlier and more real part of his poetic career--the period of Lyrical Ballads, the fell-side tragedies, the 1805 Prelude--Wordsworth knows the true source of his energy, speaks and acts like a true son of Mother Earth, like a Prometheus unbound, and defends her interests as he knows how to do. The poetry is rich, insightful, and positive. There is noticeable, however, even as early as the 1805 Prelude, a conflict of allegiance developing in his work in which he reveals a being at odds with himself because his ego--with its illusions about human perfection and its unrealistic evaluation of himself as an epic poet with mastery over an external and public order of truth--is totally ignorant of another Wordsworth which is sleeping and unconscious--a source from which he needs to find out that life and people are imperfect and from which he could understand that his talents or propensities were better suited to pastoral--an internal and private order of experience.</p> <p>Such a conflict, if not healed by a fruitful communication between the two parts of his personality, can result in unhealthy polarization and even in disaster for his entire being. Wordsworth may have avoided disaster for a time by taking some cognizance of the pressures of his mortal or animal self and by adjusting his viewpoint to some extent to allow for its needs. But, obviously, he has not understood the warning of his unconscious (Dream of the Arab in Book V, and the Simplon Pass passage of Book VI, of The Prelude) soon enough or fully enough, for, instead of compensating for his excess idealism, he turns upon the oracle of his truth as though she were his enemy, and sets up exaggerated ego defences against her, secretly dreading her power. He gains a certain amount of outer security at the price of inner security and the death of his imagination.</p> <p>The Excursion (1814) illustrates the retrogressed and negative view of life he has come to hold as a result of his distrust and fear of the imaginative life, and also reveals him as almost totally unfit for any kind of epic endeavor or poetry aiming at a social and external order of truth.</p> <p>Since Wordsworth, as a poet, presumes to steal fire from heaven while he is grounded in the fire of the inferno-. tries to be an epic poet when he is really a pastoral one-he is caught at the deadly point of opposition between the warring principles of life, is fused and turned into stone, a Prometheus bound for his presumption, no longer having an inner life of his own or fighting for the truth of suffering humanity, but sounding hollowly as the oracle or propagandist of the otherworldly wisdom of the sky gods or aristocrats. For the balance of his long life, he is nothing but a fallen one, a titan groaning under the weight of the world, a "voice of ruin" unable to do anything but echo the barren clich6s of reactionary authority.</p> / Doctor of Philosophy (PhD)

<p>This thesis deals with Soren Kierkegaard's understanding of reason and· faith. Whereas the reader may be unfamiliar with his works, I have elected to begin my discussion with an introduction to their authorship. Bringing knowledge of the authorship to bear on the question at hand, I aim to elucidate the respective viewpoints of three of Kierkegaard's pseudonymous authors, namely: Johannes de Silentio, Johannes Climacus and Johannes Anti-Climacus.</p> <p>Summarizing these three presentations finally with reference to the major autographic works, including his Journals and Papers, I aim to clarify Kierkegaard's point of view and understanding respecting the nature of reason and faith and their relation in a Christian's life.</p> / Master of Arts (MA)

<p>The categories of the Sublime and the Beautiful, popularized during the eighteenth century, are central to Wordswordth's major poem The Prelude. In this poem, phrases which pair off fear or terror and love obviously recall Burke's theory of the Sublime as having to do with ideas of self-preservation and the beautiful with ideas of love and society. In book 1 of The Prelude Wrdsworth interprets his formative experiences in terms of solitude and society. experiences of fear and friendship. This interpretation governs the entire poem, though in the final books Wordsworth deprecates his tendency to respond excessively to the sublime. Other ideas of the sublime than Burke's also affected his powerfully. The theme of the mind's steady acquisition of power through The Prelude; it is stated at the conclusion of book VII and in the "Climbing of snowdom" episode of book XIII. This there is a modification of the 17th and 18th century, which examines the mind's attributes to the mind's activities when it confronts grand and wast forms, and attributes to the mind capacities of expansion and elevation. In this own essay, "The Sublime and the Beautiful", belonging to the same period as his Guide to the Lakes, Wordsworth elaborated this idea, claiming that the mind is likely to respond in terms of either awe or elevation when it confronts forms combining "individuality of form" with "duration" and "power". In The Prelude significant experience, involving the arousal and excersie of imagination, generally arises from some combination of simplicity, duration and power in phenomena. Wordsworth's interest in the sublime and beautiful developed through conventional, sensationalist response to the mountaous Lake district environment of his boyhood, and to the alpine regon he visited in 1790. But gradually he evolved a series of laws, stated in "The Sublime and the Beautiful" and implied in The Prelude, which accounted for the imaginative significance of sublime phenomena in terms of their ability to suggest unity, infinity and power. These qualities, once precieved, provided emblems of the imagination, explores its powers, and links it with sublimity. At the end of the poem, however, Wordsworth attaches equal importance to love and beauty. After the crisis of the French Revolution his sister Dorthy, Marry Hutchinson and Coleridge helped to restore his faith in man and nature by directing his attention to the beautiful. The Prelude therefore suggests that the beautiful is fundamentally important in promoting moral and spiritual health. But the poem's major theme is the growth of a poet's mind and imagination, and it is the sublime that is consistently yoked with imaginative vitality.</p> / Doctor of Philosophy (PhD)

Ce travail se concentre sur l'epoque pre coloniaIe en Ha'iti et examine I'impact de la colonisation sur les populations indigenes de I'ile. II se penche plus precisement sur Ie peuple tatno et sur la vie d'une de ses souveraines, la reine Anacaona. La vie d'Anacaona est assez particuliere, car I'histoire d'Ha'iti etablit que la reine fut la premiere femme d'importance dans Ie pays, qui non seulement eut contact avec les Conquistadores espagnols lors de I'arrivee de Christophe Colomb sur I'ile, mais resista a l'lmperialisrne et a la colonisation, avant d'etre capturee et mise amort par les colons. Ce travail verra I'influence que la vie de la reine a eu, non seulement sur les Talnos de I'epoque, mais aussi sur Ie peuple ha'itien actuel. II examinera Ie phenomena Anacaona dans Ie domaine litteraire et dans les discours feministes. Pour ce faire, une analyse sera effectues sur trois oeuvres ecrits par des auteurs ha'itiens et trois textes ecrits par des feministes contemporaines. Ces auteurs regardent aussi l'irnpact qu'a la vie d'Anacaona sur Ie peuple ha'itien d'aujourd'hui. Cependant, I'analyse de la vie de la souveraine ne se limitera pas aux frontleres de « La Terre Montagneuse », Elle verra aussi comment les feministes provenant des diasporas ha'itiennes, porto-ricaines et latino-arnericaines considerent la souveraine talno, au vingt et unlerne siecle. Finalement, une comparaison entre les deux genres d'ecriture sera effectues; c'est-a-dire, nous verrons si les ecrivains ha'itiens depeignent la reine de tacon differente que les auteures feministes, et ce que son regne apportera aux futures generations ha'itiennes et latina arnericalnes. / Master of Arts (MA)

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