Thesis (MEd (Distance Education))--University of South Australia, 1995

Diss. : Philosophische Fakultät : Köln : 1982 soutenue sous le titre : "Die Politischen Aktivitäten der Beamtengruppe um Anpassung - Opposition - Widerstand". - Bibliogr. p. 232-244. Index. -

This thesis is a study of themes and genre in Tennyson's Idylls of the King. I have not attempted to present a survey of the body of critisicm on the cycle, nor have I attempted a comprehensive comparison of the poem with any of Tennyson's sources. The first chapter is based on A. Fowler's study of genres and I follow the implications of his work in my reading of the Idylls. Tennyson blends various generic strands in his cycle, in particular allegory, epic, dramatic monologue and the Alexandrian idyll, to create a complex psychological allegory of epic scope which both draws on traditional genres and extends them. I believe the Idylls should be read as a cycle and in the order in which Tennyson finally presented them; the ordering process is as much part of the creative process as the actual act of composition. I have adopted Priestley's sensible division of the twelve poems which he says "falls naturally into three groups of four, corresponding closely to the three acts of modern drama" (1960, p.252-254)" The second chapter begins the sequential examination of the first four "spring" and "summer" poems beginning with the symbolic The Coming of Arthur. This idyll begins Tennyson's Arthurian mythopoeia, creating a poetic kingdom of the mind. The "act" closes with the Geraint and Enid idylls, all four works in this section ending happily. The third chapter deals with the idylls which plot the corrupting and ever-widening influence of the adulterous relationship of Lancelot and Guinevere, one cause of the destruction of the institution of the Round Table. Other causes of the demise of Arthur's order are the pernicious influences of the evil Vivien and Modred and the meaningless and sterile spirituality that prompts the quest of The Holy Grail. The last four idylls chart the final collapse of Arthur's realm, the utter disillusionment of individual idealism - personified by Pelleas, an anachronistic spring figure who appears in Camelot's bleak and hostile winter - and the complete social decay which is demonstrated by the fiasco of The Last Tournament. The tragic denouement of the cycle, on both individual and social levels, is evident in Guinevere, in which Arthur's wretched and traitorous queen understands Arthur's vision, but too late to save Camelot from ruin. In the final framing idyll, The Passing of Arthur, Tennyson's myth is elevated to the level of universal significance, the Idylls of the King becoming "not the history of one man or one generation but of a whole cycle of generations" (Memoir, ii, p.127).

From Preface: A reader looking to this study for a charting of the diverse religious views held by Tennyson at different periods in his life may be disappointed. My primary concern has been not with religious forms, but with the numinous impulse. However, though I approached the topic with a completely open mind, I find my own Christian convictions have been strengthened through the study of Tennyson's poetry. As the title indicates, I have not attempted to deal with the plays. To explore both the poetry and the plays in a study of this length would have been impossible. I have perhaps been somewhat unorthodox in attempting to combine several disciplines, especially since I cannot claim to be a specialist in the areas concerned. However, I felt it necessary to approach the subject from a number of points of view, and to see to what extent the results could be said to converge on some sort of central "truth". When I have despaired of being able to do justice to a particular aspect within the imposed limits, I have sometimes found comfort in the words of Alan Sinfield (The Language of Tennyson's "In Memoriam", p.211): "We can only endeavour continually to approach a little closer to the central mystery; the ma j or advances will be infrequent, but most attempts should furnish one or two hints which others will develop. "

Submitted by William Romualdo (liam_romualdo@yahoo.com.br) on 2018-05-22T16:53:53Z No. of bitstreams: 1 VERSAO FINAL_DISSERTACAO_DEFESA - HOLBACH_WILLIAM.pdf: 1083655 bytes, checksum: c8798d36eb53638fcbb8c341e670c3f4 (MD5) / Approved for entry into archive by Telma Jaqueline Dias Silveira null (telmasbl@marilia.unesp.br) on 2018-05-22T18:58:31Z (GMT) No. of bitstreams: 1 romualdo_w_me_mar.pdf: 1083655 bytes, checksum: c8798d36eb53638fcbb8c341e670c3f4 (MD5) / Made available in DSpace on 2018-05-22T18:58:31Z (GMT). No. of bitstreams: 1 romualdo_w_me_mar.pdf: 1083655 bytes, checksum: c8798d36eb53638fcbb8c341e670c3f4 (MD5) Previous issue date: 2018-03-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho tem o objetivo de analisar e demonstrar os princípios morais do Barão de Holbach (1723- 1789), em especial, como ele fundamenta a noção de felicidade em seu materialismo ateu, fatalista e eudemonista. No Sistema da Natureza (ou das leis do mundo físico e do mundo moral), de 1770, Holbach entende que a infelicidade que atormenta grande parte dos seres humanos é causada pela ignorância acerca da natureza da qual fazemos parte, bem como pela ignorância que temos de nossa própria natureza. Por meio da experiência que guia a razão e proporciona o desvelamento da natureza e conhecimento da sua dinâmica, Holbach acredita que o comportamento humano pode ser conduzido na vida em sociedade sem depender dos dogmas teológicos. Segundo o barão, o próprio desejo de ser feliz e de se conservar é uma tendência natural nos seres humanos. E a “verdadeira felicidade” só será possível com uma moral em conformidade com as leis da natureza e as necessidades naturais do homem, as quais exigem dele a prática de uma virtude que considere também a felicidade dos demais seres humanos. / This work aims to analyze and demonstrate the moral principles of Baron d’Holbach (1723-1789), mainly, how he bases the notion of happiness in his atheistic, fatalistic and eudemonistic materialism. At The System of Nature (or the laws of the physical world and the moral world), 1770, Holbach perceives that the unhappiness that plagues most human beings is caused by ignorance about the nature of which we are part of, as well as by the ignorance we have upon our own nature. By means of the experience that guides reason and provides the unveiling of nature and knowledge of its dynamics, Holbach believes that human behavior can be guided in the society life without dependence on theological dogmas. According to Baron, the very desire to be happy and to preserve oneself is a natural tendency in the human beings. And “the true happiness” will only be possible with a moral in accordance with the laws of nature and the natural needs of man, which require him the practice of a virtue that also considers the happiness of other human beings.

Orientador: Paulo Celso Miceli / Tese (doutorado) - Universidade Estadual de Campionas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-21T20:01:35Z (GMT). No. of bitstreams: 1 Martins_AdiltonLuis_D.pdf: 5243947 bytes, checksum: b6e1c40da217620640b1599cb78896e3 (MD5) Previous issue date: 2012 / Resumo: O resumo poderá ser visualizado no texto completo da tese digital / Abstract: The abstract is available with the full electronic document / Doutorado / Historia Cultural / Doutor em História

M.A. / Sir Edward Bulwer-Lytton (1803-1873) was a prolific writer in many genres. This dissertation takes the major works of his occult genre and examines them in the backdrop of the scientific and religious paradigms informing the mid-Victorian reading public. In response partly to the increase in materialism, popular Victorian novelists such as Dickens and Thackeray were writing in a realistic style which Bulwer-Lytton found not suited to convey his mystical ideas. Instead, he made use of the metaphysical novel — a sub-genre of the romance novel — well-suited for his purposes but antithetical to critics often not willing to explore new territory. Although always alive to developments in Spiritualism, Bulwer-Lytton's life-long interest lay in the study of the occult and secret societies. The works chosen for this dissertation indicate how the boundaries between science, religion and the occult are permeable. In his works, these three discourses conflate instead of being kept discrete by artificial means. His passion for the mystical aligns Bulwer-Lytton more with the Romantics than the Victorians. Through a close friendship with John Varley (1778-1842), an inner-circle friend of William Blake, Bulwer-Lytton came to learn of aspects of Blake which reflect particularly in A Strange Story. W B Yeates and Rider Haggard, both admirers of Bulwer-Lytton, would incorporate his ideas into their works, and Madame Blavatsky would shamelessly plagiarise him in her Isis Unveiled. Unwittingly, Bulwer-Lytton’s wholly-fictional novel, The coming Race, would serve as “proof” to Hitler that a secret master race actually existed.

Following a general historical discussion of the idea of nature, the study continues with an analysis of the main sources for Tennyson's nature, concept. Here some stress is put upon the temperament of the poet as well as upon his scientific, philosophical and religious affinities with the doctrines of progress and evolution. Chapter three deals with the view of nature in Tennyson's poetry. That Tennyson regarded nature merely as the physical world interpreted by science is demonstrated by a treatment of his poetry that recognizes the different moods of the poet. The conclusion arrived at is that, no matter what mood he was in, Tennyson viewed nature with suspicion. His attempts to embrace pantheism or to escape actuality through mysticism, transcendentalism, or romantic primitivism indicated his failure to reconcile his idea of nature with religious beliefs that demanded personal immortality and absolute morality for man. Because of these emotional needs, Tennyson, especially after the publication of Darwin's scientific treatises on evolution, was forced into a dualism that separated moral (or spiritual) man from a vast, cruel, immoral (or amoral) nature that Tennyson saw as antagonistic to both man and God. For Tennyson man's progress had nothing to do with nature. Chapter four argues that Meredith adopted Goethe's idea that nature is a vital, benevolent being that includes man and God in a unity of the real and ideal worlds. Because Meredith avoided the contradictions that science and Kantian transcendentalism introduced into Tennyson's philosophy, he was able to attain to a conception of the creative and ethical oneness of Earth. Hence he could use Darwinism to clarify his basically Goethian concept of nature, for he abjured the ideas of personal immortality and absolute morality and saw man as a creature of Earth who was progressing toward the harmonious altruistic balance of blood, brain, and spirit that existed in essential humanity. Meredith could rejoice in the struggle of life, which he saw as a struggle for balance and not for existence, because he had from the beginning accepted nature as a beneficent Earth to whose operations man must adjust himself. The last chapter discusses the different approaches of Tennyson and Meredith to nature, their attitudes to nature's law, and their ideas concerning man's place in nature. One argument resulting from this comparison is that Tennyson, applying Kant's transcendental theories and his own emotional reactions to his scientific interpretation of nature, was pessimistic about nature, whereas Meredith, approaching nature by way of the Goethian synthesis and a happy outlook that discerned a desirable mean in all nature's operations, was optimistic about her. Moreover, Meredith's idea of nature was more modern than Tennyson's, for Meredith's belief in altruism and co-operation being the primary law of nature is supported by certain present-day biological and sociological theories. / Arts, Faculty of / English, Department of / Graduate

At the height of their popularity in the mid-nineteenth century, a vast transatlantic readership conferred on Longfellow and Tennyson the title "The People's Poet." This examination of Anglo-American Victorian poetry attempts to account for that phenomenon. A poetic work is first defined as an aesthetic experience that occurs within a triangular matrix of text, author, and reader. As reception theorist Hans Robert Jauss contends, both the creator's and the receptor's aesthetic experiences are filtered through a historically determined "horizon of expectations" that governs popular appeal. A historical account of the publication and promotion of Longfellow's and Tennyson's poetry provides empirical evidence for how and why their poetic texts appealed to a widespread readership. This account is followed by an analysis of the class and gender of Victorian readers of poetry that considers the role of "consumers" in the production of both poetry and poetic personae as commodities for public consumption. The development of each poet's voice is then examined in a context of a gendered "separate-sphere" ideology to explain how both Longfellow's and Tennyson's adoption of "feminine" cadences in their respective voices influenced the nineteenth-century reception of their work. The final two chapters analyze select texts—lyric and narrative—to determine reasons for their popular appeal in relation to the level of active reader engagement in the poetic experience. Through affective lyricism, as in Longfellow's "Psalm of Life" and Tennyson's "Break, break, break," these poets demanded that their readers listen; through sentiment transformed into domestic allegory, as in Miles Standish and Enoch Arden, these poets demanded further that they feel. While both Victorian poets were later decanonized by their modern successors, contemporary critics, mainly academic, have restored Tennyson to the literary canon while relegating Longfellow to a second-rate schoolroom status. The conclusion speculates on the possible reasons underlying the disparate reputations assigned to the two poets, both of whom, during their lifetimes, shared equally the fame and fortune that attended their role as "The People's Voice." / Arts, Faculty of / English, Department of / Graduate

The purpose of this thesis is to show the extent to which Byron revealed himself as the hero of Childe Harold's Pilgrimage and the extent to which that hero was an original creation.