This thesis is concerned with establishing the nature of the critical standard which Fraser's Magazine, a Victorian journal, used in evaluating the artistic merit of current English novels. Eminent critics such as William Thackeray, Thomas Carlyle, and William Maginn were associated with the magazine during its early years of publication: thus, the early numbers contain some of its most valuable criticism. Because the English novel was in a period of transition in the decade of the 1840's and the years immediately preceding and following it, this study is confined to the twenty-year period from I830 to 1850. Imitative writers of romance and novels of manners were gradually being replaced with novelists concerned with social reform and with the artistic merit of the genre itself. Thackeray's and Maginn's associations with the magazine also occurred during this period, and their literary opinions are an important indication of the magazine's critical development.

Texte remanié de: Th. Ph. D.--New Haven (Conn.)--Yale university. / Notes bibliogr. Index.

Thesis (M.A.)--Kutztown University of Pennsylvania, 2001. / Source: Masters Abstracts International, Volume: 45-06, page: 2824. Typescript. Abstract appears on leaf [2]. Includes bibliographical references (leaves 80-84).

Thesis (M.A.)--Acadia University, 1999. / Includes bibliographical references (leaves 136-139). Also available on the Internet via the World Wide Web.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1984. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Bibliography: leaves 222-225.

widely held "from romantic to revolutionary" hypothesis and presents Morris as a "revolutionary" Victorian who has never fell out with the ideas of Romanticism. Together cultural Victorian discourse as well as the ideas of his "teachers" - - Morris's "teachers", and the third chapter focuses on the interpretation of and Morris's utopianism. The interrelated areas of "Nowherian" space (3.2), work and history (3.4) help establish the nature of Morris's visual utopianism on the background of Ernst Bloch's theory of utopia and alongside the

Indiana University-Purdue University Indianapolis (IUPUI) / Explores Walt Whitman's use of Thomas Carlyle's language of textiles, as well as the relation of this language to modern science.

This thesis explores three of Ralph Waldo Emerson's seminal texts, Nature (1836), the "Woodnotes" poems (1840, 1841), and Representative Men (1850), in a transatlantic Romantic context. Augmenting typical transatlantic explorations of Emerson's literature which often use these three works in demonstration of the various European Romantic assimilations n Emerson's writing, the texts considered in this study are understood to engage with one British work predominately. Emerson engages antagonistically in the pages of Nature with Samuel Taylor Coleridge's Aids to Reflection (1825), in the "Woodnotes" poems with William Wordsworth's The Excursion (1814), and in Representative Men with Thomas Carlyle's On Heroes, Hero-Worship, and the Heroic in History (1841). In each instance, Emerson engages with a text that he understands to be particularly representative of the intellectual and creative genius that its British author wields and, as such, one that is anxiety-inducing in the influence that it wields. This thesis demonstrates that, in engaging with these works, Emerson performs with increasing sophistication a process of "'creative reading,' that is, an act of reading (influx) through which creation (efflux, expression) is made possible through a transcendence of the past. In doing so, Emerson confronts and attempts to gain independence both from the personal influence that these texts and, more significantly, their authors wield. In engaging in Nature, the "Woodnotes" poems, and Representative Men with Aids to Reflection, The Excursion, and On Heroes, Hero-Worship, and the Heroic in History respectively, Emerson assimilates into his works various elements of Coleridge's, Wordsworth's, and Carlyle's thought. Each of the three chapters comprising this thesis explores Emerson's intellectual indebtedness in this regard and, as such, the explorations incorporate a scholastic focus like that found in the majority of Emersonian transatlantic scholarship. In each instance, however, explorations of Emerson's works also reveal the American writer's performance of a liberating act of detachment or departure from the ideas with which he engages. These intellectual detachments distinguish Emerson's thought from that of Coleridge, Wordsworth, and Carlyle, and are often attended by formal departures from the texts with which Emerson engages. Augmenting typical transatlantic explorations of Emerson's works, this thesis focuses not only Emerson's Romantic assimilations, but also on his detachments. Finally, in each instance, Emerson's confrontations reflect Robert Weisbuch's assessment in Atlantic Double-Cross (1986) that nineteenth century Anglo-American literary relations are 'always more than personal and individual' (21). That is to say, in each instance, Emerson confronts not only Coleridge, Wordsworth's, and Carlyle's personal creative and intellectual influence, but their extrapersonal or national influence as British writers. This confrontation of national influence is reflected in the fact that Emerson's detachments incorporate temporal reimaginings, re-visions of time that nullify the potency of the past and of the influence wielded by tradition by emphasising the present and the future, focusing on the subjective power of the mind. As such, Emerson's conceptions of time demonstrate a conflation of two specifically American understandings of temporality as defined by Robert Weisbuch - vertical time and futurism - both developed by nineteenth century American writers in order to nullify the influence of Old World, specifically British, tradition, and to establish an account of time in which the United States' comparative lack of distinct cultural history is excused. In precis, this thesis demonstrates that Nature, the "Woodnotes" poems, and Representative Men issue from Emerson's creative reading of Aids to Reflection, The Excursion, and On Heroes, Hero-Worship, and the Heroic in History respectively. These acts of creative reading demonstrate in each instance the inextricability of Coleridge's, Wordsworth's, and Carlyle's 'personal' creative and intellectual influence, as well as their 'extrapersonal' or national influence.

This paper explores and interrogates late Victorian anxieties concerning the issues of masculinity and labor, taking Thomas Hardy’s Jude the Obscure as a key text in this discourse. I argue that Hardy, drawing upon his own experiences, offers a meditation on the differing Victorian modes of masculinity outlined and embodied in the thought of John Henry Newman and Thomas Carlyle, and in doing so, constructs a dialectical tension between already outmoded, yet remarkably persistent, answers to the questions and pressures of modernity. Through the use of one of the text’s central images—that of Christminster and its accompanying Gothic architecture—Hardy creates an opposition between an idealized intellectual labor and the earthy reality of manual labor. Both forms—figured in either the heroic and organic terms of Carlyle or the reserved, tradition-bound reaction of Newman—represent the ideal that allows Jude to live, but also the force that leads to his death. Therefore, in the clash between the ideal and real, the dialectic fails to deliver a possible synthesis, and instead spirals restlessly in the darkened gaps of self-negation. At the same time, because the specter of a crude social and biological Darwinism consciously haunts the edges of the story, the dialectic never stops demanding a synthesis if Jude is to discover the grounding for a fully integrated identity or ethics. The central question for Hardy thus becomes one of form: For a modern masculine subjectivity to take hold, external social forms must have a connective vitality with interior dispositions, a proposition that Hardy views as a near impossibility. / text

This thesis examines the connections between three frequently associated nineteenth-century texts, Carlyle's Sartor Resartus, Melville's Moby Dick, and Thoreau's Walden. It begins by reviewing the contexts normally offered for them, and then proposes an alternative one, "dialogic irony," that is based upon the complementary theoretical models of Friedrich Schlegel and Mikhail Bakhtin. After this conceptual background is outlined, the various modes of dialogic irony presented in the three works are discussed. That of Walden arises out of a close analogy between self and text: both are a series of inner voices juxtaposed with and often contradicting one another. Sartor complicates this relatively unobstructed form of selfhood through the inclusion of the Editor, whose unitary voice represents a challenge to the kind of selfhood sanctioned by Walden. Moby Dick also challenges dialogic irony, but its forms of opposition are more penetrating and various: while in Carlyle's text dialogic irony is ultimately affirmed through the figure of Teufelsdrockh, Ishmael is left stranded and displaced by the multitude of voices in his text. Melville's work therefore provides an excellent way to review and critique some of the prevailing assumptions about dialogue in contemporary criticism, a task sketched in the conclusion.