Thesis (Ph. D.)--University of Wisconsin--Madison, 1965. / Typescript. Vita. Abstracted in Dissertation abstracts, v. 25 (1965) no. 10, p. 5935-40. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 297-303).

Texte remanié de: Thesis Ph. D.--New York--Columbia university. / Notes bibliogr.

This dissertation defines and analyzes a conflict which is present in all of Crane's poetry. The conflict is based on the opposition between two outlooks which are called mystical and empirical. Because both of these outlooks were central to Crane's vision, their apparent deep opposition troubled him. Crane's personal tensions both in his early private life and in his sensibility are important considerations in understanding this conflict. However, since he tried to discover a balance in life through his poetry, his art rather than his life is the central focus of this study. Crane turned to the literature of three Nineteenth Century traditions—Romanticism, Transcendentalism and American Symbolism—for his solution. In the works of these traditions, he found the same troubled conflict and the search for a solution in a unified statement. Consequently, he examined their art closely and was greatly influenced by it. At times, this influence appears to be an unconscious absorption of principles or techniques; at others, it is expressed in obvious, conscious imitation. Crane's ability or inability to incorporate the work of these earlier traditions is closely related to the success or failure of his own vision. His life-long relationship with these traditions is, therefore, the central energy behind his work. It is this relationship which is the concern of this dissertation. Chapter 1 defines the terms "mystical" and "empirical" as they are applied to Crane's art. It also provides a brief overview of Crane's poetry and letters in order to demonstrate how the tensions represented by the two terms are developed throughout all of his work. Chapters 2 to 5 deal with Crane's relationship to English Romanticism. Crane's earliest work is found to be an imitation of the anti-"empirical" literature of the fin de siecle. His maturer work is then studied in relation to the poetry of the High Romantics—Wordsworth, Coleridge, Shelley, Keats and Blake. The works of these poets are compared to Crane's both through analyses of individual poems and through studies of themes and poetic techniques. Chapters 6 and 7 explore Crane's debt to American Transcendentalism. The "mystical"-directed ideas and works of Emerson and Whitman are explored in relation to Crane's poetry and poetic. Inherent contradictions in the works of the two Transcendentalist figures appear again in Crane's. Chapters 8 to 10 deal with the American Symbolists—Poe, Dickinson and Melville. Crane found that these writers differed from the American Transcendentalists, mainly because of their distrust of a completely optimistic-minded outlook. The relationship of Crane's work to theirs demonstrates his share in this distrust. Chapter 11 is the conclusion. It summarizes Crane's relationship to the three Nineteenth Century traditions, as a difficult and uneven, but courageous, attempt to renew poetic faith in the Twentieth Century. / Arts, Faculty of / English, Department of / Graduate

Thesis (M.A.)--Villanova University, 2006. / English Dept. Includes bibliographical references.

There is no abstract available for this thesis.

Thesis (Ph. D.)--University of Virginia, 1999. / Includes bibliographical references (leaves 198-214). Also available online through Digital Dissertations.

Note:

Thesis (Ph. D.)--University of Wisconsin--Madison, 1962. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 238-248).

Thesis (Ph. D.)--University of Washington, 1999. / Vita. Includes bibliographical references (leaves 186-198).

O cenário da poesia moderna de língua inglesa congrega uma série de autores ingleses e norte-americanos que criaram obras com estilos, formas, problemáticas e visões de mundo altamente diversificados. Uma ampla gama de recursos linguísticos e estéticos foi desenvolvida, incluindo o uso da colagem, a sintaxe fragmentada, o verso livre e a linguagem coloquial algumas vezes intercalada com a solene. Dentre tais autores modernos, o poeta norte-americano Hart Crane se destaca por sua obra poética de alta originalidade e complexidade e suas perspectivas estéticas bastante individualizadas. Em sua obra, Crane articulou recursos e referências literárias e filosóficas variadas. Sua poesia se caracteriza por uma versificação que contempla do pentâmetro iâmbico branco elisabetano ao verso livre moderno; uma sintaxe que se distancia da língua falada com inversões e rupturas; um vocabulário eclético que une arcaísmos a neologismos; uma retórica rica em figuras de linguagem; e um ideário simbólico e temático compreendendo as ideias e imagens místicas e metafísicas do simbolismo francês e a exploração de sentimentos individuais do romantismo inglês. Além desses referenciais, Crane foi particularmente inspirado e instigado pelo poeta norte-americano moderno T. S. Eliot, cuja erudição e domínio de técnicas como a colagem e o verso livre Crane tinha como modelo, mas de cujas perspectivas estéticas classicistas e tradicionalistas e visões da modernidade pessimistas Crane discordava e tentou refutar. Assim, Crane concebeu sua obra poética em grande parte como uma resposta à de Eliot, buscando antepor ao seu pessimismo uma visão mais otimista, postulando uma espiritualidade própria à experiência moderna, que, segundo Crane, deveria ser explorada e registrada pelo poeta. Para tal, Crane desenvolveu uma teoria estética pessoal que enfatizava a subjetividade e as experiências do próprio poeta assim como a tradição literária, englobando, entre outros, elementos da filosofia transcendentalista norte-americana. Esse empreendimento resultou em uma obra breve, porém rica, cuja complexidade foi muitas vezes reprovada como excessiva ou confusa, mas cuja influência e interesse vêm aumentando nos anos após sua morte. Este estudo oferece uma apresentação das principais características da obra poética e das perspectivas estéticas de Hart Crane, centrando-se na análise formal e temática e em uma tradução para o português da sequência de poemas intercalados conhecida como “Voyages”, presente no primeiro livro de Crane, White Buildings, e geralmente considerada uma de suas principais obras. Alguns dos mais significativos poemas de Crane são estudados à luz de suas próprias teorias estéticas e das avaliações de críticos com perspectivas variadas, como Allen Tate, Yvor Winters, R. W. B. Lewis, Margareth Uroff, Thomas Yingling e Lee Edelman, entre outros. Buscam-se uma compreensão de sua obra e a apresentação em língua portuguesa de um de seus principais trabalhos líricos com o objetivo de familiarizar o leitor e o estudioso brasileiro com as obras e ideias de um poeta de língua inglesa cuja importância vem sendo atestada ao longo dos anos. / The scenery of modern English language poetry congregates a number of English and North-American authors that created works with highly diversified styles, forms, problematic and worldviews. A wide range of linguistic and aesthetic resources was developed, including the use of collage, fragmented syntax, free verse, and the intercalation of colloquial and formal language. Among these modern authors, the North-American poet Hart Crane stands out due to his highly original and complex poetic works and his strongly individualized aesthetic perspectives. In his work, Crane articulated various philosophic and literary references and resources. His poetry is characterized by a versification that comprises both the Elizabethan blank iambic pentameter and the modern free verse; a syntax distanced from the spoken language with inversions and breakages; an eclectic vocabulary conjoining archaisms and neologisms; a rich and ornate rhetoric including complex figures of speech; and themes and symbols associated to mystical and metaphysical images and ideas from French Symbolism and the English Romantic exploration of subjective feelings. In addition to these references, Crane was particularly inspired by the North-American modern poet T. S. Eliot, whose erudition and mastery of techniques such as the collage and the free verse Crane had as a model, but with whose classicist and traditionalist aesthetic perspectives and pessimist views of modernity Crane disagreed and attempted to counter. Thus, Crane’s poetic work was largely conceived as a response to that of Eliot, aiming at opposing to his pessimism a more optimistic view, postulating a form of spirituality that is proper to the modern experience, which should be explored and registered by the poet, in Crane’s view. For such, Crane developed an aesthetic theory that emphasized the poet’s own subjectivity and personal experiences, encompassing elements of, among others, the American Transcendentalist school of thought. This endeavor resulted in a brief, but very rich poetic oeuvre, whose complexity has been often reproached as excessive or confusing, but whose influence and interest have been increasing in the years following his death. This study provides a presentation of the main characteristics of Hart Crane’s poetic work and aesthetic theories, focusing on the formal and thematic analysis and the translation into the Portuguese language of the poetic sequence known as “Voyages,” included in Crane’s first book and generally considered one of his main works. Some of Crane’s poems are here studied according to his own aesthetic perspectives as well as the evaluations of varied perspectives, such as those of Allen Tate, Yvor Winters, R. W. B. Lewis, Margareth Uroff, Thomas Yingling and Lee Edelman, among others. An understanding of Crane’s work and the presentation in Portuguese language of one of his most celebrated lyrical works are aimed at in order to familiarize the Brazilian reader and student with the works and the ideas of an English language poet whose importance has been attested throughout the years.