Thesis (M.A.)--Brandeis University, 2009. / Title from PDF title page (viewed on June 29, 2009). Includes bibliographical references.

Thesis (B.A.)--Haverford College, Dept. of English, 2006. / Includes bibliographical references.

Thesis (M.A.)--Ohio State University, 1987. / Includes vita. Includes bibliographical references (leaves 74-77). Available online via OhioLINK's ETD Center.

No description available.

The poetry of T. S. Eliot represents intense yet discriminate expressions of desire. His poetry is a poetry of desire that extenuates the long tradition of love poetry in Occidental culture. The unique and paradoxical element of love in Occidental culture is that it is based on an ideal of the unconsummated love relationship between man and woman. The struggle to express desire, yet remain true to ideals that have deep sacred and secular significance is the key animating factor of Eliot's poetry. To conceal and reveal desire, Eliot made use of four core elements of modernism: the apocalyptic vision, Pound's Imagism, the conflict between organic and mechanic sources of sublimity, and precisionism. Together, all four elements form a critical and philosophical matrix that allows for the discreet expression of desire in what Foucault calls the silences of Victorianism, yet Eliot still manages to reveal it in his major poetry. In Prufrock, Eliot uses precisionism to conceal and reveal desire with conflicting patterns of sound, syntax, and image. In The Waste Land, desire is expressed as negation, primarily as shame, sadness, and violence. The negation of desire occurred only after Pound had excised explicit references to desire, indicating Eliot's struggle to find an acceptable form of expression. At the end of The Waste Land, Eliot reveals a new method of expressing desire in the water-dripping song of the hermithrush and in the final prayer of Shatih. Continuing to refine his expressions of desire, Eliot makes use of nonsense and prayer in Ash Wednesday. In Ash Wednesday, language without reference to the world of objects and directed towards the semi-divine figure represents another concealment and revelation of desire. The final step in Eliot's continuing refinement of his expressions of desire occurs in Four Quartets. Inn Four Quartets, the speaker no longer carries the burden of desire, but language at its every evocation carries the cruel burden of ideal love.

No description available.

Thesis (Ph. D.)--Illinois State University, 2006. / Title from title page screen, viewed on April 27, 2007. Dissertation Committee: C. Anita Tarr (chair), Roberta Seelinger Trites, Jan Christopher Susina. Includes bibliographical references (leaves 197-208) and abstract. Also available in print.

This thesis argues that desire is a major theme in Samuel Beckett's dramatic works. Central to our analysis is Jacques Lacan's concept of the Desire for the Other, as the outcome of the human subject's division. We will investigate how desire is expressed at the level of Beckett's characters' utterance. The characters' attempts at and inability to achieve a reconciliation with their speech correlate with the impossibility of reunifying Lacan's split subject. The first part of our discussion focuses upon desire-as-paradox--the lack of will to desire and the continuation of desire--in Not I, Footfalls and Krapp's Last Tape, whereas Rockaby and That Time are indicative of the regression of desire leading toward the characters' death. The second part emphasizes the dramatic presentation of these plays, except for Footfalls. It will become clear that desire affects the performance and the audience, thus preventing them from attaining a unified perception of self and other.

This thesis is an investigation of smara. Smara is a Sanskrit word and means memory and desire. It has no equivalent in the English language and so the attempt to understand smara becomes both a linguistic and an ontological task. / The reader is introduced to the similarities and idiosyncrasies between Western and Indian notions of memory and desire and then invited into the search for the junction between memory and desire in Indian thought. / Analysis of anthropological and philosophical texts as well as a semantic mapping of Kalidasa's masterpiece entitled Sakuntala: The Ring of Recollection, reveals not only the co-existence of memory and desire in smara but also the notion of smara as a process.

Thesis (Ph. D.)--West Virginia University, 2008. / Title from document title page. Document formatted into pages; contains vi, 215 p. Includes abstract. Includes bibliographical references (p. 196-215).