F.W. Harvey’s poetry was more popular during the First World War than many – if not most – of those whom we celebrate as ‘the war poets’ today. He is unique among the poets of that war for his insight into the life of the British POW in Germany, and for the influence of his work in the first of the British trench journals, the 5th Gloucester Gazette. Yet, he has received little national attention since his death in 1957, and scholarly work on his life is lacking, largely owing to a deficit of publicly-available primary sources and original material regarding his life and works. This has resulted in a failure to place him properly within the literary canon of the First World War. The recent discovery of Harvey’s papers allows us to examine his life and his contemporary cultural impact, and more fully to evaluate the value of his work and what it tells us about the First World War experience. Using Harvey’s papers, this biographical study will reconstruct the historical details of his life as they relate to the First World War. Concurrently, it will develop our understanding of his war-related work. This will demonstrate Harvey’s influence during the war, first as a trench poet, then as the poetic voice of the British POW. It will also examine how Harvey’s work continued to be affected by the war in the years after the armistice. The result will be a greater appreciation of the life and importance of a First World War poet whose voice was in danger of being lost to time.

by Eric Kwan-wai Yu. / Thesis (Ph.D.)--Chinese University of Hong Kong, 1994. / Includes bibliographical references (leaves 250-264). / Preface --- p.1 / Chapter Chapter 1 --- "A Portrait of the Romantic as a Solipsist The ""Romantic Revolt,"" Lyricism and Selfhood" --- p.9 / Chapter Chapter 2 --- Romantic Alienation Reconsidered --- p.38 / Chapter Chapter 3 --- Burdens of the Past The Poetic Vocation and Elitist Leanings --- p.83 / Chapter Chapter 4 --- "Wordsworth's and Coleridge's Early Poetry Sensibility, Radical ism and Reception" --- p.121 / Chapter Chapter 5 --- "Egotism Established The Reception of Wordsworth's Poems (1807) and the General Attack on the ""Lake School""" --- p.153 / Chapter Chapter 6 --- "Egotism Transformed Hazlitt's Criticism, the Acceptance of Wordsworth, and Twentieth-Century Romantic Scholarship" --- p.195 / Notes --- p.224 / Works Cited --- p.250

The Confessio Amantis, a poem completed in 1393, opens with its author's pledge to: wryte of newe som matiere essampled of these olde wyse [write anew some matter modeled on these old wise books]. Expressing a commonplace among writers of vernacular literature in late medieval England, John Gower describes authorial activity as the process of translating and assimilating pre-existing narratives. This dissertation argues that such conceptualizations of authorship were embraced by illuminators of vernacular literature in their burgeoning notion of invention before the ascendance of print: as translation and compilation provided a model of creativity founded on the alteration of models, illuminators located an ideal congenial to both the restrictions and freedoms of their own profession. The centerpiece of the study is Pierpont Morgan MS M. 126, a manuscript of the Confessio Amantis produced c.1472 and made for Edward IV and his Queen Consort, Elizabeth Woodville. Although it has been acclaimed as one of the most impressive extant manuscripts of Middle English literature, it has never been the subject of a major study. The aim of the dissertation is to recognize and restore to the illustrator the power of his position between the conception of a text and the consumption of a book. Part One focuses on the illustrator's interactions with the textual voices of the Confessio Amantis, demonstrating how the images in nineteen manuscripts of the poem, including the Morgan Confessio, address the identity of the author of the poem (Chapter One); and how miniatures in the Morgan Confessio reinterpret its Ovidian narratives (Chapter Two). Part Two shifts attention to the illustrator's confrontation with his patrons. Although their impact on the production of this manuscript appears to have been minimal, I observe how, as patrons they furnished a visual context for the Morgan Confessio from within their own library of illustrated historical manuscripts (Chapter Three) and books on science (Chapter Four). Produced just before Caxton printed his first book in Westminster in 1476 and standing at the threshold of standardization, this manuscript offers a complex glimpse into the variance that epitomized creative activity in illustrated vernacular manuscripts.

"June 2003." / Thesis (Ph.D.)--Chinese University of Hong Kong, 2003. / Includes bibliographical references (p. 285-301). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts in English and Chinese.

No description available.

<p>Old English literary studies is a fascinating field of research which spans many various approaches including philology and linguistics as well as literary and cultural theories. The field is characterised by a certain conservatism, what in this thesis is referred to as tradition. This thesis examines the scholarship on The Wife's Lament and Wulf and Eadwacer, projecting its cumbersome affinities with tradition as a conservative force as well as the resistance against it. The investigation focuses mainly on two aspects of scholarly research: the emergence of a professional identity among Anglo-Saxonist scholars and their choice of either a metaphoric or metonymic approach to the material. A final chapter studies the concomitant changes within Old English feminist studies. The thesis also summarises the approaches to points of ambiguity in the poems, and provides a comprehensive bibliography of scholarship on the two texts.</p>

Old English literary studies is a fascinating field of research which spans many various approaches including philology and linguistics as well as literary and cultural theories. The field is characterised by a certain conservatism, what in this thesis is referred to as tradition. This thesis examines the scholarship on The Wife's Lament and Wulf and Eadwacer, projecting its cumbersome affinities with tradition as a conservative force as well as the resistance against it. The investigation focuses mainly on two aspects of scholarly research: the emergence of a professional identity among Anglo-Saxonist scholars and their choice of either a metaphoric or metonymic approach to the material. A final chapter studies the concomitant changes within Old English feminist studies. The thesis also summarises the approaches to points of ambiguity in the poems, and provides a comprehensive bibliography of scholarship on the two texts.

The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 26, 2010 Thesis advisor: Dr. W. Thomas McKenney. Includes bibliographical references.

No description available.

This thesis is an exploration of the links between modernist literature and film and society at a period of historical crisis, in Gramscian terms a moment of national 'popular will'. In general, these works are informed by a greater organicity of form, replacing the previous avant-garde model of a serial or mechanical structure. This organicity, however, maintains an element of disjunction, in which, as with filmic montage, the organicity is constituted on the level of the work seen as a totality. Herbert Read's aesthetics are shown to develop with these changes in the Thirties and the war years. The work of H.D. and T.S. Eliot is explored in the light of these new structural elements, and the formal questioning of the subject through the interplay of 'we' and montages of location and address in the poems. The pre-war years are portrayed in these works as a time of shame, and the war as a possible means of redemption, perhaps through suffering, or through the new subjectivity of the wartime community. The documentary movement provides an opportunity to trace these formal changes in a historical and institutional context, and with the work of Dylan Thomas, the relations between mass and high culture, film and poetry, are investigated, as well as the representation of the Blitz, in which guilt is sublimated into celebratory transcendence. These aspects, and the adaptation of a European avant-garde to meet British cultural needs, are examined in the work of the Apocalyptic movement. The last structure of feeling is reconstruction, which is related to Herbert Read's thought, but shown to inform all these other works and to be a linking-point between ideology and the structure of the text, formed as an organic unity that promises a reconstructed post-war society.