This study discusses the evolution of the English country-house poem from its inception by Ben Jonson in "To Penshurst" to the present. It shows that in addition to stylistic and thematic borrowings primarily from Horace and Martial, traditional English values associated with the great hall and comitatus ideal helped define features of the English country-house poem, to which Jonson added the metonymical use of architecture. In the Jonsonian country-house poem, the country estate, exemplified by Penshurst, is a microcosm of the ideal English social organization characterized by interdependence, simplicity, service, hospitality, and balance between the active and contemplative life. Those poems which depart from the Jonsonian ideal are characterized by disequilibrium between the active and contemplative life, resulting in the predominance of artifice, subordination of nature, and isolation of art from the community, as exemplified by Thomas Carew's "To Saxham" and Richard Lovelace's "Amyntor's Grove." Architectural features of the English country house are examined to explain the absence of the Jonsonian country-house poem in the eighteenth century. The building tradition praised by Jonson gradually gave way to aesthetic considerations fostered by the professional architect and Palladian architecture, architectural patronage by the middle class, and change in identity of the country house as center of an interdependent community. The country-house poem was revived by W. B. Yeats in his poems in praise of Coole Park. In them Yeats reaffirms Jonsonian values. In contrast to the poems of Yeats, the country-house poems of Sacheverell Sitwell and John Hollander convey a sense of irretrievable loss of the Jonsonian ideal and isolation of the poet. Changing social patterns, ethical values, and aesthetics threaten the survival of the country-house poem, although the ideal continues to reflect a basic longing of humanity for a pastoral retreat where life is simple and innocent.

Law, Lok Man. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves i-vi). / Abstracts in English and Chinese. / INTRODUCTION --- p.2 / Chapter Section One: --- The Discussion on Donne's Conceits and Donne's Passion in His Poetry --- p.3 / Chapter Section Two: --- Development of Cognitive Poetics --- p.6 / Chapter Section Three: --- Significance of Cognitive Poetics --- p.10 / Chapter Section Four: --- Significance of this Research Project --- p.13 / Chapter CHAPTER ONE: --- CONCEPTUAL METAPHOR THEORY AND BLENDING THEORY --- p.15 / Chapter Section One: --- Theoretical Background of Metaphor --- p.15 / Chapter Part One: --- Metaphor as Deviation --- p.16 / Chapter Part Two: --- Metaphor as Ornament --- p.17 / Chapter Part Three: --- Metaphor as a Way of Understanding --- p.19 / Chapter Part Four: --- Metaphor and Conceit --- p.21 / Chapter Section Two: --- Conceptual Metaphor Theory --- p.21 / Chapter Part One: --- Conceptual Metaphor Theory --- p.21 / Chapter Part Two: --- Conceptual Metaphor Theory and Emotions --- p.25 / Chapter Section Three: --- Blending Theory --- p.26 / Chapter Part One: --- From Conceptual Metaphor Theory to Blending Theory --- p.26 / Chapter Part Two: --- Gregor as a Twitter User --- p.28 / Chapter Part Three: --- Blending and Conceit --- p.33 / Conclusion --- p.34 / Chapter CHAPTER TWO: --- FUNCTIONS OF DONNE'S CONCEITS --- p.35 / Chapter Section One: --- Conceit in Perspectives --- p.36 / Chapter Part One: --- Definition and Classification of a Conceit --- p.36 / Chapter Part Two: --- The Mechanism of Combining Two Heterogeneous Images --- p.38 / Chapter Part Three: --- Functions of a Conceit in the Argumentation of a Poem --- p.41 / Chapter Part Four: --- Comparison Between the Rhetorical Approach and the Cognitive Approach --- p.43 / Chapter Section Two: --- Functions of Donne's Conceits --- p.47 / Chapter Part One: --- Analysis of 'Lovers' Infiniteness' --- p.47 / Chapter Part Two: --- Condensed Conceits --- p.57 / Chapter Part Three: --- Expanded Conceits --- p.64 / Conclusion --- p.67 / Chapter CHAPTER THREE: --- THE PASSION IN DONNE'S CONCEITS --- p.68 / Chapter Section One: --- The Emotional Aspect of Donne's Poems and the Cognitive Perspective --- p.69 / Chapter Section Two: --- Conceptual Theory of Emotion in Detail --- p.75 / Chapter Part One: --- Kovecses's Emotion Concepts and Cognitive Model of Emotions --- p.75 / Chapter Part Two: --- "Intensity, Passivity and Force in Romantic Love" --- p.77 / Chapter Part Three: --- Application of Kovecses's theory to Donne's poems --- p.79 / Chapter Section Three: --- Donne's Expressions of Emotions --- p.81 / Chapter Part One: --- Passion and Intensity of Love when Love is Fierce --- p.81 / Chapter Part Two: --- Frustration and Attempts to Control One's Emotions --- p.85 / Chapter Part Three: --- Secured and Satisfied Love --- p.89 / Chapter Part Four: --- Conceits that Fall Outside the Stages of Emotions --- p.94 / Conclusion --- p.97 / CONCLUSION --- p.99 / Other Issues in Donne's Poetry Concerning Emotions --- p.100

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

"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.

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.

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