Originally published as the author's thesis, Zürich. / At head of title: Sven E. Siegrist. Includes bibliographical references (p. [339]-345).

Thesis (M.A.)--University of California, Santa Cruz, 2002. / Typescript. Includes bibliographical references (leaves 68-72).

No description available.

Thesis (M.A.-(English))--University of Pretoria, 2005. / Includes bibliographical references (leaves 191-206).

This thesis argues that the human mind recognizes within the natural world a dimension of reality that is beyond its knowledge and understanding. Nature confronts it with an ineffable power the source of which is often sensed as a numinous presence. But the divine manifested by nature also assumes the qualities exhibited by nature, and this implies beauty as well as terror. Indeed, in the literature considered in this study duality can be seen to constitute a mark of the divine. To accept the dual forces of nature as a whole, both the beauty and the terror, light and dark, as a unity, one needs the vision of the Romantic Child. The Child of Romantic conception is able to accept the dynamics of the dual forces, because he has the ability to wonder; he has not been sundered from his natural environment like modern man. The realm of Romantic Childhood is seen as a timeless place where the Child experiences a profound communion with nature. Ever since the industrial revolution this place has become a repository of ideas, tradition and literature discarded by a technologically advancing civilization that scorns the link with the past and with nature, which is in the custody of the poet, the true hero, and the Romantic Child. For this reason, the ideas germane to this study are significantly represented in works of so-called 'children's literature'. The duality of the divine is explored within various contexts - as manifested in the natures of god and goddess figures, the cycles of life and death, the dual conceptions of the man-centred pastoral garden and the god-centred wilderness, or the mind of the cultural other. From a wide array of sources, dating from different periods of time and written by authors of divergent backgrounds and stances, a seemingly unified and coherent body of Romantic teaching emerges. These sources include works by P.L. Travers, c.s. Lewis, Walter de la Mare, Richard Adams and Jamake Highwater. The coherence of their teaching attests to the poetical validity of their timeless archetypal thoughts. / Dissertation (MA (English))--University of Pretoria, 2007. / Modern European Languages / unrestricted

No description available.

Thesis (Ph.D.)--Baylor University, 2008. / Includes bibliographical references (p. 147-152)

Thesis (Ph.D.)--Kent State University, 2005. / Title from PDF t.p. (Aug. 9, 2006). Advisor: Vera J. Camden. Keywords: intersubjectivity; Moll Flanders; Roxana; Fate; Providence. Includes bibliographical references (p. 347- 361).

M.A. (Afrikaans en Nederlands) / Please refer to full text to view abstract

Emily Dickinson's use of water as a dominant poetic trope differs from typical religious archetypal associations with baptism, cleansing, and rebirth. Dickinson transforms rather than recapitulates established theological concepts, borrowing and adapting Biblical themes to suit her artistic purposes. Dickinson's water poems are the poet's means of initiating a discourse with God. Dickinson's poems, however, portray the poet's seeking communion and finding only a silent response to her attempts to initiate an exchange with God. Unable to find requital to her needs for discourse, Dickinson uses Biblical imagery to vindicate ultimately abandoning the orthodox tenets of Calvinism. Resenting the unresponsiveness of God, particularly if the solitude she experiences has been imposed through His will rather than her own, Dickinson poetically reverses roles with God to establish her autonomy, looking instead to the reader of her poetry to requite her need for discourse. And as interaction is seen as a need that Dickinson must have realized, poetry may then be understood as the poet's invitation of the reader into the discourse she finds lacking in God. Refuting Calvinist doctrines allows the poet to validate her autonomy as well. Instead of following a course of life prescribed by God, Dickinson demonstrates her resistance to suppliance through water. Dickinson refuses to follow God's guidance unquestioningly because merely being part of a collective who follow an indifferent god provides no lasting distinction for a poet seeking immortality. Having broken the union with God and established her god-like identity as a poet, Dickinson turns to the similar use of Biblical language in her poetry to establish the communion with her reader that she finds lacking in her relationship with God. Dickinson then strengthens this bond with the reader by asserting that divinity is present in every individual not suppressed by the restraining presence of God.