published_or_final_version / English / Master / Master of Philosophy

The aim of this study is to place the writings of Charles Lamb in the context of his age. His work is assessed in relation to that of his friends and contemporaries, Coleridge, Wordsworth, Keats and Hazlitt, in order to ascertain how far he shared their characteristic preoccu- pations. Because of its central significance in the writings of the early English Romantics, and its problem- atic role in Lamb's own works, the concept of the imagination is employed as an unifying theme for this investigation. The introduction summarizes the history of Lamb r s reputation, and details in particular the fluctuations in critical opinion on the question of whether or not he can be considered a Romantic. In chapter one, Lamb's early relationship with Coleridge is described and its effects upon his imaginative development analyzed. The second chapter concerns itself with the damnation imagery rife throughout Lamb's work; what he makes of the theme is compared with its use in other contemporary writings. In chapter three, another characteristic subject of Lamb's, the glorification of childhood, is similarly analyzed and considered in the context of his age. The next three chapters deal primarily with Lamb's criticism. Chapter four illustrates his critical grasp and appreciation of the central Romantic concept of the imagination as an enhancer of consciousness. His strictures against the extreme 'egotistical sublime' aspects of Romanticism are detailed in the following chapter, mainly in relation to his criticisms of Wordsworth. His close involvement with another category of imaginative activity, the sympathetic imagination, is described in chapter six, and claims are made for his innovative function in its development. The final chapter relates the earlier findings to the Essays of Elia and concludes that a study of Lamb's writings may help to correct imbalances in the conventional idea of the spirit of the age.

Thesis (Ph. D.)--Ihwa Yŏja Taehakkyo Taehagwŏn, 1985. / Abstract in English with caption title: A study on the imagery in the contemporary novels. Includes bibliographical references (p. [185]-193).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1950. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [557]-566).

No description available.

Thesis (doctoral)--Neuchâtel, 1981. / At head of title: Université de Neuchâtel. Faculté des lettres. Includes bibliographical references (p. 351-354).

Thesis (doctoral)--Neuchâtel, 1981. / At head of title: Université de Neuchâtel. Faculté des lettres. Includes bibliographical references (p. 351-354).

Thesis (Ph. D.)--Georgia State University, 2007. / Title from file title page. Paul Schmidt, committee chair; LeeAnne Richardson, Murray Brown, committee members. Electronic text (203 p.) : digital, PDF file. Description based on contents viewed Oct. 18, 2007. Includes bibliographical references (p. 191-203).

The goal of this dissertation is to study the use, function and possibilities of the classical concept of imagination in the "comedias" of Pedro Calderon de la Barca (1600--1681). To begin, I explore the possibilities and limitations of imagination at three different levels: literary and aesthetic theory, psychological and gnoseological theory, and lastly that of cosmology. / Thus, after tracing the presence of the concept of imagination in all of Calderon's "comedias," I study its use in the dramatic discourse of Pinciano and Bances Candamo. Likewise, I discuss the ambiguities of this concept that Calderon himself openly explored in several of his plays. Later, I focus on an analysis and interpretation of imagination in La vida es sueno (Life is a Dream), particularly as it concerns the relationships between mankind and the universe, as well as the imaginative and dramatic possibilities of dreaming. / My next step deals with the relationship between theories of drama and imagination. This concentrates on: the way in which the author plays and manipulates the audience's affections, the creation of marvellous dramatic effects, and the relationship between imagination and performance. After, I analyze the interaction between physical senses and imagination, as well as the public's perception influenced by sophisticated staging techniques. Lastly, I discuss three crucial concepts, those of taste, public opinion and disillusionment ("desengano"), that are for Calderon obvious limitations to the possibilities of imagination.

Thesis (PhD) -- Australian Catholic University, 2005. / Submitted in total fulfillment of the requirements for the degree of Doctor of Philosophy. Bibliography: p. 241-250. Also available in an electronic format via the internet.