Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. Includes bibliographical references.

Akademisk avhandling--Göteborgs Högskola, etc.

Thesis (Ph. D.)--Universität Leipzig, 1929. / Issued also as v. 7 of: Von deutscher Poeterey edited by H.A. Korff. Leipzig : J.J. Weber, 1930. Cf. t.p. verso. Vita. Includes bibliographical references (p. 121-123).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1966. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [242]-245).

Thesis (Ph. D.)--Catholic University of America, 1942. / Reproduced from type-written copy. "Select bibliography": p vii-ix.

Thesis (Ph. D.)--University of Washington, 2006. / Vita. Includes bibliographical references (leaves 308-323).

The purpose of this thesis is to present a systematic examination of the major groups of nature symbols used by Hawthorne in his novels and tales treating moral isolation. Since Poe's and Melville's early remarks on Hawthorne's love of allegory and his power of blackness, many critics have studied the extensive use of symbolism and the detailed analysis of human nature in his works. While critics have not ignored the numerous examples of nature symbolism contained in the works, none has made a comprehensive analysis of Hawthorne's systematic patterns. Such an analysis reveals a significant aspect of the already acknowledged depth and genius of his symbolic method and shows that his use of nature symbolism, differing from that of both his puritan ancestors and transcendentalist contemporaries, serves as further evidence of his great artistic originality. In Chapter Two, an examination of The Scarlet Letter, in which nearly all the nature symbols are used, reveals the great richness and complexity with which Hawthorne develops them. The journey into the wilderness is the chief symbol, giving not only a structural unity to several vital chapters in the centre of the novel, but also revealing the extent of the moral isolation of the characters. Within this major pattern, several other patterns emerge: the interplay of sunlight and darkness, the physical nature of the wilderness itself, and the attitudes of the various characters to nature symbolise the moral natures of Hester, Pearl, and Dimmesdale. The following chapters examine the systematic application of each set of symbols to a specific aspect of moral isolation. Moral innocence and attempts to regain or retain it are symbolized by sunshine, flowers and the harmonious relationship of individuals with nature; moral evil and guilt by the journey into the wilderness, the wild nature of the forest itself, and darkness. A third group of symbols relating to the garden reflect another aspect of isolation, that of the isolated individual attempting to enter into contact with others. Within each of these three symbolic patterns, the individual symbols are modified to reflect the unique moral conditions of the particular characters. Hawthorne's use of nature imagery takes on added significance when considered in relation to his allegorical method. It becomes an integral part of the method by which he was able to retell old material and common themes in such a way as to give each a new life and meaning. It is a part of the method which has helped to establish his position as a major American author. / Arts, Faculty of / English, Department of / Graduate

This thesis explores pictorialism in eighteenth-century poetry and landscape. The tradition of ut pictura poesis is presented in terms of its origins in antiquity, its background in the thought of the eighteenth century, its manifestations in the poetry of the period, and its relations to the picturesque in landscape. A sketch of the origins and development of literary pictorialism in Greece and Rome, the medieval, Renaissance, and post-Renaissance periods, outlines its leading features and furnishes a historical perspective against which eighteenth-century practices can be viewed. Special attention is given to the bond between the sister arts of painting and poetry and to the new standards of artistic excellence deriving from Italian Renaissance and baroque painting. In eighteenth-century poetry, passages from Pope and Thomson illustrate neo-classical pictorial practice with respect to the ancient doctrine of enargeia (vivid, lifelike imitation), the means of idealizing nature, and the iconic tradition of imitating or describing objects of art. These practices are shown to serve aesthetic, social, or moral purposes. Finally, the thesis discusses Thomson's pictorial poetry as the product of traditional ut pictura poesis and not as the cause of picturesque landscape vision. The relationship between literary pictorialism and the landscape picturesque is clarified by relating Thomson's characteristic landscape form to Claude Lorraine, Salvator Rosa, and Nicolas Poussin. And the landscape picturesque itself, discussed largely in terms of its origins in the English natural garden and its formalization in the aesthetic theories of William Gilpin and Uvedale Price, is shown, like poetic pictorialism, to be a product of the neo-classical doctrine of models, another form of neo-classical "imitation." As such it rounds out the paper's study of pictorialism in the eighteenth century. / Arts, Faculty of / English, Department of / Graduate

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