published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

Thesis (Ph. D.)--University of Washington, 1995. / Vita. Includes bibliographical references (leaves [212]-226).

此論文探究詩人華茲華斯多種的靈感來源。他的靈感來源主要分為兩種：超自然以及人本的來源。一方面，詩人有古典和傳統的一面，依靠超自然的來源來維持寫作靈感，如異教神明，基督教的聖靈，新古典神祗。除了這些靈感來源以外，我提出，詩人還發明了人本的守護力量，反映了他能離開傳統，自成一格，依靠個人的天才和身邊的群體。 / 華大部份寫詩的靈感都來自大自然，因此第一章將考究自然如何成為為他帶來靈感的工具。十八世紀崇尚哲學，詩風也有此傾向。華受此詩風影響，對他來說，自然象徵著形而上的真理，是重要的寫作題材。因此，雖然他渴望像他妹妹桃樂西一樣如實描繪自然，最後卻比較著重自然的喻意，多於自然的原始美。 / 第二章以華的作品《意大利旅行回憶錄》和《歐洲大陸旅行回憶錄》為主，集中討論華詩裡的聖靈。此章宗旨是證明詩人在出外的時候特別依靠聖靈作靈感來源。雖然外地給他陌生的印象和感覺，但透過此靈感來源，他為自己製造了一個安穩的寫作空間。聖物、宗教建築、音樂和不同地方的歷史，觸手可及，為他帶來親切感。 / 第三章尋索華詩裡的新古典神明。論點是：詩人在詩裡祈求神明庇佑並賜與寫作靈感，是跟隨新古典詩人的傳統，為一種修辭法。新古典時期的代表作家有德萊頓、蒲柏、和詹森， 都是華尊敬的作家。雖然華曾跟隨他們的向神明祈求的修辭法，卻仍與他們這種尋求靈命的手法保持距離。這是因為華覺察到，這種以精英為重的詩，與他對低微農村居民持有的抱負背道而馳。 / 第四章介紹英國湖區的守護力量。這力量比較其他靈感來源，最得華心。原因是，他從小與湖區已建立起感官和情感上的親切感。即使身在異鄉，他也可透過想象親歷湖區之景，從中找到靈感寫作，所以湖區的力量很可靠。可惜，一個地方的景色，有可能隨著農村發展和工業化而改變甚至遭受破壞。華明白這一點，是以還是開始尋找更長久的靈感來源。 / 因此，華創造了歷史、文學和人物這三種人本的守護力量，代替前幾種的靈感來源。第五、第六、和第七章會分別討論這三種來源。歷史的守護力量來自華想象出來的一個群體， 這群體裡的人都是英國的人民，價值觀相似，所以特別珍視某些美德。就是這樣一個群體維持著華的靈感的。文學的守護力量也是華想象力的結晶，這群體是由一群作家組成，作家真有其人。華透過引用他們的詩句，在寫詩時找到靈感繼續創作下去。人物守護力量是第三個華透過想象組織的群體，以湖區的農民群體為範本。人物都有華所碰見過的人的影子，他們的生命力來自這群體的關愛和憐恤。這兩種美德也支持著華的創作。 / This thesis explores the different sources of inspiration in William Wordsworth’s poetry. These sources, I argue, can mainly be classified into two types: supernatural and human-oriented. The classical and traditional Wordsworth relies on supernatural sources, such as pagan spirits, the Christian spirit, and neo-classical spirits to sustain and inspire his poetry. In addition to these sources, I argue that he has invented human-oriented 'spirits of place', and that his use of these spirits reflects a Wordsworth who is independent of tradition and more reliant on his own genius and the human communities around him. / Because the inspiration of most of Wordsworth’s poems springs from nature, my first chapter will study how nature is instrumental in bringing about this inspiration. Nature is symbolic of those metaphysical truths which he considers important subjects for writing, under the influence of eighteenth-century expectations that poetry be philosophical. As a result, while longing to portray nature 'as it is', as his sister Dorothy does, he nevertheless resorts to the metaphorical meanings of nature rather than its beauty in its basic appearance. / My second chapter will focus on the Christian spirit in Wordsworth’s poetry, especially in Memorials of a Tour in Italy, and Memorials of a Tour on the Continent. It seeks to show how the poet, especially while abroad, depends on it for inspiration. He seems to be creating a safe environment for writing, when his surroundings look and feel foreign. He cultivates a feeling of familiarity through tangible things such as religious relics, architecture, and music, and the Christian history of the places. / My third chapter will investigate neo-classical spirits in Wordsworth’s poetry. I argue that his invocation of them is a rhetorical device employed as part of a tradition among neo-classical poets such as Dryden, Pope, and Johnson, whom Wordsworth highly respects as his poetic predecessors. There will also be a note on his critical stance against this method of obtaining inspiration, as he realises an elitist kind of poetry does not suit that responsibility for the rustic and lowly which he considers his. / My fourth chapter will introduce the genius loci of the Lake District, which to Wordsworth was a preferred source of inspiration, because of the physical and emotional intimacy that he cultivated with the place since childhood. I attempt also to show that the genius loci has sustained his poetry even when he is abroad and imaginatively revisits the place. Despite the strength of this source, he eventually longs for a more sustainable source, one that is not prone to be destroyed due to the possibility of a change of landscape in the locality due to rural development or industrialisation. / As a result of this, Wordsworth invents what I term 'historical', 'literary', and 'embodied' spirits of place, as alternative sources. These three kinds of spirit of place will be discussed in Chapters 5, 6, and 7 respectively. Historical spirits of place are a community imagined by Wordsworth, one in which people share the same valuation of certain virtues that are specific to the British nation. Literary spirits of place are a community in his mind, one that consists of literary figures who are supportive of or foundational for Wordsworth’s writing. He imagines receiving their support through quoting from their poems. Embodied spirits of place are also an imaginary community based on the rural one in the Lake District. They are characters that Wordsworth creates based on real rustic people, and their lives are sustained by the love and sympathy of the community, just as his own poetry is sustained by it. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Au Yeung, Viona. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 409-423). / Abstracts also in Chinese.

Thesis (Ph. D.)--University of Chicago, Dept. of History, March 2001. / Includes bibliographical references. Also available on the Internet.

This rhetorical study applies Clare W. Graves' "Level of Existence" or value systems theory to the English Neo-Classic and Romantic Movements. Graves' framework, which focuses on sacrificial (Tribalistic, Absolutistic, and Sociocentric) systems and expressive (Egocentric, Achievist, and Individualistic) systems~was utilized in analyzing the politics, society, religion, philosophy, and literature of the two periods. The Neo-Classic Period was dominated by sacrificial systems, especially Absolutistic, while the Romantic Movement was dominated by expressive systems, especially Achievist. This thesis suggests that man's cultural development, like his psychological development, appears to evolve in a spiraling, pendular motion between sacrificial and expressive systems.