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This thesis offers a comparative analysis of the poetic identities of Christopher Smart (1722-71), William Cowper (1731-1800) and William Blake (1757) in the context of contemporary understandings of madness and changing ideas of personal and spiritual identity from c.1750-1820. Critical attention is focused on the chameleonic status of madness in its various manifestations, of which melancholy, particularly in its religious guise, is particularly important. This thesis adopts an historicist approach that emphasizes poetic voice, and registers a close analysis of the arguments and diction employed in poetry, prose and medical writing associated with eighteenth-century madness. Rather than assuming a pathological status for these poets, I have paid close attention to the way in which madness is represented in the work itself and drawn contrasts with significant contemporary ideas in influential medical discourse. The thesis looks at key long poems including Smart's Jubilate Agno (written c.1758-63), Cowper's series of moral satires in Poems (1782), and Blake's The Four Zoas (written c.1797-1807), as well as some prose writing and letters, all of which contend with issues that underlie the public and medical scrutiny of madness in the late eighteenth and early nineteenth centuries: the line between madness and strong religious convictions; the relationship between the body and the soul; anxieties about the social order and the national character; and a burgeoning individualism. The argument is attentive to the importance of language in medicine as well as poetry, and analyses the diction employed by several eighteenth century mad-doctors, most notably the St. Luke's physician, William Battie (1703-1776); the cleric, physician, and poet, Nathaniel Cotton (1707-1788); and the controversial Bethlem apothecary and prolific medical writer, John Haslam (1764-1844). Although historically grounded, the thesis makes connections between the eighteenth-century culture of madness and contemporary understandings of mental disturbance.

The poets Paul Celan and André du Bouchet were close friends and translated each other's poetry in the 1960s. Despite their proximity and friendship, this study suggests that they differ fundamentally in their poetics of the image. These two important authors outline two very different avenues in engaging with the image as a centuries old topos in philosophy and art. In his conception of the image, Celan links the iconoclastic impetus of the Second Commandment with the biblical confusion of tongues, believing that our need to speak in metaphors and typos images (Abbilder) after Babel impedes truthful poetic expression. For Celan, the Holocaust is a form of renewal of this linguistic Fall of Man. Nonetheless Celan's poetry also suggests that we can give testimony to an archetypos (Urbild) through truthful poetic expression. Du Bouchet, on the other hand, conceives of the image as encompassing the visual juxtaposition of black ink on the white page and the semantic paradoxes of his poetry. Du Bouchet distributes words across the page and as his poetry thematises gaps of meaning these gaps not only surface in his language but also extra-linguistically in the white gaps of the page. These different conceptions of the image in Celan and du Bouchet are first delineated by alternating analyses of the two authors' poetry and poetics. These investigations show Celan's desire to overcome a typified speech and, in his creation of poetic images, to tend toward truth, or an archetypos, whereas du Bouchet perennially negotiates the paradoxes which constitute his poetic image. In a second step, this study investigates how these differences in their conception of the image inform their respective approach to translating the other.

This thesis explores the nature of creativity in the poetic vision of Percy Bysshe Shelley. "Poetic vision" is chosen for its complex connotations, which include creative imaginings, dreams and intimations of futurity. I examine questions that Shelley raises concerning perception, existence and the fabric of reality. To develop a conceptual framework that has an ontological basis, I draw on the theories of two twentieth-century non-dualist thinkers: David Bohm, who combines science, philosophy and art, and the existential thought of Martin Heidegger. I also investigate ways in which literary expression and life become interwoven and suggest that this reciprocity is explicable through a dynamically creative vision of existence. In Chapter One Shelley's reflections on the creative capacity of poetic visions to influence states of being, and his holistic apprehension of existence in On Life, provide the thesis with a conceptual paradigm which is in contradistinction to the Cartesian schism between mind and matter. A Defence of Poetry is contrasted with Peacock's The Four Ages of Poetry to show that the contention between the two writers' visions springs from questions relating to being. Shelley's declaration that the poetic impulse is central to life is examined in the light of Heidegger’s notion of the poetic as disclosing being and Bohm's quantum concepts of creativity. In Chapter Two Alastor is interpreted as a poem which raises questions about existence and I provide a counter-approach to critical positions of scepticism. Heidegger's concepts of "Being- in-the-world" and "Being-towards-death" provide the basis for an existential analysis of die Poet’s impassioned quest. A comparison between the Poet's dream of his feminine counterpart and Shelley's own vision of his ideal beloved reveals connections between artistic vision and human experience. In Chapter Three on Laon and Cythna. poetic vision is shown to operate from a metaphysical basis of thought, passion, and the human will to enact a radical transformation in consciousness. The poem's investigation of freedom is linked to Heidegger's concept of being absorbed in the "they." Chapter Four continues my extended reading of Laon and Cythna. Shelley's notion of creativity collapses the demarcations between imaginative vision and the physical world. Here his view of reality is contrasted with the psychological investigations of Jean Piaget. The poem’s vision of human empowerment is compared with Peacock's fatahsm in Ahrimanes. Chapter Five investigates challenges to Shelley's optimism. Julian and Maddalo is the major poem interpreted in a chapter v*ere the keynote is the contention between theories about the nature of reality and their validity to human life. Shelley's anxiety about communicating visions of despair is analyzed with regard to the Maniac's tragic predicament. Chapter Six interprets Prometheus Unbound as a dramatic engagement with the spiritual, imaginative, emotional and sensuous planes of being. Existence is seen to be poised on a mobile nexus of thought and emotions. Asia has a dynamic role and, through consideration of her journey with Panthea to Demogorgon, I examine Shelley's complex negotiation between free will and determinism. Spinoza's monism is discussed in relation to "Love's Philosophy. In Chapter Seven on Hellas, "Thought", "Passion", "Will", "Reason" and the "Imagination” are shown to have creative powers which determine futurity. Questions about the structure of reality are explored in the drama's dynamic interchange between the magician-like Ahasuerus and the Turkish tyrant Mahmud. Dreams are given significance as avenues of perception to realms beyond conscious experience and in relation to unfolding the future. Finally, in Chapter Eight Shelley's ideas about poetic creativity are explored through his poems to 'Jane Williams. Whilst composing these lyrics Shelley used the figure of Rousseau, in the Triumph of Life, to suggest a reciprocity between art and life. I examine the similarities between Rousseau's fictional creation of Julie in La Nouvelle Hélose and his subsequent love for Sophie d'Houdetot. Shelley's lyrics to Jane Williams communicate desire at different levels of conscious awareness, from trance-like mesmerism to overt invitation.

Orientador: Claudete Ribeiro / Banca: Loris Graldi Rampazzo / Banca: Carmen Sylvia Guimarães Aranha / Resumo: Nesta pesquisa pretendo ler em Portinari o seu "olhar da infância" a partir das obras delimitadas pela temática do circo. O que está em jogo no acontecimento estético da leitura é o estado de exceção onde se dá o surgimento da imagem poética como experiência não antecipável na consciência de um leitor, esta relação com a obra é compreendida como intersubjetividade, conceito da fenomenologia de Merleau-Ponty que relaciona o eu, o outro e a linguagem. Procuro levantar questões referentes ao processo de formação das imagens e leitura. Como considerar o papel da memória e da ação criadora da imaginação? Na obra a imagem constitui-se como uma realidade imagética por si mesma? Qual é o papel do leitor? E da obra? É a obra um mundo com sua dinâmica própria, que propõe novas percepções ao leitor e o modifica em sua leitura-mundo? / Abstract: In this research I intend to read in Portinari his "look of the childhood" from the works delimited by the thematic of the circus. What is happening to esthetic event in the reading is the state of exception where the poetic image is rising as experience not anticipate in the conscience of a reader, this relation with the art work is understood like subject experiencing among themselves, concept of the phenomenology of Merleau-Ponty that relates the myself, the otherself, the body and the language. I am going to raise questions regarding at formation of the images and reading them. How can I consider the paper of the memory and creative action of the imagination? Is the poetic image in the art work constituted itself as an image reality by itself same? What is the paper of the reader and what is of the art work? Is it the art work a world with his dynamic own, that proposes news perceptions to the reader and modifies to reading-world it? / Mestre

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The thesis is a study of the development of a poetic technique and its increasing importance in the evolution of Apollinaire's poetic styles. In describing the technique as "violence" the thesis offers a definition not only of the technique itself but also of the intentions of the poet both in the composition of the poems and in their final effects. By analysing and attempting a critical explication of Apollinaire's poetry in chronological order, the thesis thus shows not only the development of the technique but also that this technique constitutes the underlying unity of Apollinaire's poetry which has traditionally been analysed in terms of conflicting influences and intentions. While accepting the importance of the influence of symbolism on the early poetry and even the permanence of certain aspects of this influence, the thesis shows the degree of originality present throughout the evolution of both the early poems and the later poems. Since supposed influences of the plastic arts, and in particular the development of Cubism, have often been assumed or even shown - although never satisfactorily - to be at the origin of Apollinaire's movement away from symbolism and more traditional forms of poetic expression towards experimental and concrete forms of poetry, the thesis gives due weighting to the presence of the techniques of violence in the early poetry and consequently proves Apollinaire's poetic development to be consistent with himself. Due emphasis given to the continuity of Apollinaire's techniques as well as to the consistency of such expressions of intent as the poet made, the thesis concludes that the originality of Apollinaire's poetry lies mainly in his exploitation of the techniques of violence.