Thesis (M.A.)--Florida State University, 2005. / Advisor: Dr. Daniel Vitkus, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed June 7, 2005). Document formatted into pages; contains v, 54 pages. Includes bibliographical references.

Thesis (Ph. D.)--Yale University, 1931. / Without thesis note. "Poems": p. 175-201.

Thesis (Ph. D.)--New York University. / Published also without thesis note in Three Chaucer studies. "List of references": p. 177-182.

Thesis (Ph. D.)--New York University. / Published also without thesis note in Three Chaucer studies. "List of references": p. 177-182.

Thesis (M.S.)--University of Wisconsin--Madison, 2001. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 65-66).

Inaug.-diss.--Strassburg.

This dissertation considers how twentieth century British lyric poets, in continuing the traditional relationship between religion and poetry, respond to changing expectations and assumptions about poetry’s role and power—changes directly related to ongoing social processes of secularization. By combining recent critical insights from secularization theory and lyric theory with close readings of poems, essays, and letters from British poets, this dissertation shows that due to social changes that cohere around World War I, poets like Wilfred Owen, Mary Borden, and David Jones confront an unsettling of traditional strategies of lyric enchantment. This unsettling both imperils the legitimacy of lyric poetics and opens new opportunities. Poets such as Ezra Pound, T.S. Eliot, and H.D. subsequently engage in strategies of deliberate re-enchantment to justify wide-ranging vocations, while the later Eliot, David Jones, and Elizabeth Jennings confront the limits of re-enchantment but still imagine the poetic vocation as connected to religion. In every case, this dissertation shows that lyric re-enchantment (as a distillation of the aesthetic itself) is fundamentally ambiguous; it is necessarily secular and immanent, yet it continues to imply a transcendence that can easily be put to religious or even supernatural ends. The lyric is thus a genre that uniquely registers the opportunities and challenges for the aesthetic in a secular age.

"It is the purpose of this writer to present as completely as possible an analysis of these innovations and characteristics which account for Christopher Fry's meteoric rise to fame. This writer has undertaken a study of Christopher Dry for several reasons. An initial interest and enthusiasm for his works aroused a natural curiosity to know more about the writer himself. Secondly, a venture of this nature, which attempts to give as full bibliographic detail as is possible, will serve as a disciplinary experience for a prospective librarian. Also, this writer feels that a study of this kind may be useful as a starting point for a further and more penetrating investigation of Christopher Fry's work"--Introduction. / Carbon copy of typescript. / "January, 1954." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Agnes Gregory, Professor Directing Paper. / Includes bibliographical references.

This dissertation examines the importance of the concept of measurement to poets and literary critics in eighteenth-century England. It documents attempts to measure aspects of literary form, especially prosodic phenomena such as meter and rhythm, and it explores how these empirical and pseudo-empirical experiments influenced the writing and reading of poetry. During the Enlightenment, it argues, poets and critics were particularly drawn to prosody's apparent objectivity: through the parsing of lines and counting of syllables, prosody seemed to allow one to isolate and quite literally measure the beauty and significance of verse. Inquiries into the social and historical functions of literature routinely relied on this discourse, exploring questions of style, politics, and philosophy with the help of prosodic measurement. By drawing on works and artifacts ranging from dictionaries and grammars to mnemonic schemes and notional verse-making machines, and through close readings of poet-critics such as John Dryden, Alexander Pope, Thomas Gray, and Samuel Johnson, "Poetic Numbers" contends that the eighteenth century's fascination with prosody represents a foundational moment in the history of literary criticism: a moment whose acute self-consciousness about literary critical methods, as well as about whether and how these methods can aspire to count and account for aspects of literary experience, anticipates many of the methodological questions that mark our own time.

Thèse--Paris, 1958. / Bibliography; p. [673]-709.