A pesquisa procurará demonstrar que o poema A Balada do Velho Marinheiro (1798, primeira versão publicada), do poeta inglês Samuel Taylor Coleridge (1772-1834), é uma representação artística do conceito de devaneio [revery] dos românticos. Partindo do subtítulo do poema A poets revery [Devaneio de um poeta], acrescentado à Balada por Coleridge em uma de suas sucessivas edições, o projeto intentará mostrar que o conceito de devaneio, no caso, corresponde a uma visão partilhada por vários autores da época, qual seja um estado intermediário entre o sono e a vigília, como o próprio poeta a definiu. Para tanto, a pesquisa procederá a uma identificação de fontes de que Coleridge se serviu para elaborar sua própria teoria da imaginação, palavra que, para ele, apresentava um verdadeiro fardo de especulação e sentido técnico, e que funciona como um eixo em torno do qual giram, de modo geral, seus escritos sobre arte e filosofia, além de ser para o poeta, em nível pessoal, uma defesa de dada atitude para com a vida e a realidade. Tal abordagem pode se mostrar proveitosa quando nos propomos a fazer uma leitura da Balada do Velho Marinheiro, não só pelo fato de a poética de Coleridge andar a par e passo com seus escritos teóricos, mas também, como haveria de demonstrar a longa tradição de exegeses da Balada, sobretudo em razão de o próprio Coleridge referir-se ao poema como sendo uma obra de pura imaginação1, por apontar diretamente para a necessidade de tentar explicar-lhe aspectos formais e temáticos a partir do contexto dessa teoria. Além disso, serão rastreadas as influências que Coleridge recebeu de seus contemporâneos e do ambiente literário de que fazia parte na Inglaterra do começo do século XIX, bem como se procederá a um estudo das influências sofridas por ele da filosofia idealista em sua vertente organicista, para elaborar sua própria teoria da imaginação. Como na verdade essa teoria se liga estritamente à concepção então em voga de obra orgânica uma estrutura fechada em que o todo e as partes se explicam mutuamente , o projeto terá como ponto central a análise da Balada em que se procurará demonstrar que estas concepções, amplamente desenvolvidas na obra teórica de Coleridge, são a razão do jogo de simetrias presentes no poema, e que seu imaginário e simbolismo radical aspecto que se aplica a muitos de seus poemas estão a serviço do que se pode chamar de técnica do devaneio ou do sonho acordado. Um capítulo final levará a efeito um levantamento do legado da obra poética e dos escritos críticos de Coleridge e de sua influência sobre os poetas e críticos que lhe sucederam. / This study aims to show that the poem \"The Rime of the Ancient Mariner\", first published in 1798 by English poet Samuel Taylor Coleridge (1772-1834), is an artistic representation of the concept of romantic reverie. Starting with the subtitle of the poem, \"A poet\'s reverie\", added to The Rime by Coleridge in one of its subsequent editions, the study will attempt to show that the concept of \"reverie\", in this case, corresponds to a shared general vision held by several authors of the time, who considered the \"reverie\" a type of \"disturbance of the imagination\", or an intermediate state between sleep and wakefulness, as the poet himself described it. Accordingly, the study will go on to identify the subjective modes and concepts around romantic imagination by touching on some sources that Coleridge used in the creation of his own theory of \"imagination\", a word that, for him, was a real burden in terms of both speculation and technical meaning, and which serves as an axis around which the general method of his writing on art and philosophy revolves, in addition to being the \"defense of a given attitude of life and reality\" for the poet on a personal level. This approach may be helpful examining the \"The Rime of the Ancient Mariner\", not just for the fact that Coleridge\'s poetry goes hand-in-hand with his theoretical writings, but, as the long tradition of the Rime\'s exegeses would demonstrate, especially because of the fact that Coleridge\'s own reference to the poem as being a work of \"pure imagination\" directly highlights the necessity to try and explain its formal and thematic aspects from the context of this theory. Besides this, the influences that Coleridge received from his contemporaries and the literary scene at the beginning of 19th Century England, of which he was a part, will be traced, along with the aspects of idealist philosophy and the organist leaning in the creation of his imagination theory that also influenced him. As this theory is in fact closely related to the concept of the \"organic\" work that was in fashion - a closed structure in which all the parts are mutually explained - the study will have as its main theme an analysis of The Rime, where the concepts thoroughly developed in Coleridge\'s theoretical work will be used to make sense of the symmetrical strategy present in the poem, and it will be shown that his imagination, metaphoric and radical symbolism an aspect that applies to many of his poems - are at the service of what could be called the reverie technique, or the \"waking dream\". The final chapter will draw on research concerning the legacy of Coleridge\'s poetic work and critical writings, and his influence on subsequent generations of poets and critics.

Thesis (B.A.)--Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

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Percy Bysshe Shelley is often seen to exhibit a linear intellectual development. He moves, allegedly, from a thoroughgoing materialism in his early years to embrace, with varying levels of enthusiasm, a diametrically opposed idealism. Yet, if we are attentive to even an early, supposedly naïvely ‘materialist’ work like Alastor (1816), we discover a much more complex reality. Here, Shelley’s materialism concerns not only the sonorous and physiological elements of existence, but also the gaps, vacancies, silences and interstices of thought. These too, after all, comprise part of our lived experience, and deserve to be designated material. But materialism has struggled, by definition, to explain the real but not-manifest phenomena of human experience. Shelley’s poetry actuates diverse kinds of intermittence and disjunction, and engages with philosophical contexts not previously associated with the poet. He did not seek to resolve the relation between the material and immaterial world of the soul (a quite impossible task anyway), but enact the dynamic between sensuous reality and the gaps and pauses that punctuate it. We see this not only through the incidents that his verse describes; importantly, Shelley also enacts this through performance: through the way in which we recite his poetry into existence, through the pauses and ‘fainting periods’ that our own voice describes. The need to take into account this vocal, performative element of Shelley’s verse belies the notion that he was ever a simple, unreconstructed idealist. Where the recent turn toward materialism has hitherto been somewhat narrowly conceived as a return to objects, things and their thing-ness, Shelley’s sensuousness permits us to ask further: to ask into the nature of the relations between objects, and the ways in which they come into being. His ‘intermitted song’, a poetry of radical pauses, is not only a resonant example of how prosody intersects with, and achieves, philosophically significant thinking, it is also a stinging critique of any account of life or matter that is offered solely in terms of motion, fullness, functionality, and continuity. His achievement is not only of relevance to the Romantic Period and the history of philosophy, or an answer to vital materialism, Shelley’s poetry and prose offer a remarkable reassessment of the notion of a continuing life.

Thesis [M.A.]--Columbia University, 1899. / "Reprinted from the Conservative review of March, 1900." Bibliography: p.39-40. Also available in digital form on the Internet Archive Web site.

Inaug.-diss.--Leipzig.

Inaug.-Diss.--Halle-Wittenberg. / Lebenslauf. "Schrifttum": p. [72]-76.

Thesis (doctoral)--Freie Universität Berlin, 1969. / Includes bibliographical references (p. [150]-162).

Thesis--Tübingen. / Vita. Includes bibliographical references (p. 281-294).

Thesis (Ph. D.)--University of Pennsylvania, 1938. / Published also without thesis note. Bibliography: p. 157-183.