A presente tese visa analisar um grupo específico de poemas de Dante Gabriel Rossetti (os chamados poemas de imagens), e pinturas e gravuras de sua autoria, a fim de mostrar como a ligação entre desejo físico e devoção espiritual ilustra a expressão de Rossetti como artista, e como ela ajuda a colocá-lo como uma figura de transição no sistema literário britânico. O desejo físico e a devoção espiritual são duas forças antagônicas que ocupam um espaço predominante na literatura e na imaginação vitoriana, e na obra de Rossetti temos o momento em que a Poesia Romântica Inglesa converge para o Modernismo experimental britânico. A tese deste estudo, portanto, é de que trabalhando com essas duas forças, Rossetti tornou-se um precursor do Modernismo na Grã-Bretanha. Este trabalho investiga, desse modo, como a tensão vitoriana entre devoção espiritual e desejo erótico é representada em pinturas de Rossetti, como as suas vozes poéticas lidam com estas questões, e que soluções são criadas nas obras do poeta-pintor. Para alcançar os objetivos acima, esta tese relata uma pesquisa bibliográfica sobre a interação entre poesia e pintura e uma análise, de cunho psicanalítico, de obras pictóricas e poéticas de Rossetti. O primeiro capítulo apresenta um histórico da discussão sobre a relação entre poesia e pintura e um resumo dos conceitos freudianos a serem utilizados na análise. O segundo capítulo faz uma revisão da fortuna crítica de Rossetti e dos movimentos artísticos e literários aos quais ele é associado. O terceiro capítulo analisa um grupo das “obras duplas” de Rossetti (i.e., quadros e poemas), identificando como são construídas as imagens de devoção e desejo, e como elas se inter-relacionam. A conclusão estabelece a contribuição da obra poética e pictórica de Rossetti para o desenvolvimento dos sistemas literário e artístico britânico, à luz da relação dinâmica entre os aspectos de devoção e desejo presentes na sua obra, e analisa seu papel no cenário vitoriano. Apresenta também o papel de Rossetti na transição do Romantismo ao Modernismo britânico. A tese contém também dois apêndices: a) uma cronologia de fatos relevantes da vida de Rossetti e das obras aqui estudadas, e b) as “obras duplas” analisadas neste trabalho. / This dissertation analyzes a specific group of Dante Gabriel Rossetti’s poems (the so-called picture poems) and pictures, in order to show how the connection between physical desire and spiritual devotion illustrates Rossetti’s expression as an artist, and how it helps to place him as a figure of transition in the British literary system. Physical desire and spiritual devotion are two antagonistic forces which occupy a predominant space in Victorian literature and imagination, and in Rossetti’s work we have the moment in which Romantic English Poetry melts into experimental British Modernism. The thesis of this study, therefore, is that by working with those two forces, Rossetti became a precursor of Modernism in Britain. This dissertation thus investigates how the Victorian tension between spiritual devotion and erotic desire is represented in Rossetti’s paintings and drawings, how the speakers in his poems deal with these issues, and what solutions are created in Rossetti’s works. In order to reach the objectives above, this dissertation comprises a bibliographical review of the relationship between poetry and painting, and a psychoanalytical analysis of pictorial and poetic works by Rossetti. The first chapter presents a historical account of the discussion on the relationship between poetry and painting, as well as a summary of the Freudian concepts to be used in the analysis. The second chapter reviews Rossetti’s critical fortune and presents the artistic and literary movements with which he is associated. The third chapter analyses a set of Rossetti’s double works (i.e. pictures and poems), identifying how the images of devotion and desire are built and how they interrelate within the works. The dissertation conclusion establishes the contribution of Rossetti’s poetic and pictorial works to the development of the British literary and artistic systems in light of the dynamic relationship between the aspects of devotion and desire in his work, and analyses his role in the Victorian scenario. Rossetti’s role in the development from British Romanticism to Modernism is also presented. The dissertation has two appendixes: a) a chronology of relevant events in Rossetti’s life associated with the works studied here, and b) the double works analyzed in this dissertation.

A presente tese visa analisar um grupo específico de poemas de Dante Gabriel Rossetti (os chamados poemas de imagens), e pinturas e gravuras de sua autoria, a fim de mostrar como a ligação entre desejo físico e devoção espiritual ilustra a expressão de Rossetti como artista, e como ela ajuda a colocá-lo como uma figura de transição no sistema literário britânico. O desejo físico e a devoção espiritual são duas forças antagônicas que ocupam um espaço predominante na literatura e na imaginação vitoriana, e na obra de Rossetti temos o momento em que a Poesia Romântica Inglesa converge para o Modernismo experimental britânico. A tese deste estudo, portanto, é de que trabalhando com essas duas forças, Rossetti tornou-se um precursor do Modernismo na Grã-Bretanha. Este trabalho investiga, desse modo, como a tensão vitoriana entre devoção espiritual e desejo erótico é representada em pinturas de Rossetti, como as suas vozes poéticas lidam com estas questões, e que soluções são criadas nas obras do poeta-pintor. Para alcançar os objetivos acima, esta tese relata uma pesquisa bibliográfica sobre a interação entre poesia e pintura e uma análise, de cunho psicanalítico, de obras pictóricas e poéticas de Rossetti. O primeiro capítulo apresenta um histórico da discussão sobre a relação entre poesia e pintura e um resumo dos conceitos freudianos a serem utilizados na análise. O segundo capítulo faz uma revisão da fortuna crítica de Rossetti e dos movimentos artísticos e literários aos quais ele é associado. O terceiro capítulo analisa um grupo das “obras duplas” de Rossetti (i.e., quadros e poemas), identificando como são construídas as imagens de devoção e desejo, e como elas se inter-relacionam. A conclusão estabelece a contribuição da obra poética e pictórica de Rossetti para o desenvolvimento dos sistemas literário e artístico britânico, à luz da relação dinâmica entre os aspectos de devoção e desejo presentes na sua obra, e analisa seu papel no cenário vitoriano. Apresenta também o papel de Rossetti na transição do Romantismo ao Modernismo britânico. A tese contém também dois apêndices: a) uma cronologia de fatos relevantes da vida de Rossetti e das obras aqui estudadas, e b) as “obras duplas” analisadas neste trabalho. / This dissertation analyzes a specific group of Dante Gabriel Rossetti’s poems (the so-called picture poems) and pictures, in order to show how the connection between physical desire and spiritual devotion illustrates Rossetti’s expression as an artist, and how it helps to place him as a figure of transition in the British literary system. Physical desire and spiritual devotion are two antagonistic forces which occupy a predominant space in Victorian literature and imagination, and in Rossetti’s work we have the moment in which Romantic English Poetry melts into experimental British Modernism. The thesis of this study, therefore, is that by working with those two forces, Rossetti became a precursor of Modernism in Britain. This dissertation thus investigates how the Victorian tension between spiritual devotion and erotic desire is represented in Rossetti’s paintings and drawings, how the speakers in his poems deal with these issues, and what solutions are created in Rossetti’s works. In order to reach the objectives above, this dissertation comprises a bibliographical review of the relationship between poetry and painting, and a psychoanalytical analysis of pictorial and poetic works by Rossetti. The first chapter presents a historical account of the discussion on the relationship between poetry and painting, as well as a summary of the Freudian concepts to be used in the analysis. The second chapter reviews Rossetti’s critical fortune and presents the artistic and literary movements with which he is associated. The third chapter analyses a set of Rossetti’s double works (i.e. pictures and poems), identifying how the images of devotion and desire are built and how they interrelate within the works. The dissertation conclusion establishes the contribution of Rossetti’s poetic and pictorial works to the development of the British literary and artistic systems in light of the dynamic relationship between the aspects of devotion and desire in his work, and analyses his role in the Victorian scenario. Rossetti’s role in the development from British Romanticism to Modernism is also presented. The dissertation has two appendixes: a) a chronology of relevant events in Rossetti’s life associated with the works studied here, and b) the double works analyzed in this dissertation.

Christina Rossetti and Dante Gabriel Rossetti both suffered from ambivalent feelings concerning the role female sexuality plays in the salvation of the soul. These ambivalent feelings ranged from seeing female sexuality as leading men to salvation, to seeing it as a trap for the destruction of women's souls as well as men's. The contradictory feelings of the Rossettis' typifies the Victorian people's experience and was caused by the nature of the times. Using the analysis of the period by Walter E. Houghton in The Victorian Frame of Mind: 1830-1870, this paper describes the affect the Victorians' religious zeal, their "moral earnestness," and their "woman-worship" had on the two Rossetti poets.

"'The Burden of the Image:' Jane Morris in Art and Life" examines the work and life of Pre-Raphaelite model Jane Burden Morris (1839-1914). Burden Morris, an embroiderer and wife of the arts and crafts designer William Morris (1834-96), became famous in her own lifetime as the model for a number of Pre-Raphaelite works, particularly the paintings of Dante Gabriel Rossetti (1828-82). Although she was not considered conventionally beautiful by Victorian standards, artists drew heavily upon Burden Morris’s appearance, particularly her striking features and unusual artistic dress, in order to heighten the exoticism of their works and to suggest moments outside contemporary Victorian time and place. Burden Morris’s features became synonymous with the Pre-Raphaelite ideal in female beauty and several contemporaries reflected upon the surreal experience of meeting the enigmatic woman thought only to exist in paintings. Borrowing from a material culture approach which views images as both reflective and formative of identity, this work considers the relationship between Jane Burden Morris and her painted representation, and focuses in particular on the works produced through Burden Morris’s long-standing collaboration with Rossetti. Through an examination of Burden Morris’s appearance, activities, and demeanour, this dissertation considers the aspects of Burden Morris’s identity which contributed to her use in numerous Pre-Raphaelite images, and further explores the way in which these paintings may have altered how Burden Morris conceived of her own identity. “The Burden of the Image” examines three dominant modes of representing Burden Morris, including depictions of Burden Morris as medieval damsel, myth, and monster. It also considers Jane Burden Morris’s role within the broader context of aestheticism, and explores her relationship to the artistic dress movement and the aesthetic interior. / Thesis (Ph.D, Art History) -- Queen's University, 2014-03-31 13:33:52.106

vii, 157 p. / In the second half of the nineteenth century, the Aesthetic Movement in England coalesced literary and visual arts in unprecedented ways. While the writers associated with the Aesthetic Movement reflected on visual art through the exercise of criticism, their encounters with painting, portraiture, and sculpture also led to the articulation of a problem. That problem centers on the fascination with the attentive look, or the physical act of seeing in a specialized way for an extended period of time that can result in a transformation in the mind of the observer. In this dissertation, I consider how Dante Gabriel Rossetti, Henry James, and Oscar Wilde utilize the attentive look in their poetry, fiction, and drama, respectively. As I argue in this dissertation, the writers associated with the Aesthetic Movement approach and treat attention as a new tool for self-creation and self-development. As these writers generally attempt to transcend both the dullness and repetitiveness associated with modern forms of industrialized labor as well as to create an antidote for the endless distractions affiliated with the modern urban environment, they also develop or interrogate systems for training and regulating the senses. What these writers present as a seemingly spontaneous attentive engagement with art and beauty they also sell to the public as a specialized form of perception and experience that can only be achieved through training or, more specifically, through an attentive reading of their works. While these writers attempt to subvert institutional authority, whether in the form of the Royal Academy or the Oxford University system, they also generate new forms of authority and knowledge. Even though the Aesthetic Movement is not a homogeneous set of texts and art works, the Aesthetic Movement can be characterized in terms of its utilization of attentiveness as a way to both understand and create modern subjectivity. / Committee in charge: Dr. Forest Pyle， Chair； Dr. Sangita Gopal， Member； Dr. Linda Kintz， Member； Dr. Kenneth Calhoon， Outside Member