My dissertation examines the representations of materialism -- a philosophy stereotypically associated with a reductive, anti-theological and mechanistic world-picture -- in the published prose and (typically) unpublished poetry of several figures central to scientific discourse in the latter half of the nineteenth century, most notably W. K. Clifford, a mathematician, and John Tyndall, a physicist and media-savvy ‘champion of science’. These engagements, and representations, were not merely on the level of ‘direct’ argumentation, however. A self-consciously allusive, even polyphonous tone was far from uncommon in the many literatures arising from mid-Victorian scientific encounter, and this openness of form permitted both popularisers and critics of materialism to choose the vocabularies in which to relate their observations –- the texts with which they would engage –- towards specific ends. As I argue, such was a task they performed with great care and an often astonishing felicity: an essay on cosmology, after all, acquires quite a different colouration when interleaved with the cadences of Milton, another again if illustrated with quotations from Whitman or an epigram from ‘Tintern Abbey’. My 1st chapter provides a broader context for those that follow, analysing both changing nineteenth-century ideas of materialism and also a range of potential reactions to -– and inter alia a variety of the contrasting vernaculars used in illustration of –- contemporary metaphysical or ‘methodological’ materialism. My 2nd chapter offers a reading of Tyndall’s August 1874 Belfast Address, the locus classicus for practically all later elaborations of materialistic belief. My 3rd chapter contrasts the theologically orthodox position of James Clerk Maxwell (buttressed by allusions to the theologically doctrinaire George Herbert) with the radically atheistic and materialistic philosophy of Clifford (underpinned by the similarly atheistic Algernon Charles Swinburne). My 4th and 5th chapters are paired studies in the ‘private’ nuances of Tyndall’s ideology, elaborating on my 2nd chapter’s scrutiny of its more public attributes. The former discusses his notions of cosmic connectedness, ironically derived from the non-materialistic works of Carlyle. The latter examines both the exultancy and the despair explicit in Tyndall’s poetry and implicit in his prose. As I note in conclusion, such contrary emotions, phrased with striking clarity in Tyndall, are common in mid-Victorian writings concerning materialism, directly or indirectly. They are rooted in the hopes afforded by materialism’s explanatory prowess, on the one hand, and the ‘atrophy of spirit’ born of its austere, even dehumanising, epistemology, on the other; that is to say, in a salutary awareness of both power and pitfalls.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-02-07T16:33:56Z No. of bitstreams: 1 marciapeterssabino.pdf: 434195 bytes, checksum: 30a48ac1a56302ba41374ad66ccf05fb (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-02-08T12:34:03Z (GMT) No. of bitstreams: 1 marciapeterssabino.pdf: 434195 bytes, checksum: 30a48ac1a56302ba41374ad66ccf05fb (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-02-08T12:34:13Z (GMT) No. of bitstreams: 1 marciapeterssabino.pdf: 434195 bytes, checksum: 30a48ac1a56302ba41374ad66ccf05fb (MD5) / Made available in DSpace on 2017-02-08T12:34:13Z (GMT). No. of bitstreams: 1 marciapeterssabino.pdf: 434195 bytes, checksum: 30a48ac1a56302ba41374ad66ccf05fb (MD5) Previous issue date: 2006-12-13 / Esta dissertação pretende demonstrar a influência da poética científica na obra de Augusto dos Anjos. Para tanto, será recuperado o contexto de surgimento dessa proposta estética, a qual tentaremos caracterizar a partir das obras de Rocha Lima, Sílvio Romero e Martins Júnior. A poesia de Augusto dos Anjos será comparada à produção poética de alguns poetas científicos, tendo em vista quatro linhas mestras escolhidas a partir da proposta da poética científica: as relações da poesia com as idéias científicas e filosóficas do positivismo; a adoção de uma estética do prosaico e do feio; a expressão dos sentimentos do eu-lírico; e a abertura para o contexto social. / This dissertation aims to demonstrate the influence of the scientific poetics on Augusto dos Anjos’ work. For this, it will be recuperate the appearance context of this aesthetics proposal, wich we will try to characterize from the work of Rocha Lima, Sílvio Romero and Martins Júnior. Augusto dos Anjos’ poetry will be compared to some scientific poets’ poetic production, considerating four master lines chosen from the scientific poetics proposal: the relations between the poetry and the scientific and philosophical ideas of the positivism; the adoption of a prosaic and unpleasing aesthetics; the expression of the self-lyric emotions; and the openning to the social context.

Ce mémoire vise à placer le travail de la poète colombienne Olga Elena Mattei au sein de la poésie colombienne de son temps (1962-2005). Dans le premier chapitre, certains concepts théoriques sont définis et le terme «canon», axé sur la poésie, est synthétisé. Dans le deuxième chapitre, le paysage de la poésie colombienne de la seconde moitié du XXe siècle est défini. La stylistique des poètes les plus importants et jugés comme étant canoniques, est présentée. Dans le dernier chapitre, les particularités de la poésie de Mattei sont analysées. Il est conclu qu'Olga Elena Mattei fait partie du canon de la poésie colombienne, mais que son travail a contesté le canon dominant de celle-ci, au fil des décennies, et qu'il a été en avance sur les tendances qui émergeraient plus tard. À titre d'exemple, il est montré comment, dans les années soixante du XXe siècle, quand, en Colombie, la rime et le mètre étaient toujours hégémoniques dans la poésie, Olga Elena Mattei a osé écrire et publier en vers libres. Puis, dans les années soixante-dix, lorsque le vers libre a été accepté et il régnait à la poésie colombienne, Mattei fut la première femme à écrire anti-poésie en espagnol. Dans les années quatre-vingt, alors que l'anti-poésie était la principale tendance en Colombie, Mattei s'est consacrée à écrire de la poésie au sujet de la science, jamais réalisée auparavant en Colombie. Et, dans les années quatre-vingt-dix, lorsque le vers libre est dominant en Colombie, Mattei retourne à la rime. / This thesis aims to place the work of the Colombian poet Olga Elena Mattei within the Colombian poetry of her time (1962-2005). In the first chapter, some theoretical concepts are defined and the term "canon", focused on poetry, is explained. In the second chapter, the landscape of the Colombian poetry of the second half of the twentieth century is set. The style of the most important poets, who are considered as canonical, is presented. In the last chapter, the peculiarities of Mattei's poetry are analyzed. It is concluded that Olga Elena Mattei is part of the canon of the Colombian poetry, but her work has challenged the dominant trends over the decades. For example, it is shown how, in the sixties of the twentieth century, when, in Colombia, rhyme and metrics were still preponderant in poetry, Olga Elena Mattei dared to write and publish in free verse. In the seventies, when free verse was accepted and it reigned in the Colombian poetry, Mattei was the first woman to write anti-poetry in Spanish. In the eighties, while anti-poetry was the main trend in Colombian poetry, Mattei devoted herself to write poetry about science, never wrote in Colombia before. And in the nineties, when free verse is dominant in Colombia, Mattei returns to rhyme. / Esta tesina pretende ubicar la obra de la poeta colombiana Olga Elena Mattei en el marco de la poesía dominante de su tiempo (1962-2005), en Colombia. En un primer capítulo, se definen algunos conceptos teóricos y se sintetiza el término “canon”, enfocado en la poesía. En el segundo capítulo, se define el campo poético colombiano de la segunda mitad del siglo XX. Se discute sobre la estilística de los poetas más relevantes, aquellos que han sido determinados como canónicos. En el capítulo final, se analiza la poesía de esta autora, sus particularidades, confrontándola con el canon antes explicado. Se concluye que Olga Elena Mattei hace parte del canon de la poesía colombiana, pero que su obra, a lo largo de los decenios, ha rebatido el canon preponderante en Colombia y se ha adelantado a las tendencias que habrían de surgir posteriormente. Como ejemplo, se muestra cómo, en los años sesenta del siglo XX, cuando, en Colombia, todavía la rima y la métrica eran hegemónicas en la poesía, Olga Elena Mattei se atrevió a escribir y publicar en verso libre. Luego, en los setenta, cuando ya el verso libre era aceptado e imperaba en la poesía colombiana, Mattei fue la primera mujer en escribir antipoesía en español. En los ochenta, cuando la antipoesía ya era tendencia distinguida en Colombia, Mattei se encaminó hacia la poesía de temática científica, nunca antes realizada en Colombia, y en los noventa, cuando, predomina el verso libre, Mattei regresa a la poesía con rima y ritmo.