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Texte remanié de: Ph. D.--Knoxville--University of Tennessee, 1998. / Bibliogr. p. 119-125. Index.

Wallace Stevens (1879-1955) is probably the greatest and most prolific exponent of purist estheticism in all of American letters. Born in Reading, Pennsylvania, his first book of poetry, Harmonium (1923) won him the respect and admiration of his fellow writers, but brought him little popular acclaim and less remuneration. His career as a poet spanned four decades, the 1923 volume being followed by Ideas 2( Order (1935); The Man with the Blue Guitar (1937); Parts of â World (1942); Transport to Symmer (1947); The Auroras gt Autumn (1950); The Necessary Angel (a collection of essa7s, 1951); The Collected Poems of Wallace Stevens (1954); and Opus Posthumous (a miscellany of poems, plays, and prose works, edited by Samuel French Morse, 1957). Unlike most of his contemporaries, Stevens chose to divide his time between the world of poetry and that of business, keeping in the process very much to himself, and refusing to mix with literary or academie society. From 1916 to his death in 1955, he was associated with the Hartford Accident and Indemnity Company, of which he became vice-president in 1934. [...]

Thesis (Ph. D.)--Rutgers University, 2007. / "Graduate Program in Literatures in English." Includes bibliographical references (p. 210-221).

In "Discourse in the Novel," Mikhail Bakhtin tells us that "Every discourse presupposes a special conception of the listener, of his apperceptive background and the degree of his responsiveness." My study of Wallace Stevens's poetry examines Stevens's "conception of the listener"—in the form of his intratextual readers, their responsiveness, and the shapes that responsiveness takes—and attempts to formulate out of that examination Stevens's theory of reading embodied in his canon of poems.

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Creativity, for Wallace Stevens, depends on connections to the natural world which can be examined through garden imagery. Chapters one and two focus on Stevens' private writing, identifying the range of garden environments and natural expanses to which he responded and associating these responses with his aesthetic sensibilities. Continental and Adamic traditions in garden imagery are explored as are contemporary practices in conservation and horticulture. Chapter three concentrates on poems which treat the garden as a locus amoenus of repose and delight where a poet can engage his imaginative faculties with sensual reality. Chapter four analyzes poems whose garden imagery elucidates Stevens' attempts to confront social and political as well as aesthetic issues. Chapters five and six examine Stevens' consideration of the garden as a hortus mentis, emblematic of creative experience, where Stevens assesses the relation of expression to environment and celebrates life lived "in the word of it."

Thesis (Ph.D.)--Tufts University, 2005. / Advisers: Deborah Digges; Jesper Rosenmeier. Submitted to the Dept. of English. Includes bibliographical references (leaves 178-190). Access restricted to members of the Tufts University community. Also available via the World Wide Web;