Swift appears in many of his poems either in his o person or behind a poetic mask which does little to conceal his identity. The poems contain Swift's view of his own character. Even in the poems addressed to others, the most important subject is Swift himself. This study is divided into chapters which examine the various roles Swift assumed in both his private and public lives. Following a brief introduction are two chapters of more interest than significance. The first of these is concerned with poems on Swift as a houseguest. These poems frequently relate the difficulties Swift's eccentric behavior caused his hosts. The second deals with poems on Swift's relationships with friends such as Thomas Sheridan and Patrick Delany, as well as with a public adversary, Jonathan Smedley.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

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<p> The core of Swift's Tale of a Tub is an allegorical narrative that recounts in miniature the history of the Christian Church. ln the tailorworship and Aeolist sections of his account, however, Swift temporarily suspends the narrative and describes a comprehensive systems of belief founded in each case on a single, all-important but absurd principle: the tailor-worshippers venerate clothes and the Aeolists, wind. This shift in technique is an important indication of Swift's aim in the Tale. Despite their essentially digressive nature, these two sections haves a close relation to the narrative and are obviously intended to comment on it. The most useful approach to an understanding of this shift of technique is by reference to the genre known as the padoxical enconium which was ideally suited for a satirical treatment of the philosophical issues that Swift was dealing with in the Tale. </p> <p> Swift's main target in the Tale is generally acknowledged to be 'modernism.' The combined evidence of the Tale, The Battle of the Books and The Mechanical Operation of the Spirit shows that Swift visualized the ancients-moderns controversy less as a contest between the merits of the learning of two different epochs far removed in time than as an eternally recurring struggle between a philosophic casr of thought (modernism) that would more accurately be called 'progressive rationalism' and the traditional Christian humanism to which Swift himself gave allegiance. Swift's main objection to modernism was that it tended to promote fashionable ideas to an importance far above their worth merely on grounds of novelty, to the detriment of what is of permanent value in human affairs. The typical modern reduction of experience to a naively simple scheme is the central is the central preoccupation of the 'Digression of Madness'. </p> <p> In order to refute not just individual modern thinkers but modernism in general, Swift turned the paradoxical econium into a brilliant burlesque device. Because it characteristically elevates to a position of importance something generally considered base or insignificant, the paradoxical enconium is a humorous, far-fetched counterpart to the kind of reductive logic that modernism attempts in all seriousness. The tailor-worship system is at once a paradoxical enconium of clothes and a modern philosophical system. At the same time, since it has no direct historical equivalent, the tailor-worship stands outside time as a permanent diagnosis of all such kinds of thinking. Both the Aoelist and tailor-worship systems are timeless paradigms of reductive thought that transcend the historical limitations of the examples they parody. For purpose of constructing such paradigms the paradoxical encomium was ideally adapted in a way that the allegorical narrative, with its point-forpoint correspondence with historical events, was not. </p> <p> Swift makes further use of the paradoxical encomium in the 'Digression on Madness', in which he humourously places the most reductive thinkers of history within a reductive framework of his own devising. At the centre of this digression, however, he presents a more engaging paradox: in the most famous passage of the Tale he contrives to prove the superiority of credulity to both reason and the abuse of reason. The terms in which he does so are more than just a practical example of the dangers of rhetoric: they are an inverted restatement of the terms of the ancients-moderns controversy, a warning that modernism at its most extreme is truly insane, and an implicit vindiciation of the values of Christian humanism. </p> / Thesis / Doctor of Philosophy (PhD)

Desde sua primeira impressão, em Londres, no ano de 1726, Viagens de Gulliver, de Jonathan Swift, tem sido amplamente lida e, conseqüentemente, reimpressa. No entanto, o evidente sucesso editorial do livro não permite concluir que ele tenha ganhado incontestável aprovação do público nem tampouco pode levar-nos a pensar que suas interpretações foram sempre consensuais. Prova disso reside nos dissensos do período pós-publicação os quais se estenderam e alargaram até a era vitoriana, no século XIX, a partir de quando a obra mais importante de Jonathan Swift adquiriu novas leituras, especialmente no mundo anglo-norte-americano, até que, por fim, ingressasse no panteão dos grandes textos da moderna literatura de língua inglesa. Apresentar algumas das leituras e interpretações de peso do período vitoriano, considerando as nuances da crítica e da historiografia que trataram de Viagens de Gulliver, bem como introduzir os argumentos de alguns autores que, do fim do século XIX até a primeira metade do XX, revisitaram tanto essa obra como certos comentários acerca dela são, pois, os objetivos primordiais deste trabalho. / Since Gullivers Travels by Jonathan Swift, was printed in London, in 1726, it has been largely read and, consequently, reprinted. However, the evident editorial success of the book does not let to conclude that it had gained incontestable public approval, neither lead to think that interpretations about it were always consensual. A proof for this lays on disagreements from the post-publication period which had spread and enlarged until the Victorian age, in the 19th century; since then the most important book of Jonathan Swift has acquired new readings, especially in the Anglo-North-American world, and after all it got into the pantheon of the great texts of the English modern literature. Presenting some important readings and interpretations from the Victorian age, considering the nuances of the criticism and historiography that dealt with Gullivers Travels, as well as introducing arguments of some authors whom, from the end of the 19th century to the begin of the 20th century, revisited both the book and some commentaries concerning to it, are the prime objectives of this work.

Este é um estudo das relações entre \'As Viagens de Gulliver\' e o romance inglês em sua fase de formação. Em 1726, quando Gulliver foi originalmente publicado, o romance inglês não era ainda um gênero consolidado, mas os elementos formais que o caracterizariam já circulavam em outras formas literárias. Esses elementos formais - como a contemporaneidade, a probabilidade, a ênfase na realidade quotidiana, a rejeição de enredos tradicionais, a linguagem referencial e o individualismo - associavam-se então a correntes literárias e valores progressistas inaceitáveis para Swift. Em As Viagens de Gulliver, Swift se apropriou dessas exatas convenções para atacar por dentro tais correntes e tais valores. Em outras palavras, Gulliver constituiu (entre muitas outras coisas) uma paródia intermitente das tendências formais que com o tempo viriam a caracterizar o romance moderno. E no ato mesmo de se apropriar das convenções que combatia, Swift contribuiu para o estabelecimento de uma via alternativa para autores mais tradicionais. / This is a study of the relationships between Gulliver\'s Travels and the English novel in its formative stage. When Gulliver was originally published in 1726, the English novel was not yet a consolidated genre, but the formal elements that would eventually characterise it were already circulating via other literary forms. Such formal elements - e.g. contemporaneity, probability, emphasis on daily reality, the rejection of traditional plots, referential language and individualism - were then associated with literary trends and progressive values deemed unacceptable by Swift. In Gulliver\'s Travels, Swift appropriated these very conventions in order to attack from within such trends and values. In other words, Gulliver amounted (among many other things) to an intermittent parody of the formal trends that would in time characterise the modern English novel. And in the very act of appropriating the conventions he were fighting against, Swift furthered the establishment of an alternative avenue for more traditional writers.

Este trabalho apresenta um método numérico rigoroso para encontrar soluções de equilíbrio para equações diferenciais parciais usando base de Chebyshev. Aplicações do método são apresentadas para a equação de Alen-Cahn e Swift-Hohenberg. / This work presents a rigorous numerical method to find equilibrium solutions to partial differential equations using Chebyshev basis. Applications are presented to the Alen-Cahn and Swift-Hohenberg equations.

Thesis (M.A.)--University of North Carolina at Greensboro, 2007. / Title from PDF title page screen. Advisor: Christopher Hodgkins, Karen L. Kilcup; submitted to the Dept. of English. Includes bibliographical references (p. 30-31, p. 64).

Este é um estudo das relações entre \'As Viagens de Gulliver\' e o romance inglês em sua fase de formação. Em 1726, quando Gulliver foi originalmente publicado, o romance inglês não era ainda um gênero consolidado, mas os elementos formais que o caracterizariam já circulavam em outras formas literárias. Esses elementos formais - como a contemporaneidade, a probabilidade, a ênfase na realidade quotidiana, a rejeição de enredos tradicionais, a linguagem referencial e o individualismo - associavam-se então a correntes literárias e valores progressistas inaceitáveis para Swift. Em As Viagens de Gulliver, Swift se apropriou dessas exatas convenções para atacar por dentro tais correntes e tais valores. Em outras palavras, Gulliver constituiu (entre muitas outras coisas) uma paródia intermitente das tendências formais que com o tempo viriam a caracterizar o romance moderno. E no ato mesmo de se apropriar das convenções que combatia, Swift contribuiu para o estabelecimento de uma via alternativa para autores mais tradicionais. / This is a study of the relationships between Gulliver\'s Travels and the English novel in its formative stage. When Gulliver was originally published in 1726, the English novel was not yet a consolidated genre, but the formal elements that would eventually characterise it were already circulating via other literary forms. Such formal elements - e.g. contemporaneity, probability, emphasis on daily reality, the rejection of traditional plots, referential language and individualism - were then associated with literary trends and progressive values deemed unacceptable by Swift. In Gulliver\'s Travels, Swift appropriated these very conventions in order to attack from within such trends and values. In other words, Gulliver amounted (among many other things) to an intermittent parody of the formal trends that would in time characterise the modern English novel. And in the very act of appropriating the conventions he were fighting against, Swift furthered the establishment of an alternative avenue for more traditional writers.

Este trabalho apresenta um método numérico rigoroso para encontrar soluções de equilíbrio para equações diferenciais parciais usando base de Chebyshev. Aplicações do método são apresentadas para a equação de Alen-Cahn e Swift-Hohenberg. / This work presents a rigorous numerical method to find equilibrium solutions to partial differential equations using Chebyshev basis. Applications are presented to the Alen-Cahn and Swift-Hohenberg equations.