Thesis (M.A.)--Western Conservative Baptist Seminary, 1981. / Includes bibliographical references (46-50).

La jeune fille fournit un thème important et fréquent aux poètes symbolistes. Cette étude se propose de le prouver par des analyses de textes et des citations. Introduction Nous nous limitons à une esquisse de l'évolution de l'ingénue sous son aspect le plus virginal, innocent et idéalisé, telle qu'elle apparaît dans la poésie symboliste. On constate que les héroïnes romantiques de Lamartine et de Victor Hugo ont cédé la place a des êtres déjà plus mystérieux chez Gérard de Nerval et chez Sully Prudhomme. C'est en effet ce côté éphémère de la jeune fille qui se developpera vers la fin du siècle. Chapitre I La Jeune Fille chez les précurseurs du Symbolisme La jeune vierge, qui n'existe pas chez Baudelaire, ne paraît guère davantage chez Rimbaud. Chez Verlaine, ce n'est que dans la Bonne Chanson qu'elle gardera sa pureté et son innocence. En effet, la jeune fille dans toute sa simplicité va disparaître à peu près de la littérature jusqu'à ce que Francis Jammes la ressuscite. Chez les Symbolistes elle deviendra princesse lointaine ou déesse classique, n'appartenant guère à la réalité. Les seules évocations à la fois légendaires et concrètes sont celles de Jules Laforgue. Dans ses poèmes, la jeune fille est un être pieux et innocent qui sort en promenade dominicale et joue d'un éternel piano. Dans les Moralités légendaires de Laforgue, c'est un être plus mystérieux tel qu'Ophélie, héroïne nordique qui présage les jeunes filles médiévales de Merrill et de Vielé-Griffin. Chapitre II La Jeune Fille d'inspiration médiévale Stuart Merrill et Francis Vielé-Griffin nous présentent des princesses languissant dans des châteaux féodaux ou dans des forêts ténébreuses. Ce sont des créations littéraires très loin de la jeune fille réelle. Vielé-Griffin s'inspire du christianisme autant que de la légende. Si les héroïnes de l'Amour sacré sont franchement chrétiennes, celles qui sortent de la légende grecque le sont tout autant. De plus, la jeune fille chez Vielé-Griffin symbolise parfois la poésie pure; la belle Yeldis en témoigne. Tristan Klingsor tire son inspiration des contes médiévaux et orientaux ainsi que Jean Moréas dont le Pèlerin passionné abonde en jeunes filles aux noms archaïques. Le décor "wagnérien" a servi non seulement aux poètes ci-mentionnés, mais aussi aux dramaturges poétiques comme Maeterlinck et Claudel. La Mélisande de Maeterlinck est le type par excellence de la princesse du temps jadis, tandis que la douce Violaine de l'Annonce faite à Marie incarne la pureté, la piété et la dévotion d'un miracle du moyen âge. D'autres poètes qui s'inspirent du même thème sont Jean Lorrain, Louis Le Cardonnel, Charles Guérin. Chapitre III La Jeune Fille d'inspiration grecque A ces Symbolistes épris de légendes s'oppose un groupe de poètes hellénistes, - Jean Moréas, Pierre Louÿs, Henri de Régnier, Albert Samain, qui, tous, ont évoqué la jeune fille à travers la mythologie grecque. Avec Régnier, qui considère l'amour idéal irréalisable, la femme est réduite à un symbole. Dans les contes de Samain, comme dans ses poèmes, se trouvent des êtres séduisants: Divine Bontemps, Nyza, Xanthis, Angisèle. Ajoutons que Pierre Quillard, Ephraïm Mikhail, et Paul Fort se sont inspirés de l'antiquité classique. Les adolescentes qui figurent dans l'oeuvre de ces poètes ne sont grecques que d'apparence. C'est surtout Samain qui a excellé à peindre la jeune fille hellénique de nom, moderne d' évocation. Chapitre IV La Jeune Fille simple Vers 1900 la jeune fille, devenue symbole désincarné, redevient toute simple. Quelle satisfaction de rencontrer la fraîche simplicité des jeunes filles de Francis Jammes telles que Clara d'Ellébeuse, Almaïde d'Etremont, Pomme d'Anis. Cette charmante Française figurera aussi chez Bataille, Magre et Camille Mauclair. Conclusion Pour les Symbolistes, la jeune fille, surgie du passé légendaire ou hellénique, n'est qu'un des symboles d'un idéal fugitif et inaccessible. A force d'incarner un idéal, elle devient allégorique, abstraite. Au contraire, dans l'oeuvre de Jammes, elle revit dans toute sa naïveté pieuse et vraie. Cet essai s'arrête avant d'étudier le rôle de la jeune fille dans la poésie moderne. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

There is no abstract available for this dissertation.

The disparity of style and quality between O'Neill's early (1920-1932) and later (1932-1940) plays is explored in this study with emphasis upon O'Neill's use of auto symbolic motifs in the later plays, A Touch of the Poet, The Iceman Cometh, and Long Day's Journey Into Night: O'Neill's ability to fuse these auto symbolic motifs into coherent plots creates an emotional intensity in these plays which was absent from his early plays. Beginning with the composition of Ah Wilderness! (1932) O'Neill's plays diverge conspicuously from the earlier compositions, in terms of plot simplicity, character population, reenactment 3f experience in the style of realism, and unity of action and idea. These are the characteristics of his style during the later period which allowed him to make powerful symbols from common objects (autosymbols), such as a uniform and a thoroughbred mare in A Touch of the Poet, a drunkard who despises illusions in The Iceman Cometh, and a wedding dress, a note, and a bank of fog in Long Day's Journey Into Night.Chapter One of this study reviews those characteristics of O'Neill early plays which Eric Bentley has called O'Neill's "notorious faults." According to Bentley and others, O'Neill's early plays are too idea oriented, that is, the themes and symbols of such plays as Mourning Becomes Electra, Strange Interlude, and The Great God Brown do not arise from the action of the story but appear to be grafted onto the story.Chapter One demonstrates that O'Neill's early plays are dramatically ineffective compared to the later ones because of the pretentiousness of his ideas, themes and symbols, and that the incoherent stories and grafted symbolism of the early plays are the result of this pretentiousness.Ronald Peacock's definition of dramatic art is cited in order to demonstrate O'Neill's faulty approach to the drama during the early period and in order to provide a way of talking about the superior quality of the later plays. Before 1932, O'Neill wrote plays in order to demonstrate philosophic ideas; for example, in Dynamo he confronted the idea of the death of the old gods and the failure of science to replace the old gods, but his effort failed because he created an experience (plot) in order to discuss his idea. According to Peacock, this method is backwards; the great play is an experience reenacted as idea, not an idea reenacted as experience. Chapter One suggests that O'Neill's tendency to create a story which demonstrates an idea led him into the grafted symbolism and incoherent plots of the early period, and that this tendency is responsible for the poor characterization of the early plays in which characters such as Nina Leeds, Lavinia Mannon, and Lazarus of Bethany seem too concerned with superpersonal ideas to exist as individuals. After the composition of Ah Wilderness! O'Neill reversed his aesthetic and reenacted experience as ideas.Chapter Two shows how, beginning with his planned cycle, A Tale of Possessors Self-Dispossessed, O'Neill placed a growing emphasis upon simplicity of action and individualized characterization, In A Touch of the Poet, for example, the simplicity of action allows O'Neill to create Con Melody, a vibrant and totally believable character. Although the themes of love-hate relations between family members, excessive pride, and escapism are not new to the O'Neill canon, they now arise from the action and character instead of being grafted onto the work. Furthermore, the principal agent for the transmission of these themes is O'Neill's use of the auto symbolic mare and uniform. Also, the symbolic are not merely associated with an individual, but cluster around each of the major characters of the play. In this way these symbols are auto symbolic because they are both symbol of the idea and simultaneously objects of action-in the plot.These same qualities are characteristic of the symbol of Hickey in The Iceman Cometh. He is both a character in the play and a symbolic figure. In Chapter Three Hickey's dual role associates him symbolically with the lie of the pipe dream and the difficulty and necessity of moral reform. In the play, it becomes obvious that Hickey is a symbol of hopelessness when it is revealed that his reform is also an illusion. Because he is a three-dimensional figure as well as a symbolic figure he is auto symbolic.Chapter Four suggests that Mary's wedding dress, Tyrone's note from Booth, and the fog which encases the Tyrone household are O'Neill's most poignant and emotional auto symbols. O'Neill perfected his symbolic technique in this masterpiece, Long Day's Journey Into Night, in the final scene when Mary carries her wedding dress, which is symbolic of the past and at the same time literally an object of action.In concluding remarks, it is shown that we may account for some of the disparity of style and quality between the early and later plays by an examination of the simplicity of action and unity of symbol and action in A Touch of the Poet, The Iceman Cometh, and Long Day's Journey Into Night, and that the beginning of O'Neill's rejuvenated vision of the drama occurs when he first sketched the cycle, A Tale of Possessors Self-Dispossessed.

This study uses analysis, comparison, analogy, and inductive reasoning, to defend the thesis that a theological interpretation of the musical imagination can be arrived at through a correlation of myth and musical form. The first part of the study develops the approach to musical symbolism called presentational idealism, from Plato and Aristotle, through Kant, to Susanne Langer. This approach is then developed alongside evidence from various sources for a relationship between myth and music, to reach the conclusion that a mythical analysis of music is productive and practical. / The second part of the study uses selected compositions of Stravinsky to illustrate the application of mythical analysis. By analyzing formal aspects of Stravinsky's music in terms of their mythic, ritual, and archetypal symbols, a theological quest is perceived in his work, which is dominated by three interrelated symbols: death, rebirth, and eternal life. These three symbols parallel another set of symbols which derives from his aesthetic stance: chaos, discipline, and freedom. By treating Stravinsky's compositions chronologically, a development is observed through his Russian, Neo-classical, and Serial periods, which indicates that these symbolic clusters, death/rebirth/eternal life, and chaos/discipline/freedom, are keys both to his aesthetics and to the spiritual development of his imagination. Evidence from Stravinsky himself is given priority, with analysis by scholars and critics introduced where it will clarify the thesis.

No description available.

published_or_final_version / Comparative Literature / Doctoral / Doctor of Philosophy

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Investigación presentado en el "European Symposium on Research in Architecture and Urban Design - EURAU '10", realizado en Naples, Italia, del 23 al 26 de Junio del 2010. / This study is part of the research for the PhD Thesis “The architecture of kitsch in contemporary Peruvian architecture”, for the PhD in Architectural Composition at the Università degli Studi di. / cristinadreifuss@gmail.com / Ornament or decorative elements are a constant in spontaneous architecture. When people build their own dwelling without consulting a professional, it will always display some kind of sign or symbol aimi ng to make the house “beautiful”. Even if there is rarely a consensus on what beautiful means, the preferences of the inhabitants are shown through a set of el ements in the architec ture of their house. Precarious spontaneous housi ng i n the peripheries of Lima (Peru) shows us how the search for beauty occupies a fundamental place in peopl es’ priorities, emerging even before the most basic comforts that people expects to have in their houses.