Thesis (B.A.)--Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

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Thesis (M.A.)--Kutztown University of Pennsylvania, 2002. / Source: Masters Abstracts International, Volume: 45-06, page: 2842. Typescript. Abstract precedes thesis as preliminary leaves 1-2. Includes bibliographical references (leaves 81-86).

As fascist movements took hold across Europe in the 1920s and 1930s, there emerged a body of lyric poetry concerned with revolution, authority, heroism, sacrifice, community, heritage, and national identity. While the Nazi rise to power saw the deception, persecution, and brutalization of conservatives both in the Reichstag and in the streets, these themes resonated with fascists and conservatives alike, particularly in Germany. Whether they welcomed the new regime out of fear or opportunism, many conservative beneficiaries of National Socialism shared, and celebrated in poetry, the same ideological principles as the fascists. Such thematic continuities have made it seem as though certain conservative writers, including T. S. Eliot, Stefan George, and Hugo von Hofmannsthal, were proto-fascist, their work cohering around criteria consonant with fascist ideology. My dissertation, however, emphasizes the limits of such cohesion, arguing that fascist poetry rejects, whereas conservative poetry affirms, the possibility of indeterminacy and inadequacy. While the fascist poem blindly believes it can effect material political change, the conservative poem affirms the failure of its thematic content to correspond entirely to material political reality. It displays neither pure political commitment nor aesthetic autonomy, suspending these categories in an unresolved tension. Paul de Man's work on allegory hinges on identifying a reading practice that addresses this space between political commitment and aesthetic autonomy. His tendency to forget the immanence of history, however, is problematic in the context of fascism. Considering rhetorical formalism alongside dialectical materialism, in particular Adorno's essay "Lyric Poetry and Society," allows for a more rounded and ethical methodological approach. The poetic dramatization of the very indeterminacy that historically constituted conservative politics in late-Weimar Germany both distinguishes the conservative from the fascist poem while also accounting for its complicity. Fascism necessitated widespread and wild enthusiasm, but it also succeeded through the (unintentional) proliferation of political indifference as registered, for example, by the popularity of entertainment literature. While the work of certain conservative high modernists reflected critically on its own failures, such indeterminacy nonetheless resembles the failure to politically commit oneself against institutionalized violence and systematic oppression.

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This thesis traces the relationship between the First World War, constructions of masculinity, and the life and poetry of T.S. Eliot. Central to this relationship is a study of homoeroticism, which the author characterizes as different from homosexuality but not exclusive of it, in late 19th and early 20th century poetic traditions. The argument begins by establishing a critical framework that draws on contemporary paradigms of Modernist literary gender studies but also seeks to revise them by shifting the focus to issues surrounding masculinity. With this framework in place, the thesis goes on to discuss the tradition of male homoeroticism in artistic movements preceding World War I, including Symbolism, Uranianism, and Aestheticism, then moves on to an examination of the war itself, its effect on soldiers' notions of masculinity, and the intensification of the homoerotic element in the poetry composed by soldier poets. I then reexamine the relationship between Eliot's poems, The Love Song of J. Alfred Prufrock and The Waste Land, arguing that both are significantly inflected by the changing masculine consciousness of the war era and that both are largely personal in nature despite their author's insistence on the impersonality of poetry. An explication follows of Prufrock and Eliot's other verse written between 1914 and c.1920, focusing on passages that suggest the homoerotic. The bridge between this and the section on The Waste Land is a commentary on the relationship of Eliot and his friend Jean Verdenal, a Frenchman who was killed in the war, and the import of this friendship to Eliot's work. The possibility of their homosexual involvement is entertained but not insisted upon, the point being reemphasized that homoeroticism, not homosexuality, has the more meaningful impact on the masculine artistic consciousness. All of these ideas culminate in the Waste Land chapter, which highlights passages of the poem dealing with a range of human possibilities for intimacy-male and female, sexual and non-sexual. The study concludes that the poem ought to be read as a representation of an embattled masculine consciousness drawn to the homoerotic but uncomfortable with changing 20th century sexual mores. / Graduation date: 2001

Thesis (Ph. D.)--University of Chicago, Dept. of Comparative Literature, June 1997. / Includes bibliographical references. Also available on the Internet.

Thesis (MA(Philosophy)--University of Pretoria, 2006. / Includes bibliographical references (leaves 129-133).

Diss. Ph. D.--English--Uppsala university, 2002. / Bibliogr. p. 178-183. Index.

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