Thesis (Ph. D.)--University of Virginia, 1999. / Includes bibliographical references (leaves 198-214). Also available online through Digital Dissertations.

Thesis (Ph. D.)--University of California, Santa Cruz. / Typescript. Bibliography: leaves 262-271.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1981. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 234-240).

Thesis (M.A.)--Indiana University, 2007. / Title from screen (viewed on Apr. 27, 2007) Department of English, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 65-70)

This paper is a study of Walt Whitman's influence in England, Northern European countries, Southern Europe, Latin America, and other countries.

This thesis examines Walt Whitman's friendships with many of his contemporaries in New York, Boston, Washington and Camden, and highlights the differences among them.

This thesis examines the reasons why Walt Whitman has been a "puzzle" to literary critics for well over a century. It shows the correspondence between Walt Whitman's work and the mystical tradition of East as also interpreted by American Transcendentalists. Enquiry into "self" is the central theme of most of Whitman's work. Two aspects of this enquiry have been investigated in this thesis and compared with the Upanishads: the development of self; and the use of contradictions as a means of conveying meaning. Both aspects support the view that Whitman displays a worldview not in accordance with the popular Western view in which God and man are entirely different and can never meet on equal terms. Whitman's view can be compared to that of the American Transcendentalists and Neoplatonists which finds a sympathetic chord in the native European tradition of humanistic values as well as in the Upanishads. Whitman works from a state of consciousness that is different in spirit and structure from the Hegelian dialectical principle which has wielded so much influence over Western thought. Whitman's poetry is remarkably akin to that of the Upanishadic writers in whose consciousness the subject and object have fused into one. Whitman is shown to draw his ideas from a depth of the human psyche that is often associated with Eastern thought but which is also present in the West. Four stances of self in Whitman's work have been identified which are seen to be related to, but not identical with, four states of consciousness in the Upanishads. The thesis concludes that not only is there a remarkable degree of correspondence between Walt Whitman and the Upanishads, both in respect to development of the self and use of contradictions, but that interpreting him in the light of the Upanishads provides another modern opportunity for meeting of the East and the West.

Thesis (Ph.D.)--Johannes Gutenberg-Universität, Mainz, 2007. / Includes bibliographical references (p.453-485) and index.

No description available.

Thesis (Ph.D.)--Boston University / 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. / This dissertation examines the photographs created by Edward Weston during his travels through the United States in 1941 and intended for a luxury reprint of Walt Whitman's Leaves ofGrass published by the Limited Editions Club in 1942. By contrasting the hundreds of photographs Weston made now residing in archives and collections with the forty-nine images ultimately selected and arranged by the Club's director, George Macy, I argue that Weston's larger, more complex and diverse version of America more closely resembled Whitman's text than his publisher's limited selection. Moreover, this under-examined body of work promotes a new understanding of Weston's late oeuvre; inspired by cross-country travel, Whitman's poetry, and other artists, Weston tackled new subject matter, experimented with different styles, and synthesized artistic and documentary modes in his photographs. Chapter I introduces the commission, the role of Weston's wife Charis Wilson in the project, the timely choice in 1941 of pairing Whitman and Weston, both of whom challenged boundaries of their respective media, and the outcome of the book's design. Chapter 2 turns to an analysis of the sequence of the first ten images as representative of Macy's caption-driven approach to the book, which generally discouraged the probing of close relationships among images. The chapter concludes with an analysis of the images themselves paired with close readings of select poems in order to establish the parallels in sensibility of the two artists. Chapters 3 through 5 broaden the discussion by including Weston's unpublished images from the 1941 trip. Focusing on Weston's portraits, Chapter 3 discusses Weston's diverse sitters-African and Native Americans and womensometimes selected while researching ethnography. Chapter 4 focuses on landscapesindustrial, urban, desert, and rural-in which he engaged with popular American imagery and created art and documentary images. Chapter 5 analyzes Weston's photographs of plantation ruins and cemeteries in Louisiana, and folk art and customs for which he recorded examples of American ethnography. Through examination of these images, a new picture of Weston emerges as not only a modernist art photographer, but also a photographer with deep interests in American people, landscape, and culture. / 2031-01-01