Samuel Taylor Coleridge used theories of evil and creation from Plato, Plotinus and Proclus to refine his definitions of the Trinity and the Absolute and Apostate Wills, and to move beyond the Germanic Naturphilosophie concept of self-hood as achieved by a self-objectification which emphasised differences between the persons of the Trinity rather than their similarities. His use of specific classical Greek concepts allowed him to propose that the Absolute Will�s self-substantiative act established unity and distinction as simultaneous and interrelated equals. From this, Coleridge investigated how identity and relationship rely upon unity and distinction, as he believed that identity is a unified self distinct from others, and that relationship is the unified common ground of many selves. My first chapter explains my methodology in dealing with Coleridge�s problematic relationship with both Greek and German sources, and describes how Coleridge�s philosophical investigations into evil and creation resulted from personal crises oyer his sense of self and sin. I provide an overview of the system Coleridge devised to address these concerns, concentrating upon the aspects which he believed clarified humanity�s status in relation to evil and the divine. I demonstrate how Coleridge accounts for the origin of the Apostate Will, and I explain his view of identity and relationships between the persons of the Trinity, providing a relevant overview that allows me to point out his use of the fundamental Greek concepts that anchor the subsequent chapters on Plato, Plotinus and Proclus. My second chapter examines Coleridge�s statement that Plato had formulated a triune creative principle, a concept critical to Coleridge�s need to unite God to the created universe. After describing the Platonic structure of reality and its divine creative act, I focus on the Platonic triad of Difference, Unity and Being. Plato�s account of these three principles and how they arise from the divine principle activity influences Coleridge�s view of the Trinity, what it contains in terms of distinction and unity, and how the Trinity arises from the superessential Absolute Will. I explain how Coleridge refined his definition of Christ as pleroma by referencing the way that the Form of the Good simultaneously exhibits plurality and identity. My third chapter shows how the Plotinian theory of the One�s will-based self-substantiation influenced Coleridge�s definition of the Absolute Will. I determine that Plotinus�s concept of heterotes (otherness) informs Coleridge�s view of the origin of evil, and I show how his concept of redemption is influenced by Plotinus�s account of noetic contemplation. My fourth chapter explains how Coleridge used the Proclian concept of Bound to develop the actualising quality of the Logos, in relation to Christ as a successful plurality but also in terms of Christ�s role in the redemption. My conclusion surveys all four philosophers to demonstrate how concepts drawn from Plato, Plotinus and Proclus helped Coleridge to define the Absolute Will and the way that its activity is the unity, distinction, identity and relationship of the Trinity. These three distinct yet related systems influenced Coleridge�s view of evil, as well as his understanding of the Absolute Will�s self-creative act, its relation to the Trinity, and the simultaneously fallen and divine status of humanity.

Thesis (Ph. D.)--University of California, Santa Cruz, 1992. / Typescript. Includes bibliographical references (leaves 236-258).

Submitted by Bruna Rodrigues (bruna92rodrigues@yahoo.com.br) on 2016-10-10T14:01:44Z No. of bitstreams: 1 DissWPN.pdf: 2541762 bytes, checksum: fb7aca97ea8f47499ab4aff1acef61d4 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-21T13:34:34Z (GMT) No. of bitstreams: 1 DissWPN.pdf: 2541762 bytes, checksum: fb7aca97ea8f47499ab4aff1acef61d4 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-21T13:34:43Z (GMT) No. of bitstreams: 1 DissWPN.pdf: 2541762 bytes, checksum: fb7aca97ea8f47499ab4aff1acef61d4 (MD5) / Made available in DSpace on 2016-10-21T13:34:53Z (GMT). No. of bitstreams: 1 DissWPN.pdf: 2541762 bytes, checksum: fb7aca97ea8f47499ab4aff1acef61d4 (MD5) Previous issue date: 2016-04-04 / Não recebi financiamento / The main objective of this dissertation is to investigate the dialogue between the romantic poem The Rime of the Ancient Mariner, by Samuel Taylor Coleridge, first published in 1798, and its transcreation – concept proposed by Haroldo de Campos – in the homonymous song released by the heavy-metal group Iron Maiden. Based on three levels of analysis of both texts, according to Fredric Jameson dialectical critic, this interpretation will make evident or clear, in the very first moment, which elements of the poem are approached or neglected in Steve Harris’ adaptation, leader, founder and main songwriter of the British group; simultaneously, a comparison between the form of the texts will be made to list important elements such as rime and meter, verses and stanzas, fable, “characters”, and others. In the second moment, the analysis must point out how nature and religion, illustrated in elements such as the sea, rain, snow, fog and mist, Sun and Moon, wind and breeze, beautiful or slimy living things, prayers, sin and “shrieve” made critics such as Franca Neto, John Lowes, Alexander Silva and Tania Asnes to interpret the poem as imaginative, subjective or religious, connected to what Fredric Jameson calls strategies of containment. The third level of reading will bring up the History hidden under the surface of the work of arts, or in other words, an social-aesthetical reading or an “political interpretation of the literary texts” (JAMESON, 1992, p. 15) supported specially in the concepts of mediation – “the establishment of relationships between, say, the formal analysis of a work of art and its social ground, or between the internal dynamics of the political state and its economic base” (ROBERTS, 2000, p. 78, 79), verifying acts socially symbolic revealed in a final analysis. / O objetivo desta dissertação é investigar o diálogo entre o poema romântico The Rime of the Ancient Mariner, de Samuel Taylor Coleridge, publicado originalmente em 1798, e sua transcriação – conceito proposto por Haroldo de Campos – na música homônima do grupo de heavy-metal Iron Maiden. A análise dos textos se dá em três níveis, de acordo com a crítica dialética de Fredric Jameson. Em primeira instância, a análise evidenciará quais elementos do primeiro são abordados ou negligenciados na releitura de Steve Harris, líder, fundador e principal compositor do grupo britânico; simultaneamente, caberá uma comparação entre a forma dos textos, elencando elementos fundamentais da estrutura como rima e métrica, versos e estrofes, fábula, “personagens”, entre outros. Num segundo momento, a análise deverá salientar como a natureza e a religião, a partir de elementos como mar, chuva, neve, névoa, Sol e Lua, ventos e brisas, criaturas divinas belas ou assustadoras, orações, pecado e absolvição levaram críticos como Franca Neto, John Lowes, Alexander Silva e Tania Asnes interpretaram o poema como imaginativo, subjetivo ou religioso, prendendo-se àquilo que Fredric Jameson denomina estratégias de contenção. Traremos à tona a História oculta por debaixo da superfície das obras a fim de ampliar nossa leitura ao plano estético-social ou, segundo proposto por Fredric Jameson em “O Inconsciente Político”, uma “interpretação política dos textos literários” (JAMESON, 1992, p. 15) apoiada especialmente nos conceitos de mediação – “relações entre a análise formal de uma obra de arte e seu chão social” (JAMESON, 1992, p. 35), verificando atos socialmente simbólicos a serem revelados à luz de uma análise final.

Romantic symbolism is a poorly understood concept. It was first formulated by the Romantics in a variety of contexts. Goethe develops his theory of the symbol most notably in his scientific works. Schelling's approach to the Romantic symbol is firmly rooted in his philosophical writings. Coleridge articulates a Romantic notion of symbolism across his extensive literary criticism. The foundational influence of these related theories of Romantic symbolism can be seen in the artistic, literary, and scientific productions of Romantic minded individuals all over Europe in the late eighteenth and early nineteenth century. However, the nature and scope of the Romantic symbol as originally formulated by Goethe, Schelling, and others has been obfuscated in unfortunate ways by the contemporary theoretical assumptions and narrow interpretations of recent academic scholarship. This thesis restores the original connotation of the Romantic symbol by identifying the common way in which it is misconstrued: the ontic fallacy.

In 1904, Black British composer Samuel Coleridge-Taylor published six songs from the oeuvre of white British poet Christina Georgina Rossetti, only a few months after reading W.E.B. Du Bois’ groundbreaking work The Souls of Black Folk (1903). This seminal book included a chapter called “Sorrow Songs” devoted to discussing slave songs. It also introduced the concept of double-consciousness to describe how Black people, see themselves through the lens of the white society. This point of view creates a sense of doubleness in their identity and recognition of self. The songs that Coleridge-Taylor composed, which he titled Six Sorrow Songs, Op. 57, address themes of love, death, and spirituality. Coleridge-Taylor grouped these art songs under the title “Sorrow Songs”—showing a connection to Du Bois’ work and its influence. This fusion of art song and slave song opens up room for examinations of cross-genre relations, which highlights complexity of meaning and textual changes when interpreted and performed—revealing a “doubledness” to the composition in this time in the composer’s life. Serge Lacasse’s (2018) model for intertextuality offers a framework for considering the cross-genre relations that emerge in this song cycle. The concepts of architextuality, transfictionality, and polytextuality from his model are particularly relevant in this cycle, as they account for inter-genre relationships, fictional elements of the story (including speakers and the setting), as well as the overall compilation of the songs, respectively. Drawing this model together with scholarship on Sorrow Songs, this thesis focuses on the emergence of “Sorrow Songs” at this pivotal moment in the composer’s life, which will enable the consideration of the intertext of Western classical and African slave songs in this composition as well as the creation of a story in this musico-literary hybrid. Context is critical to this discussion so his trips to the USA, personal experiences, the socio-political events of the time, and the encounter with the influential Black figures will be discussed to understand how this song cycle reshaped Coleridge-Taylor’s musical path. Intertextual analysis of this song cycle reveals a sense of double meaning in Six Sorrow Songs, Op. 57, where one clearly sees Du Bois’ concept at work in the life of the composer living as a Black man in a white society, in his music combining Western classical and Sorrow Song genres, in the medium he chose to write for, a singer and a pianist, and in setting spiritual/religious poetry written by a white poet to these romantic songs.

Recent scholarship demonstrates that the metaphor of taste, which represents aesthetic discernment as gustatory sensation, foregrounds ideologically laden questions of individual and cultural identity across a wide swath of literary history. But critics have yet to discover that taste is but one component of a much broader network of metaphors that figure the mind as a human body that eats and digests the world of objects and ideas. Using two approaches to metaphor from cognitive science, Lakoff and Johnson’s Conceptual Metaphor Theory and Fauconnier and Turner’s theory of "conceptual blending," I relate metaphors like reading-is-eating, ideas-are-food, and contemplation-is-digestion within a metaphor system that I call "the digesting mind." Applying this insight to organic aesthetics, I argue that poets expand organicism's metaphorical basis beyond the familiar poem-as-plant by introducing a mind that consumes plantlike poems. Coleridge, Wordsworth, Emerson, Whitman, and William Carlos Williams link writers and readers in an ideational economy figured as nutritional exchange. As each poet negotiates questions of creativity and literary influence, his biological, philosophical, political, and aesthetic beliefs converge in metaphors of the digesting mind. After introducing my approach in chapter one, I examine the digesting mind's importance in the evolution of organic aesthetics from English romanticism to American modernism. In chapter two, the digesting mind destabilizes Coleridge's influential distinction between mechanism and organicism by revealing, in Biographia Literaria, his anxiety that a diet of mechanistic literature will reduce the organic mind to a machine. Chapter three reads Wordsworth's Prelude in similar terms, as an allegory representing mental development as nutritional growth, in which the imagination requires an organic diet of poetry and nature. In chapter four, Whitman’s Leaves of Grass Americanizes the digesting mind with an Emersonian aesthetic that locates power in the poet’s present transformation of the literary past into future mental nourishment. In chapter five, Williams adapts Emerson's digesting mind with a pragmatic aesthetics of experience. By representing his Objectivist poems as fruit, as in "This is Just to Say," Williams relocates the organic ideals of vitality and unity from the poem, as aesthetic object, to the audience's felt experience of reading-as-eating. / 2017-11-04T00:00:00Z

My thesis that Coleridge employed universal images of the supernatural and traditional Christian symbols to illustrate the Mariner’s religious conversion in The Rime of the Ancient Mariner. The basis for this proposition is that Coleridge made religion the Rime’s theme. The following validations of the religious theme proposal will be offered in these chapters: (1) The religious theme synthesizes two popular but unsatisfactory thematic statements: “estrangement” and “sacramental vision.”; (2) Coleridge’s philosophical system is founded upon the postulation of a supernatural reality. The Mariner’s conversion may be seen as his change from Aristotelian conceptualism (which recognizes one reality - nature) to Platonic dualism (which recognizes two realities - nature and supernature).

Jin, Lu. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese.

La tesi contrasta les conseqüències filosòfiques i la constel·lació temàtica de la Crítica del Judici, amb les manifestacions poeticofilosòfiques de F. Hölderlin i S.T. Coleridge. La font principal de recerca són aquelles tesis de la Crítica del Judici rellevants per comprendre l'esclat de l'idealisme allà on aquest nou sistema involucra significativament art i experiència estètica. Hölderlin s'instal·la de manera genuïna en la tensió entre l'idealisme i la filosofia crítica. Per la radicalitat dels seus plantejaments podrem presentar-lo també com a poeta romàntic o precedent del romanticisme. Pel que fa a Coleridge estudiem la recepció immediata de la filosofia Kantiana en el medi cultural britànic per contrastar el paper del poeta en la importació de la ideologia romàntica alemanya. L'objectiu és presentar Coleridge com a poeta que assumeix els postulats del romanticisme alemany i investigar si aquests postulats poden relacionar-se amb el balanç de la filosofia kantiana expressat a Crítica del Judici. / The thesis compares the philosophical consequences of Critique of Judgement to the poetic and philosophical productions of F.Höldelrin and S.T. Colerige. The main source of research are those aspects of Critique of Judgement relevant to understand the outbreak of idealism particularly where this new system deals significantly with art and aesthetic experience. Hölderlin stands in a genuine position beneath the tensions of idealism and kantian criticism, and his radical aproach to poetry allows to present him as a romantic poet or forerunner of romanticism. For S.T. Coleridge we study the immediate reception of kantian philosophy in british soil in order to highlight his role as a mediator of the german romantic ideology. The aim is to portrait Coleridge as a poet who assumed the main postulates of german idealism and to investigate how far those postulates can be connected to the final conclusions of kantian philosophy as formulated in Critique of Judgement.

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