Thesis (doctoral)--Philipps-Universität zu Marburg, 1932. / Cover title. Vita. Includes bibliographical references (p. vi-vii).

Inaug.-Diss--Marburg. / Lebenslauf. "Literatur": 5th prelim. leaf.

In his minor poems, Coleridge applies symbolic techniques to embellish the poetry and satisfy his spiritual needs. His symbolism allows for a release of pent-up emotions and transmits philosophical ideas in "capsule forms" rather than in historical prose, making them relate to the poetic appeal.

Thesis (Ph.D.) - University of St Andrews, September 2009. / Restricted until 2nd September 2014.

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The new elements in "The Ancient Mariner" were partly responsible for the unfavorable early reviews which vary much from the high praise the poem receives today. The purpose of this study is to record critical opinion of the poem from the contemporary reviews of 1798 to the intensive critical analysis of the 1960's.

My thesis depicts the crisis of self-legitimation that has accompanied the onset of modern hermeneutics, with its historicised and organicised version of the Enlightenment's 'universal perspective.' In this it follows the lead of the contemporary hermeneuticist Hans- Georg Gadamer in resuscitating the notion of prejudice, but contrasts it with Hannah Arendt's discussion of the human condition. She implicitly locates the problem in modern hermeneutics, the aporia, in the very philosophy of life that Gadamer embraces as its solution. Gadamer confuses the task of the humanities as a search for truth with what it ought to be, a search for meaning. I begin with his depiction of Kant's attack on the sensus communis; I conclude with an examination of the consequences of this attack on the orientation and interpretative practices of current schools of literary criticism with specific reference to Keats's Ode on a Grecian Urn. In the central chapter, I focus upon Coleridge's attack on Wordsworth's Preface to Lyrical Ballads (1802) in the Bioeraphia Literaria, reading it as a fundamental defence of prejudice based on the very fact that man has been made in imago Dei. The consequent logocentricity of humanity that Coleridge insists upon opposes Wordsworth's emphasis upon a transcendental idea of 'feeling.' This fundamental notion forms the basis of Coleridge's definition of the primary imagination. I argue the distinctiveness of his definition from that of the other Romantics and maintain its necessity to escape the aporia. This point is proved negatively by Shelley's Mont Blanc, which seizes upon the radical consequences of Wordsworth's poetics, presenting both heresy and obscurity in the poem. The word 'crisis' thus reflects the urgency with which I advocate the need to re-adopt Coleridge's emphases in contemporary literary criticism.

Thesis.

Spontaneous feeling has been a cornerstone of Romantic aesthetics since Wordsworth wrote his Preface to Lyrical Ballads. This dissertation unsettles the link between Romantic poetry and the overflow of emotion by arguing that writers from Wordsworth to Emerson persistently turned to Stoicism in reconsidering the role of the passions in both literature and the conduct of life. Drawing on poetry and a broad range of journals, letters, and intellectual prose, I argue that the Romantics were attuned to the way diffuse Stoic attitudes informed the politics and moral psychology of their age. More than a prompt for resignation or acquiescence, Stoicism was a radical and controversial term in a revolutionary age; philosophers like Kant, Spinoza, and Godwin drew on Stoic accounts of the passions in articulating their new ethical systems. In chapters on Wordsworth, Coleridge, Byron, and Emerson, I argue that the period most polemically invested in emotion as the mainspring of art was also captivated by the idea that aesthetic and ethical judgment demanded a transcendence of emotion. In their poetic search for "confirmed tranquillity," the writers in my transatlantic study transformed Stoicism's austerities as they confronted the limitations of sympathy and redefined their own relations to a cosmopolitan and war-torn world.

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