The poet and novelist H.D. (Hilda Doolittle) published eleven essays on the cinema in the film journal Close Up between 1927 and 1929. This thesis analyses H.D.' s writing on film from a feminist perspective. It also explores the connections between her commentary on film and the feminist aspects of some of her fictional works. Largely based upon archival film research, this thesis incorporates a much greater amount of film history than has yet been brought to the study of H.D. Placing her within the cultural context of the time, it also represents the first extended examination of H.D. in relation to popular culture. The thesis is structured in three parts, each comprising two chapters and considering H.D.' s writings on film from a different viewpoint. In the first part, H.D.'s cultural position as a woman and film critic is debated. In assessing the impact of gender upon H.D.' s construction of a public, critical voice it is argued that the association of the feminine with popular forms of entertainment led H.D. to exaggerate her difference from the mass of cinema spectators. Evidence of H.D.' s contradictory position is found in the discrepancies between the highculture stance adopted in her film writing, and in the feminist themes and implied authorial positions in her novels Bid Me to Live (written in 1939) and Her (written in 1927). In the central section, H.D.' s critique of women in film is examined in the context of representations of women in silent cinema. Her commentary on film is found to contain astute remarks on the commodification of women on the screen, as well as a sophisticated and sustained attempt to theorize the position of the feminine in the visual economy, which bears comparison with contemporary feminist film scholarship. It is argued that H.D.'s feminist critique of the cinematic gaze re-emerges in the subversive narrative strategies of two novellas: Nights (1935) and 'Kora and Ka' (1935). In the third part, the focus narrows to analyse H.D.'s response to one particular film actress, namely Greta Garbo. The extent to which H.D. 's continuing re-evaluation of the cultural significance of the figure of Helen of Troy was inspired by Garbo's star image is deliberated. From the first encounter with Garbo's image on screen recorded in Close Up in 1927, to the meditations on a Garbo-like figure in The Usual Star (1934) and finally in the reworking of the myths of Helen in Helen in Egypt (1961) it is suggested that Garbo's screen career provided H.D. with a prototype on which to base increasingly complex ideas about women, narrative and identity. The strategy adopted in each section is to establish the feminist issues raised by H.D.' s essays on film, and then go on to explore these same issues as they arise in her fictional texts. Repeatedly, it is found that H.D.'s fictional work takes up a question treated with relative simplicity in Close Up and develops it into a complex meditation on the inter-relation between gender, power and art.

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Thesis (M.A.)--University of Wisconsin--Madison, 1968. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

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This thesis examines the literary deployment of the visual in the work of H. D. (Hilda Doolittle). Beginning with a discussion of the early poetry of Sca Garden (1916) and the essay Notes on Thought and Vision (1919), 1 argue that H. D. 's categorisation as an Imagist poet has effaced the political and aesthetic possibilities opened up by her prose and later work. H. D. *s representation of 'womb vision' in Notes on Thought and Vision can be seen to anticipate the notion of' the 'creating spectator' in the theoretical writings of the Soviet film director. Sergei Eisenstein. Thus, by considering Sea Garden alongside developments in early cinema, I re-evaluate the image in H. D. *s early work, and locate her poetics not as 'static" but as kinetic. H. D. was also directly involved in film-making and in the writing of film criticism. Chapter Two explores how her engagement with the moving image is inscribed into the autobiographical novel Her, written in 1917. Examining Her alongside the silent film Borderline (1930), which H. D. helped to produce, this chapter explores issues of sexual and racial difference which are foregrounded through the formal devices employed in both texts. Chapter Three examines Tile Gýfi, which was written during the Second World War, in the light of H. D. 's contributions to the film journal Close Up (1927-33). This reading not only illuminatcs the political and ideological implications of H. D. 's use of the visual, it explores the intersections between literary and visual cultures at the beginning of the twentieth century. Accounts of cinema are largely absent from the history of literary Modernism and the thesis therefore goes some way towards a revisionist analysis of the period. Chapter Four extends the paradigm of the visual in H. D. 's work still further, analysing her memoirs Tribute To Freud (1956) and the unpublished Mqiic Ring (1943-44) in the light of her involvement with spiritualism. Both these texts encode a critique of the scientific 'gaze' exemplified by psychoanalysis and offer possibilities for an alternative model of 'seeing' which is predicated upon spiritual, or visionary, experience. Returning to the discourse of the cinema in Chapter Five, I contextualise my reading of Helen in EDIpt (1961 ) within debates about synchronised sound in early cinema. I also explore H. D. 's construction of female subjectivity and corporeality in Helen in the light of recent feminist film theory. In many ways H. D. 's work anticipates the preoccupations of recent feminist thinkers such as Luce Irigaray, H616ne Cixous and Judith Butler. These writers - along with recent feminist film theorists like Mary Ann Doane and Laura n Mulvey - provide a theoretical underpinning for the thesis. Such an approach permits a questioning of H. D. 's perceived position as a 'Modernist' poet. Furthermore, in the light of postmodern preoccupations with process, fluidity and flux, it is possible to see how dominant configurations of gender and sexuality are. through H. D. 's work, deliberately, and consistently, unsettled.

Submitted by Marcelo Andrade Silva (marcelo.andradesilva@ufpe.br) on 2015-03-06T13:36:22Z No. of bitstreams: 2 dissertação fernanda pdf.pdf: 4185078 bytes, checksum: 51fab7d309f422168160be278eb84544 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) / Made available in DSpace on 2015-03-06T13:36:22Z (GMT). No. of bitstreams: 2 dissertação fernanda pdf.pdf: 4185078 bytes, checksum: 51fab7d309f422168160be278eb84544 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Previous issue date: 2012 / Atualmente, a esquizofrenia se destaca por ser uma das doenças mentais mais graves que se tem conhecimento. As alterações na sensopercepção, como as alucinações visuais, estão entre seus sintomas mais característicos. Por exercer um papel fundamental no comportamento humano, a percepção tem sido alvo de diversas pesquisas, incluindo aquelas realizadas com pacientes esquizofrênicos. O presente estudo teve como objetivo avaliar possíveis alterações na percepção visual de forma e tamanho em pacientes portadores de esquizofrenia utilizando como indicadores estímulos visuais complexos. O estudo contou com a participação de 67 voluntários, de ambos os sexos, que foram divididos em três grupos. O primeiro deles foi composto por 29 pacientes esquizofrênicos medicados internos do Hospital Portugal Ramalho, que compuseram o Grupo Experimental do Hospital (GEH). No segundo grupo participaram 16 pacientes esquizofrênicos medicados presentes nos CAPS Casa Verde e Maria Salete da Silva, que fizeram parte do Grupo Experimental dos CAPS (GEC). Já o Grupo Controle (GC) foi composto por 22 participantes que não possuíam histórico de transtornos psiquiátricos. Para o experimento foram utilizados 24 quadros de Salvador Dalí, 15 quadros de Bev Doolittle e 10 pranchas de Rorschach, todos no tamanho 10 x 15 cm. As figuras foram apresentadas uma de cada vez, sem limites de tempo para a observação, a uma distância de 30 cm do olho do observador (medida através de uma régua de 30 cm). Os participantes foram instruídos a circular a primeira figura que ele viu. Na sequência, o próprio participante circulava a figura com um marcador permanente. Após essa primeira fase, o pesquisador mediu as figuras circuladas em cada quadro em centímetros, e posteriormente as transformou em grau de ângulo visual para a análise estatística, utilizando a fórmula matemática a seguir: Tang a = Tamanho da figura (cm) / Distância do observador (30 cm). Ao comparar GEH ao GC, os resultados indicaram diferença estatisticamente significante para todas as categorias de estímulos. Assim, obteve-se: Dalí [(F23, 1288) = 6.199, p < 0.0000]; Bev [(F14, 784) = 3.8769, p < 0.0000]; e Rorschach [(F9, 504) = 4.5471, p < 0.0000]. Da mesma forma, os resultados da análise entre o GC e o GEC também apresentaram diferenças estatísticas significativas para todas as categorias: Dalí (F23, 966) = 3.4074, p < 0.0000; Bev (F14, 588) = 2.8021, p < 0.0004; e Rorschach (F9, 378) = 4.7101, p < 0.0000. Esses resultados sugerem a existência de alterações na percepção visual em pacientes com esquizofrenia na medida em que demonstram que esses pacientes percebem figuras que possuem ângulos visuais maiores quando comparados a participantes saudáveis, o que pode indicar uma disfunção nas vias visuais que processam objetos pequenos.

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<p>This dissertation traces invocations and theories of electric power in modernist literature by women, showing how four modernist authors—Edith Wharton, Hilda Doolittle (H.D.), Olive Moore, and Jean Rhys—deploy electricity in their fiction and highlight its varied and contradictory cultural meanings. Modernist literature by women leverages the open and strange impressions from the era of what electricity might mean, so that authors might make their own arguments about where artistic impulses originate, how homes would change when they became wired, how modernization would change modernist art forms, or why some social spaces gleam brighter than others. Edith Wharton and Jean Rhys highlight cultural and class system dynamics with their electric metaphors and electrically wired settings, in which they fuse mental states with modern atmospheres. H.D. and Olive Moore explore how women experience artistic inspiration, as either a transcendent space of unlimited possibility for the former, or as proof of the limitations of gender for the latter. </p>