[Abstract]In the 1990s Australia’s poetry milieu was enlivened by the emergence of a number of new poets and their poetry. This study groups these poets together under the title of ‘new nineties poets and poetries’. For the purposes of this study ‘new nineties poets and poetries’ refers to poetry written for the page by poets who published their first collection between 1990 and 2000 and who continue to write into the twenty-first century. New nineties poets and their poetry are not a new ‘movement’ or ‘school’ of poets; the poetry is characterised by diverse forms, styles, approaches and practices. Within these eclectic poetic practices emerge shared concerns with the issues of embodiment, language, cultural difference and violence. As John Leonard discusses, the “new poets evade categorization” (New Music xv) and it is the premise of this study that appropriate poetry criticism needs to respect and celebrate the eclecticism of new nineties poetries by resisting the convenient application of categories and divisive labels. This study attends to the critical question of what type of poetry criticism is appropriate for new nineties poetries. One answer to this question emanates from what Leonard describes as the “spirit of eclecticism” that characterises this new poetry (New Music xv). Criticism that works with this “spirit of eclecticism” will be as eclectic as the poetry itself. Antithetical to critical approaches that homogenise poetry with unifying frameworks, this study advocates multiple critical approaches. Working respectfully in relation and in conversation with new nineties poets, the eclectic critical engagements of this thesis are connected by the equally eclectic theories of postmodernism.

Thesis (Ph. D.)--University of Virginia, 2009. / Includes bibliographical references (p. [255]-280) and abstract. Also available online through Digital Dissertations.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed Dec. 13, 2006). PDF text: v, 80 p. : music ; 6.66Mb.. UMI publication number: AAT 3215148. Includes bibliographical references. Also available in microfilm and microfiche formats.

This dissertation traces the career of Simon-Claude Constant-Dufeux (1801-1871), an important, yet little-studied, architect and educator who played a central role in mid- nineteenth-century architectural culture and pedagogy in France. In his writings, his designs, and his teachings at the École des Beaux-Arts and in the private atelier established in 1836, Constant-Dufeux presented architecture as a discipline primarily concerned with symbolic expression and communication. Constant-Dufeux played a key role in determining what would later be called, the Néo-Grec façade. Moreover, his influential teachings on the unity of the arts, his attention to the burgeoning field of aesthetics, and his interest in ornamental design, left a lasting imprint on the subsequent generation of architects and decorative artists. The dissertation is organized in two parts. Structured as an intellectual history, the first part charts the discourse on symbolic representation as developed by philologists, philosophers, archeologists and architects in the late eighteenth and early nineteenth century. Here, I explore two parallel developments that were consequential in the way the symbol was understood by Constant-Dufeux: the migration of German Romantic theories of the symbol into France, and the emergence of a "symbolic interpretation" of origins in the architectural discourse of the late eighteen and early nineteenth centuries that challenged neoclassical accounts based on imitation. The second part traces the social, political and aesthetic philosophy of Constant- Dufeux from his early formation in the administration of the Ponts et Chaussée and in the atelier of François Debret at the École des Beaux-Arts, through his decisive experience in Italy as a recipient of the Grand Prix in 1829, to his professional career in Paris. I provide close readings of the architect's chief works: the fifth-year envoi from Rome for a Chamber of Deputies, the façade for the École Gratuite de Dessin de Paris on the rue Racine, the design of a medal for the Société Centrale des Architectes, and his most ambitious and multi- layered work: the tomb for the rear-admiral Dumont d'Urville in the Montparnasse Cemetery. In addition, I assess more fully the architect's larger vision and theory in light of the reigning eclecticism of the epoch. The architect's eclecticism is read through the lens of Ludovic Vitet, César Daly and Victor Cousin, and I demonstrate that far from being a undirected mélange of competing historical styles, it was intended as a purposeful, even utopian strategy of provoking a yet unseen modern architectural form.

Whatever the significance of the postmodern state of mind, recent views concerning philosophical eclecticism are largely the product of researches into the history of philosophy. There is an obvious inclination of today's intellectual historians to investigate background figures of European modernity. The increasing willingness of historians to enlarge the notion of philosophy in both its disciplinary and historical definition seems to be in agreement with a similar disposition of contemporary philosophers. As we can learn from Michael Albrecht's and Patrice Vermeren's books, a critical appreciation of eclecticism throws light both on the conditions of contemporary philosophizing and on the politics of philosophy in the modern age.

Es gibt eine Lesart der europäischen Philosophiegeschichte, die aus dem Wechsel und Wandel des philosophischen Denkens einen Fortschritt zu erkennen glaubt, oder mindestens so etwas wie die Unmöglichkeit eines Rückschritts. Diese Lesart ist die wissenschaftsgeschichtliche: mit dem Beginn der Neuzeit werden Mittelalter und Antike als obsolet definiert, weil sie den wissenschaftlichen Geist, der auf Beobachtung und Logik baut, nicht teilen. Wahr ist, daß diejenigen Philosophen, die von solchem Geist erfüllt waren - etwa Francis Bacon und René Descartes - für die Vergangenheit der Philosophie kein Interesse hegten, sie vielmehr verwarfen. Zweifelhaft scheint, daß damit die Philosophie der Moderne charakterisiert werden kann.

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