This thesis attempts to describe a consistent development in the attitudes adopted toward women in the poetry of T. S. Eliot published between 1917 and 1930 and to identify certain philosophical changes which influenced this development. It suggests that a tendency toward the affirmation of an ideal woman underlies the apparently incongruous attitudes toward women in Eliot's poetry of this period. Three stages in the poet's progression toward an affirmation of an ideal woman are suggested and described.

This thesis explores the multi‐layered inter-relationships between the works of George Eliot and those of the Pre‐Raphaelites. Taking up the very different mediums of painting, sculpture, and photography as they emerge in Pre‐Raphaelitism, it assesses their relation to Eliot's novels as reinforcing a web of Victorian visual art and literature. The discussion begins by examining proximities between the paintings of Dante Gabriel Rossetti and Eliot's Adam Bede and Daniel Deronda. I explore, in particular, their shared interest in dichotomies of female representation in the nineteenth century, and ways in which the opposing traits of the sacred and sexual are interwoven. The second chapter reads Eliot in the context of writings by Walter Pater. Reassessing the prevalent perspective that Eliot was opposed to the ideas of Pater, I argue that, like him, Eliot passionately sought to elucidate the relationship between life and art through studies of the early Renaissance. In Pater's Studies in the History of the Renaissance and Eliot's Romola the authors are linked by their use of web imagery and their interest in the effects of music within the realms of literature and art. In the third chapter, exploring elements of the New Sculpture movement in the late nineteenth century together with the writings of Johann Joachim Winckelmann, I analyse ways in which sculptural representations are rendered in Eliot's, Middlemarch, and the paintings of Edward Burne‐Jones. The final chapter focuses on the nascent medium of nineteenth century, photography. By considering photographs by Julia Margaret Cameron in relation to The Mill on the Floss, I explore the way in which both Cameron's and Eliot's works embody a particular conception of childhood and the memory of childhood. My study concludes by re-visiting the phenomenon of the interweave of image and the text during the nineteenth century.

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This dissertation examines the theme of irredeemable egoism in all seven of George Eliot's novels. Irredeemable egoists are those characters who do not complete the process of shedding what Eliot identifies in Middlemarch as the "moral stupidity" into which all people are born, and they contrast with those major characters in her novels that achieve a moral victory over egoism.The characters share in common a predilection for self over others. They are self-deluded, have a narrow imagination, and lack compassion for others. Depicted as pitiful and miserable, these characters are doomed by their natures to imprisonment within themselves. They are also incapable of redeeming themselves for actions that harm others, actions they all commit, for all of them break, betray, or deny the bonds a commitment entails. Their blocked or distorted vision of the world prevents a clear understanding of their duty to their fellow men, a duty which Eliot sees at the heart of the fulfillment of mankind's quest for not only improvement and enrichment but finally salvation.Chapter two looks at Hetty Sorrel and Arthur Donnithorne in Adam Bede. Hetty is a creature whose primitive egoistic cravings lead to a cold alienation from all human contact, while Arthur's morally irresponsible behavior is inexcusable despite his efforts to seek redemption.In chapter three, Torn Tulliver and Stephen Guest are scrutinized. Tom's rigidity and narrowness make him unresponsive to Maggie's natural warmth and affection. This unresponsiveness results in anguish and emotional turmoil for Maggie. Stephen produces the same results with opposite motives, seeking self-gratification despite Maggie’s explicit belief in self-denial.Silas Marner is examined in the next chapter, with Godfrey Cass at the center of the study. While the nemesis is mild, as Eliot herself says, the basic theme remains the same; Godfrey crows to regret his abandonment of Eppie, but his misgivings come too late to change the effects of his actions. Rompla, the subject of chapter five, contains Eliot's archetypal villain, Tito Nelema, who represents the extreme of moral degeneration. Tito's wanton disregard of other people's good will and well being is evident from the beginning, as Eliot carefully depicts his complete deterioration while he betrays family, friends, and country for personal gain.In chapter six, three characters in Felix Holt the Radical are discussed. Mss. Transome is perhaps the most sympathetic portrayal of despair and bitterness in all of Eliot's fiction. Her sin years earlier has produced only emotional deprivation, disillusionment, and tortured regret as she finds her son to be no source of joy and her former lover a grim reminder of her post transgression. Harold Transome is oblivious to the needs of his mothers and Jermyn is self-seeking and untouched by the needs of others. Middlemarch contains three major characters that clearly do not shed moral stupidity. Bulstrode, the religious hypocrite, Casaubon, the desiccated pedant, and Rosamond Vincy Lydgate, the self-centered beauty, are closely analyzed in chapter seven.Chapter eight focuses on Eliot's final novel, Daniel Deronda, which contains a character as evil as Tito Melema, Henleigh Mallinger Grandcourt. His psychological cruelty to his mistress, his wife, and everyone else he cares to trifle with marks him a sinister, repugnant example of unregenerate egoism. On the other hand Gwendolen Harleth, though clearly as potentially destructive as Grandcourt, is rescued from moral impoverishment by Deronda. Eliot uses all these characters, shown at various stages of moral dissolution, to illustrate her belief that egoism is harmful, often deadly, and produces consequences that are extensive and unalterable. The characters are punished by remorse, degradation, humiliation, defeat, or even death for their inability or refusal to emerge from moral stupidity.

Most people consider George Eliot a great Victorian novelist but neglect her role as a poetess. In fact, it is essential to read her poetry as well in order to grasp her thoughts. Her poems come mostly from her personal feelings, her observation of society, and her love of nature. This present thesis is a study of her poems and poetics, her poetic creativity, and her achievement in writing poetry. In the thesis, the introductory chapter has an overall look on George Eliot¡¦s poetic career. Chapter One examines her creative progress of composing poetry and her poetics. Chapter Two discusses her poetic experiment on dramatic poems in her times. The final chapter probes into the poetic mottoes applied to her last three novels. Most important of all, this thesis discovers George Eliot¡¦s identification as a poetess because she is conscious of what poetry offers and stimulates. This thesis, therefore, intends to show a new dimension of George Eliot as a poetess.

Texte remanié de: Th. doct.--Litt. comparée--Paris 4, 2000. Titre de soutenance : L'invention de la critique formaliste, 1920-1945 : autour de Paul Valéry et T.-S. Éliot. / Le texte original des citations d'Eliot est donné en note. Bibliogr. p. 361-393. Index. L'ouvrage porte par erreur : ISSN 1275-3114.

Proefschrift--Letteren--Universiteit Leiden, 2001. / Bibliogr. p. 121-139.

Texte remanié de: Thesis Ph. D.--College Station, Tex.--Texas A&M university. / Notes bibliogr.

Texte remanié de: Th. doct.--Universidad de Jaén, Espagne, 2001. / Bibliogr. p. 299-306.

Zugl.: Greifswald, Univ., Diss.