Thesis (M.A.)--University of Montana, 2007. / Title from title screen. Description based on contents viewed Oct. 17, 2007. Includes bibliographical references (p. 81-84).

No description available.

No description available.

Jack Clemo was a poet, novelist, autobiographer, short story writer and Christian witness, whose life spanned much of the twentieth century (1916-1994). He composed some of the most extraordinary landscape poetry of the twentieth century, much of it set in his native China Clay mining region around St Austell in Cornwall, where he lived for the majority of his life. Clemo’s upbringing was one of privation and poverty and he was famously deaf and blind for much of his adult life. In spite of Clemo’s popularity as a poet, there has been very little written about him, and his confessional self-interpretation in his autobiographical works has remained unchallenged. This thesis looks at Clemo’s life and writing until the mid-1950s, holding the vast, newly available and (to date) unstudied archive of manuscripts up against the published material and exploring the contrary narratives of progressive disease and literary development and success. When Clemo wrote his own biography, he interpreted the events of his life as though they were a part of a predestined pattern established by God, plotting a course that gave his life special meaning. But as well as moulding events into a particular narrative, Clemo omitted some key features of his biography, including the cause of his disabilities. This thesis, a detailed study of Jack Clemo’s life and writing, returns to the original source material to reconsider this self-interpretation and justification, and to establish some of the details Clemo and his family sought to censor.

The relationship between form and content in the religious verse of the metaphysical poets is of great importance in tracing the development of a tradition which includes such dissimilar poets as Donne and Traherne. The nature of the personal religious experience, as expressed in the religious poetry of the first half of the seventeenth century, undergoes significant change. This change is most apparent in the verse of Donne, Herbert, Vaughan and Traherne, and may be described basically in terms of the time when individual soul and God are united. For Donne this union is unattainable in the present and is to be found only after death, as the Divine Poems and the Anniversaries demonstrate; in the poems of Traherne, however, it is experienced at the moment of birth and becomes a continuing, present reality. As we trace in the work of the four poets the gradual bringing into this world of the soul's union with God, we discover also a process in which the barriers of the self are broken down. Individual personality becomes increasingly identified with the Divine Personality, and finally nothing intervenes between present reality and the long-sought vision. This vision, symbolized in Donne's Anniversaries by the liberation after death of the soul of Elizabeth Drury, is progressively interiorized in the verse of the later poets, and in Traherne's lyrics finds a new embodiment in the living experience of the poet. Such a change can be traced in the forms the poets use. We may find not only in the inner structure of line and stanza, but also in the total visual arrangement and organizing principle of a poem or group of poems, formal equivalents to the kind of vision expressed. The Anniversaries and Divine Poems of Donne and the poems in Herbert's The Temple are notable for the complexity of their controlling figures and the intricacy of their verbal structure. In Vaughan's Silex Scintillans and in the poems of Traherne, however, we find simpler and more flexible organizing principles and a corresponding decline in the use of complex symbols and conceits„ In general, the formal and structural changes which occur between Donne and Traherne may best be seen as a progressive simplifying and paring down -- a removal, in the verse itself, of all that might stand between individual soul and God. But while the nature of the actual religious experience changes in the four poets, and with it the inner structures and outer forms of their verse, there remains one single, informing vision of God. God is encountered and described in different ways, but His essential nature is recognized as changeless and unconditioned. In the same way we must examine the different formal principles within a larger context. In all four poets the concept of the poem as a celebration of and a sacrifice to God remains constant. In all four poets the act of poetic creation itself is analogous to the greater creative Act of God; the poems themselves are individual acts of praise which celebrate as they embody the multiplicity-in-unity of the Creation. Within this context a study of the best and most characteristic verse of these poets shows that there is nothing accidental or unplanned in the methods of organization each used to convey his religious experience. The different poetic forms we encounter, many of them unique, are our first and most compelling guide to the spiritual core of the poetry; they are the means by which we recognize not only the uniqueness of the individual experience, but also its place in the larger framework of universal praise. / Arts, Faculty of / English, Department of / Graduate

This thesis explores pictorialism in eighteenth-century poetry and landscape. The tradition of ut pictura poesis is presented in terms of its origins in antiquity, its background in the thought of the eighteenth century, its manifestations in the poetry of the period, and its relations to the picturesque in landscape. A sketch of the origins and development of literary pictorialism in Greece and Rome, the medieval, Renaissance, and post-Renaissance periods, outlines its leading features and furnishes a historical perspective against which eighteenth-century practices can be viewed. Special attention is given to the bond between the sister arts of painting and poetry and to the new standards of artistic excellence deriving from Italian Renaissance and baroque painting. In eighteenth-century poetry, passages from Pope and Thomson illustrate neo-classical pictorial practice with respect to the ancient doctrine of enargeia (vivid, lifelike imitation), the means of idealizing nature, and the iconic tradition of imitating or describing objects of art. These practices are shown to serve aesthetic, social, or moral purposes. Finally, the thesis discusses Thomson's pictorial poetry as the product of traditional ut pictura poesis and not as the cause of picturesque landscape vision. The relationship between literary pictorialism and the landscape picturesque is clarified by relating Thomson's characteristic landscape form to Claude Lorraine, Salvator Rosa, and Nicolas Poussin. And the landscape picturesque itself, discussed largely in terms of its origins in the English natural garden and its formalization in the aesthetic theories of William Gilpin and Uvedale Price, is shown, like poetic pictorialism, to be a product of the neo-classical doctrine of models, another form of neo-classical "imitation." As such it rounds out the paper's study of pictorialism in the eighteenth century. / Arts, Faculty of / English, Department of / Graduate

Thesis advisor: Mary Crane / “Motions of the Soul” explores and analyzes moments in the development of what I call an early modern poetics of religious desire, i.e. desire that has God as its referent. This poetics of religious desire builds upon but also departs from and transforms early modern Petrarchan and Ovidian poetics of secular erotic desire. I examine the poetics of religious desire in sixteenth-century and early seventeenth-century metrical psalms, which are verse paraphrases of the lyric prayers that constitute the biblical book of Psalms. While much critical attention has been paid to seventeenth-century religious lyric poetry and its engagement with and response to contemporary secular love lyric traditions, much less attention has been paid to literary metrical psalms, which were the predominant form of religious poetry in the sixteenth century and, some have argued, the parent to the religious lyric poetry that flowered in the seventeenth century. This dissertation analyzes metrical psalms by Sir Thomas Wyatt, Anne Locke, Sir Philip Sidney, and George Herbert, exploring and demonstrating how these poets bring together the poetics of secular love poetry with the biblical poetics of the Psalms and contemporary theological and philosophical discourses on desire in order to develop a poetics of religious desire that illustrates and addresses early modern English culture’s interests and concerns in relation to desiring God. / Thesis (PhD) — Boston College, 2023. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: English.

No description available.

周閩. / "2011年9月". / "2011 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 149-158). / Abstract in Chinese and English. / Zhou Min. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 1.1 --- 硏究對象和主要內容 --- p.1 / Chapter 1.2 --- 莎士比亞十四行詩的漢譯本 --- p.3 / Chapter 1.3 --- 文獻回顧 --- p.9 / Chapter 1.4 --- 硏究方法和理論 --- p.12 / Chapter 第二章 --- 十四行詩的起源與發展 --- p.15 / Chapter 2.1 --- 十四行詩的起源與彼得拉克體十四行詩 --- p.17 / Chapter 2.1.1 --- 十四行詩的起源 --- p.17 / Chapter 2.1.2 --- 彼得拉克與意體十四行 詩 --- p.19 / Chapter 2.2 --- 英國的十四行詩風潮與斯賓塞體十四行詩 --- p.23 / Chapter 2.2.1 --- 伊麗莎白時代的十四行詩風潮 --- p.23 / Chapter 2.2.2 --- 斯賓塞體十四行詩 --- p.26 / Chapter 2.3 --- 莎士比亞十四行詩：繼承與創新 --- p.29 / Chapter 2.4 --- 十四行詩在中國的早期譯介 --- p.34 / Chapter 第三章 --- 莎士比亞十四行詩的形、音、意及其漢譯 --- p.42 / Chapter 3.1 --- 莎士比亞十四行詩的形式及其漢譯 --- p.45 / Chapter 3.1.1 --- 莎士比亞十四行詩的韻式 --- p.47 / Chapter 3.1.2 --- 莎士比亞十四行詩的節 奏 --- p.59 / Chapter 3.2 --- 莎士比亞十四行詩的音樂效果及其漢譯 --- p.68 / Chapter 3.2.1 --- 聲音音色與音樂效果 --- p.70 / Chapter 3.2.2 --- 聲音模式與音樂效果 --- p.76 / Chapter 3.2.3 --- 聲音運動與音樂效果 --- p.82 / Chapter 3.3 --- 莎士比亞十四行詩的意象及其漢譯 --- p.84 / Chapter 3.3.1 --- 莎士比亞十四行詩的“意´ح與“象´ح --- p.86 / Chapter 3.3. 2 --- 莎士比亞十四行詩意象漢譯的特殊問題 --- p.101 / Chapter 第四章 --- 個別譯本評析 --- p.109 / Chapter 4.1 --- 梁宗岱與《莎士比亞十四行詩》 --- p.109 / Chapter 4.2 --- 屠岸與《莎士比亞十四行詩集》 --- p.118 / Chapter 4.3 --- 辜正坤與《莎士比亞十四行詩集》 --- p.125 / Chapter 4.4 --- 梁實秋與《十四行詩》 --- p.133 / Chapter 第五章 --- 結語 --- p.141 / 參考書目 --- p.149

Thesis--Catholic University of America, 1933. / At head of title: The Catholic university of America. Includes bibliographical references (p. 173-186) and index.