No description available.

Thesis (M.A.)--University of Detroit, 1951. / "August, 1951." Includes bibliographical references (p. 74-76).

[No abstract] / Arts, Faculty of / English, Department of / Graduate

No description available.

This thesis attempts to explain the Anglo-Saxon influence on Hopkins's poetry by providing a biographical study of his life to determine when he acquired knowledge of the Anglo-Saxon.

Nous envisageons particulièrement la période caravagesque du peintre anversois Gérard Seghers (1591-1651) qui est la plus riche et la plus commentée dans son oeuvre. Nous ajoutons des tableaux caravagesques et nous en retirons d'autres du catalogue raisonné de l'artiste publié par Dorothea Bieneck en 1992. Nous traitons ainsi des thématiques caravagesques importantes du Reniement de saint Pierre et de la Crucifixion de saint Pierre mais aussi du thème plus commun mais très populaire, de la Sainte Famille. Nous étudions également les rapports entre l'oeuvre de Seghers et celle des peintres caravagesques contemporains présents à Rome lors du voyage de Seghers dans cette ville. Nous précisons ici la chronologie du voyage de Seghers à Rome et surtout celle de son voyage en Espagne sur lequel nous avions peu de renseignements jusqu'ici. En annexe, nous établissons le catalogue de 78 tableaux, inédits ou publiés, réapparus depuis la publication de Dorothea Bieneck en 1992.

This dissertation studies the prosody, poetic theory, theme, and affective nature found in the poetry of Gerard Manley Hopkins. The prosody, striking in his time, is still controversial; the theory employs the rhetorical principle of parallelism extensively, and the theme (which is the reason for the affective nature of his work) deals always with Christ: Christ in nature and Christ in man.The study lays emphasis on Hopkins' religious vision. These insights pervade all his work and are prime factors in his poetry. The vision gained from his religion appears throughout all his work.Although recent critics have suggested that the material of his great ode, "The Wreck of the Deutschland" was "recalcitrant" and that his symmetry was "laboured," explication of the poem reveals his early intense voice, sprung rhythm, and his use of the techniques of cynghanedd and dysfalu. His prosody reveals his sense of parallel structure (noted in his art work and in his journals as symmetry) which increased with "number and distinctiveness" with the rise of passion.His "dark night," noted in the sonnets written during 1884-85, have caused some readers to suspect a crisis of faith occurring. Hopkins experienced trauma, but the prolonged depression suggested by the present numbering of the sonnets is inconsistent with his unquestioned faith. The night becomes less dark if chronology is followed.Hopkins' deepest message was delivered in his poetry and throughout his life. As a Catholic priest, teacher, and poet, he sought Christ. Common knowledge informs us that emotional and physical hardships follow such seekers. Teilhard de Chardin's philosophy as ennobling is certainly applicable to any study of Hopkins' life and works. This philosophy provides supplementary confirmation of the poet. Hopkins' achievements surpass the prescriptive condemners of his art.

No description available.

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Thesis (M.S.)--Villanova University, 2008. / Chemistry Dept. Includes bibliographical references.