"These secondaire" submitted to a Sorbonne jury in May 1958 for the 'doctorat d'État.'" / "Select bibliography of Robert Bridges": p. [171]-178.

"These secondaire" submitted to a Sorbonne jury in May 1958 for the 'doctorat d'État.'" / "Select bibliography of Robert Bridges": p. [171]-178.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1959. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 396-403).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1970. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.A.)--University of Delaware, 2005. / Principal faculty advisers: H. Perry Chapman & David M. Stone, Dept. of Art History. Includes bibliographical references.

Since 1930, critics have given wide attention to the poetry of Gerard Manley Hopkins. Some of these critics have discussed the nature element in Hopkins’ poetry; but, generally, they have considered the nature imagery as one of the less important elements of Hopkins' work, confining their criticism to general statements, or limiting their discussion to one, or to a very few, of Hopkins' poems. This thesis attempts to go beyond these generalities. By a thorough investigation of Hopkins' use of nature, it attempts to show that nature imagery constitutes one of the major unifying elements of his poetry. Special attention will be given to the discussion of the "terrible sonnets" whose nature imagery may be said to synthesize the anguish of soul which prompted the poet to write these sonnets. Three groups of poems exemplify nature imagery as a unifying element in Hopkins' poetry: Hopkins' simple nature poetry, his poetry of praise, and the "terrible sonnets." In his simple nature poetry, Hopkins, by expressing his concept of the beauty of nature, allows the reader to share this vision of beauty with him. In the poetry of praise, Hopkins uses nature imagery to express one consistent theme, or "underthought"-- the grandeur of God and man's consequent duty of praise. The "terrible sonnets" celebrate God's power, His justice and His mercy. These seven poems of poignant beauty are Hopkins' expression of the terrible sufferings of the spiritual "nights" in which the only source of hope is God's mercy. The nature imagery in each of these groups is closely connected with Hopkins' poetic theories of inscape and instress. Hopkins considered that the essence of the object is to be found in its individual distinctiveness. Closely connected with the teachings of Duns Scotus, this philosophy provided Hopkins with a basis for his theories of inscape and instress, the key concepts of Hopkins' poetry. In inscape, the intuitive glance which follows the sensuous perception of the object allows the beholder to see its individually distinctive essence. The word "instress" is used by Hopkins to mean two different principles. At times, "instress" is used to express the principle of actuality of the object; at other times, to define the total effect which an individual inscape produces upon the one who sees it. Hopkins' poetic techniques are a natural result of his theories of inscape and instress. In an effort to express inscape accurately he sought to reproduce in his poetry exactly what he saw and what he heard. He called into play all the resources of language, of nature imagery, of poetic techniques and of prosody which he could command; and he produced a poetry which is at once dynamic, original, and beautiful. An understanding of Hopkins' theology of nature is also basic to the correct interpretation of his poetry. To Hopkins, all nature is a manifestation, an "utterance" of God; each separate object "utters" God in its own individual way. This sacramental view of nature was the result of Hopkins' unique ability to see things at once on both a natural and a supernatural level. He expresses the "underthought" of God, or of man's relations to God, by means of the "overthought" of nature. Nature imagery is, therefore, one of the principled unifying elements of Hopkins' poetry. / Arts, Faculty of / English, Department of / Graduate

No description available.

Thèse--Paris, 1958. / Bibliography; p. [673]-709.

In 'n hoofstuk getiteld In het teken van het persoonlijkheidsideaal in sy werk De Vlaamse Letterkunde van 1780 tot Heden bespreek R F Lissens die wegeb van die "expressionistische getij met die dood van Van Ostaijen, en die onvermoë van die roman om - op enkele min of meer geslaagde voorbeelde na - die tendense van die ekspressionisme te vertolk: verdere pogings in dié rigting loop dan ook teen die einde van die twintigerjare dood. Ook B F van Vlierden beskou die ekspressionisme as 'n in die grond ongeskikte voedingsbron vir die romangenre, met die gevolg dat die roman in dié jare - d.w.s. na die mln of meer naturalisties-impressionistiese romantradisie verteenwoordig deur Buysse, Streuvels, Timmermans, Claes - "in zijn eigen ontwikkeling op een kritiek keerpunt staat, waarbij men vooralsnog aIleen het kritieke van de situatie ziet ... Het decennium na de oorlog is in feite weinig gunstig voor de roman ... Ook P van Ostaijen heeft gepoogd een 'grote roman' te schrijven, maar deze werd nooit voltooid ... In de marge van het humanitair expressionisme ontstaan weI een aantal prozawerken, maar precies in het licht van de humanitaire poëzie is het vooralsnog duidelijk, dat deze uit een geestelijke kweeste bestaan, en dus een schakeI zijn in de ontwikkeling die van de werkelijkheid wegvoert naar een inwendig leven, naar een geestelijke ontwikkeling." Terselfdertyd, egter, is Lissens en Van Vlierden dit met J Weisgerber eens dat "het Jaar 1927 kan worden beschouwd als het begin van een nieuw tijdperk" en dat die leemte wat na die Eerste Wêreldoorlog onstaan het, weldra gevul sal word met 'n groot aantal romanwerke van 'n besondere gehalte. Die kritiek sien hierdie keerpunt met verloop van tyd al hoe duideliker in, maar erken nietemin óók dat die invloed van die modernisme, en met name die ekspressionisme, ''heilzame gevolgen heeft voor de roman. Niet vergeefs heeft deze beweging de ethische noot aangeslagen, de verantwoordelijkheidszin weer gewekt en al haar aandacht op de mens geconcentreerd. De nieuwe roman, die kort voor 1930 opkomt, kan men bezwaarlijk expressionistisch noemen, maar de grondige omkeer waar hij van blijk geeft, gebeurt ontegensprekelijk onder de invloed van het door het expressionisme gewijzigde klimaat." Anders gestel: "zij (gaan) akkoord met de veroordeling van de impressionistische en naturalistische opvattingen, maar tussen het individualisme van de 'estheten' en de humanitaire kunst van Ruimte, tussen de wetenschappelijke objectiviteit en de lyrische subjectiviteit kiezen zij doorgaans een middenweg. De nieuwe roman - en dat is de reden waarom hij deze benaming verdient - zal aan de individualiteit minder reliëf verlenen dan aan de 'persoonlijkheid', hetgeen wil zeggen dat het individu, dat zich op zichzelf bezint, aldus beseft dat het in morele of juridische zin met een gemeenschap verbonden is. Hij zal de mens tegelijkertijd in zijn individualiteit en in de eigenschappen van zijn soort beschouwen, en hoewel hij het Ik zal peilen, zal hij ook het zoeklicht richten op het onmetelijke terrein van de gemeenschappelijke waarden...". Dit is dus op die groeiende belang van 'n "persoonlijkheidsideaal, een modern humanisme dat sociaal solidair blijft doch de raadselen van de mens en het leven wil peilen" dat die klem tussen die jare 1930 en 1940 val: op "de mens op het voorplan", dus, maar óók op dié mens in gemeenskapsverband.

The aim of this thesis has been to make an accurate assessment of the developments in Hopkins criticism up until 1970, with overriding emphasis on perceptions of his relation to poetic tradition. The chosen methodology involves a chapter by chapter discussion of Hopkins' perceived relation to individual poets or groups of poets. Generally, each chapter opens with an examination of Hopkins' published correspondence, scrutinizing his own criticism of the poet or poets in question, and proceeds in a chronological survey of the ways in which critics and reviewers have related him to the predecessor in question. Material covered in the thesis includes major published works on Hopkins; articles and reviews in scholarly periodicals, as well as more popular journals and some newspapers; and other critical works where Hopkins receives some degree of attention. The 'cutoff' point of this study is 1970, although a final chapter has been appended with a less detailed survey of the developments from 1970 to the present day. On certain occasions, I have ventured to investigate more fully some areas of Hopkins' literary genetics that seem not to have received the attention they deserve. In general, however, the focus of the thesis is upon the perceptions of the critics, and attempts are made to assess the ways in which Hopkins' fluctuating critical standing has altered these perceptions and vice versa. One of the most frequently recurring demands has been the need to try and determine why Hopkins has been related to different poets and different poetic traditions at different times. To provide a more 'three-dimensional' perspective, two chapters are devoted to exploring the ways in which Hopkins has been perceived as an influence on twentieth century poetry, in general terms, and in specific cases. In conclusion, a 'map' of the territory of Hopkins' criticism charting the perceived relations between his oeuvre and poetic tradition is proposed. And, with a necessary emphasis on the provisional (particularly with the post-1970 study taken into account), some suggestions are made for new directions in this area of study.