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This thesis is a study in the theory and composition of mythological poetry in the work of John Keats. This subject Is introduced in chapter I with an examination of the “Ode to Psyche.” The argument of the Ode Is Important for its definition of the poet as a mythmaker and its equation of poetry and Myth. Chapter II consists of definitions of mythological poetry and myth. Mythological poetry includes poems which merely allude or refer to myth poems which reproduce received myth, poems which reinterpret and revitalize inert myth, and poems which are original creations of myth. Myth is defined as a verbal construction having special significance as a way of defining the relationship between man and his environment through the creation of the supernatural by projecting the human form upon the inhuman world which has personal, social, and universal relevance, and may be the composition of an individual, in this case Keats; and in which, in accordance with their special significance, the narrative or theme, the characters, action, time, setting and form are stylized or archetypal. In chapter III, I examine the Intellectual context in which Keats formed his conceptions of poetry and myth and composed his mythological poetry. Influences on, and correspondences to Keats’ theory and practice are identified in a historical survey of the theories and practices of his predecessors and contemporaries, and with some reference to Keats’ biography. Chapter IV If consists of an examination of Keats’ theoretical approach to poetry and myth. Considering Keats’ poems and letters as theoretical statements only, I illustrate the correspondences between his concept of poetry and the definition of myth which I made in chapter II. Keats writings also contain explicit identifications of poetry and myth and the poets that Keats most admired are composers of mythological poetry. Keats laments the passing of the golden age of poetry, but he offers his own poetry as a substitution for the works of the vanished golden age. He has declared that poetry is myth and that he, himself, will be a mythmaker. In chapter V I conclude my thesis with a demonstration of Keats' development as a mythmaker through an examination of some of his mythological poetry. This development is an alteration from his early and derivative references to inert myth, through increasingly original reproductions and Interpretations of received myth, to a final approach to the original creation of vital myth in the "Ode to Autumn.” / Arts, Faculty of / English, Department of / Graduate

Univ., Diss.--Helsinki, 2007.

Abhandlung--Zürich. / Vita. Bibliography: p. 69.

Thesis (M.A.) -- Central Connecticut State University, 2007. / Thesis advisor: Louis Auld. "... in partial fulfillment of the requirements for the degree of Master of Arts in French." Includes bibliographical references (leaves 61-64). Also available via the World Wide Web.

Thesis (M.A.)--West Virginia University, 2008. / Title from document title page. Document formatted into pages; contains ix, 147 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 78-84).

Thesis (Ph. D.)--Wayne State University, 1977. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (331-345).

J.D. Gordon's thesis (PH. D.)--University of Pennsylvania, 1940. / "[The] translation ... is ascribed to Anthony Babyngton."--p. xxxi. "Partial bibliography": p. lxiv-lxv.

The ancient myth of Electra has a rich history of reception through the ages, which is well documented in scholarship. The scholarly debate, however, ceases when it comes to the reception of the myth after 1960, especially after 1970. Very few scholars have critically engaged with the adaptations of the Electra myth in the last three decades. In my thesis I intend to fill in this gap in scholarship by presenting eight adaptations of the Electra myth between 1960 and 2005 covering a span of three continents, three (or four) languages and three media (drama, comic series, film). The common factor between all of these adaptations consists in the fact that they have strong political and societal connotations. I selected them in order to illustrate my underlying argument in this thesis that the Electra myth survives from antiquity until today because it appeals to the creative imagination of authors and playwrights from different historical backgrounds, who use this specific myth as a vehicle in order to engage with their political and societal situation in their respective countries at their respective time. This selection also serves the purpose of illustrating a new trend in the reception of antiquity in modem times, a shift from more traditional high culture adaptations to the more unconventional popular mass media. With my thesis I would like to make a contribution to Reception Studies, a subdiscipline of Classics which has recently emerged from the long-standing field of Classical Tradition, by combing the methodologies of traditional Classical Philology and modern Literary Theory into one single comparative study. It is also an attempt to make some rather lesser known yet not less rewarding plays accessible to a wider audience. I hope that this attempt will prove to be fruitful and that my thesis will be the starting point for further research on more recent adaptations of the Electra myth. / Thesis (Ph.D.)-University of KwaZulu-Natal, 2007.

Originally presented as the author's thesis, Hamburg. / Bibliography: p. 251-268.