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Thesis (Ph. D.)--York University, 2004. Graduate Programme in Philosophy. / Typescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004 & res_dat=xri:pqdiss & rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation & rft_dat=xri:pqdiss:NQ99180.

This dissertation studies depictions of the Middle East in the works of the Pre-Raphaelite Brotherhood. My discussion focuses on two prominent members of the Brotherhood—Dante Gabriel Rossetti and William Holman Hunt—and utilizes an interdisciplinary approach that examines the poetry, prose, unpublished correspondence and journals, sketches, watercolours, and oil paintings that they produced prior to 1856. I argue that Rossetti and Hunt make use of the Middle East as a repository for and reflection of the ambiguities and ambivalences of their own positions as avant-garde artists and authors. Chapters Two and Three focus on the work of Dante Gabriel Rossetti. Chapter Two examines Rossetti’s juvenilia in order to trace the ways in which the young author-artist uses the Middle East as a platform from which to work out the interplay between narrative and image, the conceptualization of the role of the author and artist, and the use of realistically depicted elements in religious painting. Chapter Three continues this discussion of Rossetti through an investigation of the 1850 edition of his poem “The Burden of Nineveh,” which centres on an encounter with an ancient Assyrian statue, and I argue that Rossetti links this artifact to the P. R. B. and uses it to critique the artistic ideals of mid-nineteenth-century England. The next two chapters shift to an investigation of William Holman Hunt’s first visit to the Middle East in 1854-6, a journey that became a focal point of the author-artist’s career. Chapter Four makes extensive use of Hunt’s unpublished diaries and letters from his sojourn in the Holy Land to destabilize the widespread conception of the artist as a staunch imperialist and the foremost English religious painter of the nineteenth century. Building on this foundation, Chapter Five looks back to the three months that Hunt spent in Egypt in 1854 and investigates the ways in which the complex experiences that the author-artist describes in his unpublished letters from this period filter into the watercolours, sketches, and oil paintings that he executed in Egypt. / Thesis (Ph.D, English) -- Queen's University, 2009-06-16 15:46:17.016

This thesis deals with the intersection of art and Victorian gender. The first chapter will deal with the Victorian era in England from the 1840s to 1900s. This chapter will serve as background information to familiarize the reader with Victorian London, the birth place of the Pre-Raphaelites. By examining the subject of industrialization in England and seeing how it changed and influenced society as a whole, the Pre-Raphaelites’ motives for formation become evident and their artistic style is understood in context. The next chapter takes a close look at the art that the Pre-Raphaelites were producing, examining both its subject matter and its literary basis in comparison to the historical setting. By using art as historical evidence, it shows the Pre-Raphaelites’ own personal investment in the subject of Victorian gender relations. Finally, the third chapter examines the wives of the Pre-Raphaelites as a case study for how these real Victorian woman acted and behaved, outside of the expectations and social constraints of the era. Since these were the women most closely associated with the Pre-Raphaelites and their lives were generally well-documented, they make excellent subjects to follow to determine what sort of agency they had in comparison to their stereotypes and male counterparts. Overall, this thesis seeks to tie together the ideas of Victorian gender norms and Pre-Raphaelite art to create a more nuanced and complete history of the Pre-Raphaelites as people and artists.

This MA thesis is concerned with the analysis of three poems by Dante Gabriel Rossetti. The theoretical basis of this work is the theory of "ut pictura poesis" which examines the relationship between poetry and fine arts. In the case of Rossetti, this theory can be easily applied since Rossetti was not only a poet but mainly a painter. "The Blessed Damozel" which is the first poem to be analyzed, exists as a painting as well as a musical composition by Claude Debussy. The second poem in this thesis is "The Card Dealer" which was inspired by an actual painting by Theodor Van Holst, a copy of which Rossetti himself owned, though the original visual image is considerably modified in the poem. The last poem is "My Sister's Sleep" whose dramatic elements of individual scenes are quite outstanding. Just like the two preceding poems, "My Sister's Sleep" uses "painterly techniques" as well (the spatial composition of figures on the scene, emphasis on details, "painting" the scene and atmosphere, characterization, gestures, colours, materials, slowed-down tempo, general stasis of depiction, elongation of the tense moment to which the entire poem aspires, symbolism, mysticism, etc), which in effect create an easily imaginable mental picture that can be compared to actual Pre-Raphaelite paintings. These (and...

Thesis (Ph.D.)--Brown University, 2008. / Vita. Advisor : Kay Dian Kriz. Includes bibliographical references (leaves 658-698).

In this essay, the author analyzes the Gothic of Christina Rossetti in such poems as A Coast Nightmare, Shut Out, but also the well-known Goblin Market and the Prince's Progress. Interested in what the imagery of these poems convey, and intent on declaring Rossetti as a prominent example of Gothic poets, the author makes a strong case for the including of Rossetti among the great Gothics.

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