By reading mournful poems rhetorically, I expand the concept of the elegy in order to reveal continuities between private and communal modes of mourning. My emphasis on readers of elegies challenges writer-centered definitions of the elegy, like that given by Peter Sacks, who describes how the elegy's formal conventions express the elegist's own motives for writing. Although Sacks's Freudian approach helpfully delineates some of the consoling effects that writing poetry has on the elegist herself, this dissertation revises such writer-centered concepts of the elegy by asking how elegies rhetorically invoke ethical relationships between writers and readers. By reading elegiac poems through Kenneth Burke's rhetorical theories and Emmanuel Levinas's ethics, I argue that these poems characterize, as Levinas suggests, subjectivity as fundamentally structured by ethical relationships with others. In keeping with this ethical focus, I analyze anthology poems, meaning short lyric poems written by acclaimed authors, easily accessible, and easily remembered - including several well-known poems by such authors as Emily Dickinson, Gerard Manley Hopkins, and Robert Frost. Anthology pieces invite ethical evaluation in part because they represent what counts as valuable poetry - and also, by implication, what does not. Because anthology poems are read by broad, diverse audiences, I suggest that a rhetorical methodology focusing on writer-reader relationships is essential to evaluating these poems' ethical implications. This rhetorical approach to poetry, however, questions rhetoricians and aesthetic theorists from Aristotle and Longinus to Lloyd F. Bitzer and Derek Attridge who emphasize distinctions between rhetoric and poetics. I address the ongoing debate about the relationship between rhetoric and poetics by arguing, along the lines of Wayne C. Booth's affirmation that fiction and rhetoric are interconnected, that poetry and rhetoric are likewise integrally tied. To this debate, I add an emphasis on philosophy - from which Plato, Ramus, and others exclude rhetoric and poetry - as likewise essential to understanding both poetry and rhetoric. By recognizing the interrelatedness of these disciplines, we may better clarify poetry's broad, ethical appeals that seem so valuable to readers in situations of loss.

Made available in DSpace on 2013-08-07T18:58:44Z (GMT). No. of bitstreams: 1 000422703-Texto+Completo-0.pdf: 1613027 bytes, checksum: 87cd88ca5e13ddf19c8632e984ce12c2 (MD5) Previous issue date: 2010 / In the nineteenth century, Italy has been through a historical process known as Risorgimento. Starting around 1815, it ended in around 1870, when it reached its goal of unifying the peninsula under the flag of a state. In the context of the Risorgimento, Giuseppe Mazzini fought not only for Italian unification, but also for the spread of republicanism worldwide. Furthermore, he founded Giovine Europa in Bern, in April of 1834. Farroupilha War was contemporary to this Mazzinian association, which influenced a generation of Italian activists, who fought in southern Brazil along with the rio-grandense insurgents. Among them, the most commonly known are those who, by their actions, stood in the farroupilha path: Giuseppe Garibaldi, trainer and commander of the farroupilha naval fleet; Livio Zambeccari, commonly called "private secretary" of Bento Gonçalves; and Luigi Rossetti, editor of the most important newspaper of the Republic Rio-Grandense, O Povo, and also secretary of the brief Republic Juliana‟s government (29/07 to 15/11, 1839). From the letters and writings in the newspaper O Povo by Luigi Rossetti, this research aims to understand the insertion of Mazzini‟s ideas in the Farroupilha War. / No século XIX, a Itália passou por um processo histórico conhecido como Risorgimento. Iniciado por volta de 1815, findou no entorno de 1870, quando atingiu seu objetivo de unificar o território peninsular sob a bandeira de um Estado. No contexto do Risorgimento, Giuseppe Mazzini lutou não apenas em prol da Unificação Italiana, mas pela propagação do republicanismo em escala mundial. Neste sentido, fundou a Giovine Europa, em Berna, no mês de abril de 1834. A Guerra Farroupilha foi contemporânea a esta associação mazziniana, que influenciou uma geração de ativistas italianos, que lutaram no sul do Brasil ao lado dos insurgentes rio-grandenses. Dentre eles, os mais comumente conhecidos são aqueles que, por suas atuações, se destacaram na trajetória farroupilha: Giuseppe Garibaldi, formador e comandante da frota naval farroupilha; Livio Zambeccari, correntemente chamado de “secretário particular” de Bento Gonçalves; e Luigi Rossetti, editor do jornal mais importante da República Rio-Grandense, O Povo, além de Secretário Interino do governo da breve República Juliana (29/07 a 15/11 de 1839). A partir das correspondências e escritos no jornal O Povo de Luigi Rossetti, a presente pesquisa visa compreender como se deu a inserção do ideário de Mazzini na Guerra Farroupilha.

The period spanning from the late 1850s to the mid-1860s frames a historical moment in Victorian England when lactation and breastfeeding came under intense public scrutiny in both medical and creative writing. While popular domestic author Isabella Beeton wrote on the dangers that an unwary mother’s milk represented for her child and herself in her serial publication, Mrs. Beeton’s Book of Household Management (1859-1861), prominent physicians C.H.F. Routh and William Acton launched a public dispute in medical journals contesting the physiological and moral dangers that the fallen wet nurse posed for the middle-class household (1859). Meanwhile, the medical community catalogued the bizarre long-term physical and dispositional side-effects of an infant’s consumption of “bad milk” – among them, syphilis, swearing, sexual immorality, and death (Matus 161-162). But it is not only medical writers who were latching on to the breastfeeding debate as a means of voicing social and political concerns of the day; recent literary critics have gestured towards the troubling manifestations of lactation in popular mid-century novels like Charles Dickens’s Dombey and Son (1848) and George Eliot’s Adam Bede (1859) as entry points into Victorian anxieties about classed and gendered embodiment. This project stipulates that the mid-century preoccupation with managing women’s milk represents an intersection of two overlapping cultural paradigms pertaining to female expression: a cultural devaluation of female physiological expression as unconscious if not dangerous leakage, and a deprecation of female linguistic and poetic expression as an analogously unmeditated and potentially disruptive kind of communication. Mid-century manuals, articles, and novels offered public voice to a number of existing anxieties surrounding breastfeeding which accompanied the mid-nineteenth century, a historical moment at the cusp of a waning popularity in wet nursing and at the advent and rise of patented infant formula. This project stipulates that at least three female poets of the mid-nineteenth century employ lactation imagery in their works as a means of recasting a cultural devaluation of female expression – inventing a new critical terminology of feminine poetic signifiers that uses the symbolic medium of breastmilk as its ink. Informed by the medical and cultural context of the High Victorian age, I explore how poets Elizabeth Barrett Browning (1806-1861), Christina Rossetti (1830-1894), and Augusta Webster (1837-1894) not only participate in the preoccupation with unstable bodies and fluids, but capitalize on female leakage in an elaborate rhetorical strategy that embarks on a new embodied female poetics. Barrett Browning’s Aurora Leigh, Rossetti’s “Goblin Market,” and Webster’s Mother and Daughter all enlist the lactating and feeding breast in a series of elaborate metaphors of female identity construction, literary expression, and poetic voice.

This thesis examines the figure of Medusa in the works of three Victorian women: the poets Elizabeth Barrett Browning (1806-1861) and Christina Rossetti (1830-1894), and the artist Evelyn De Morgan (1855-1919). For many in an era that sought to categorize women according to rigid social boundaries, Medusa embodied all that is suspicious, dangerous, and alluring about women. But in subtle and unexpected ways, these three women reimagined the Medusa archetype and used it to explore female experience and expression, as well as the challenges and complexities of female authorship. In their works, Medusa, like other hybrid personae such as the mermaid and the lamia, became a figure through which to explore liminal spaces and slippery categories. I argue that these women prefigured the twentieth-century feminist rehabilitation of Medusa. I also suggest that this proto-feminist transformation of the myth draws, directly and indirectly, from the tradition of Ovid, the first poet to suggest that Medusa’s monstrosity resulted from her victimhood and that her power is not merely destructive, but also creative. My analysis contends that, contrary to common understanding, women were revisioning Medusa’s meaning well before the twentieth century.

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During the late 19th century, arts and literature had a surge of sensory awareness, made manifest through sensory analogy, intersensory metaphor, and synaesthesia. This dissertation explores this phenomenon through a study of five poets and artists: Charles Baudelaire, Arthur Rimbaud, Dante Gabriel Rossetti, John Barlas, and Julia Margaret Cameron. Using imaginative sensing, these artists transformed the relationship between artist and observer, assigning greater responsibility to their audience while simultaneously asserting artistic control of their work. Their fascination with sensory mixing and multisensory awareness demonstrates unique ideas about perception and embodiment, ideas that have sparked both controversy and imitation. I begin with a brief history of the condition known as synaesthesia, considering its position as an “abnormal” clinical condition, a desired artistic state of transcendence, and a simple transfer of metaphor. Chapter 1 describes how two French poems brought synaesthesia to public consciousness and prompted a literary movement. In Chapter 2, I explore how poet-painter Dante Rossetti used “acts of attention” and unheard music to demand viewers’ embodied participation. Chapter 3 introduces John Barlas, a relatively obscure British poet who crafted exotic, sensory-laden environments that hovered between the actual and imagined, insisting that the reader use his sensory imagination to participate. Moving to the realm of photography in Chapter 4, I consider Julia Margaret Cameron, whose “out-of-focus” pictures changed photography from a mechanistic technology to high art by incorporating the sense of touch. Historically, the senses have been ranked and separated, with priority given to vision, the sense most associated with reason. I argue that considering the senses as bundles of interconnected experiences and through imagination rather than as isolated methods of physical perception can show how the senses function culturally and give us a much greater understanding of how we process the world. While no time period has regarded the senses with the intensity of the late 19th century, the embodied approach of the era can be applied to our current “sensory revolution” and can impact how we regard technology, cultural studies, and interdisciplinarity. Evaluating how 19th century artists blended the senses through imaginative constructs gives a more thorough explanation of the characteristic sensuality of the period and provides a model for how sensing can function more fully in current endeavors.

Made available in DSpace on 2015-04-14T13:47:05Z (GMT). No. of bitstreams: 1 422703.pdf: 1613027 bytes, checksum: 87cd88ca5e13ddf19c8632e984ce12c2 (MD5) Previous issue date: 2010-03-19 / No s?culo XIX, a It?lia passou por um processo hist?rico conhecido como Risorgimento. Iniciado por volta de 1815, findou no entorno de 1870, quando atingiu seu objetivo de unificar o territ?rio peninsular sob a bandeira de um Estado. No contexto do Risorgimento, Giuseppe Mazzini lutou n?o apenas em prol da Unifica??o Italiana, mas pela propaga??o do republicanismo em escala mundial. Neste sentido, fundou a Giovine Europa, em Berna, no m?s de abril de 1834. A Guerra Farroupilha foi contempor?nea a esta associa??o mazziniana, que influenciou uma gera??o de ativistas italianos, que lutaram no sul do Brasil ao lado dos insurgentes rio-grandenses. Dentre eles, os mais comumente conhecidos s?o aqueles que, por suas atua??es, se destacaram na trajet?ria farroupilha: Giuseppe Garibaldi, formador e comandante da frota naval farroupilha; Livio Zambeccari, correntemente chamado de secret?rio particular de Bento Gon?alves; e Luigi Rossetti, editor do jornal mais importante da Rep?blica Rio-Grandense, O Povo, al?m de Secret?rio Interino do governo da breve Rep?blica Juliana (29/07 a 15/11 de 1839). A partir das correspond?ncias e escritos no jornal O Povo de Luigi Rossetti, a presente pesquisa visa compreender como se deu a inser??o do ide?rio de Mazzini na Guerra Farroupilha.

Thesis (Ph.D.) --University of Adelaide, Elder Conservatorium of Music, 2008. / "October 2007" Bibliography: leaves 168-170. Also available in print form.

vii, 157 p. / In the second half of the nineteenth century, the Aesthetic Movement in England coalesced literary and visual arts in unprecedented ways. While the writers associated with the Aesthetic Movement reflected on visual art through the exercise of criticism, their encounters with painting, portraiture, and sculpture also led to the articulation of a problem. That problem centers on the fascination with the attentive look, or the physical act of seeing in a specialized way for an extended period of time that can result in a transformation in the mind of the observer. In this dissertation, I consider how Dante Gabriel Rossetti, Henry James, and Oscar Wilde utilize the attentive look in their poetry, fiction, and drama, respectively. As I argue in this dissertation, the writers associated with the Aesthetic Movement approach and treat attention as a new tool for self-creation and self-development. As these writers generally attempt to transcend both the dullness and repetitiveness associated with modern forms of industrialized labor as well as to create an antidote for the endless distractions affiliated with the modern urban environment, they also develop or interrogate systems for training and regulating the senses. What these writers present as a seemingly spontaneous attentive engagement with art and beauty they also sell to the public as a specialized form of perception and experience that can only be achieved through training or, more specifically, through an attentive reading of their works. While these writers attempt to subvert institutional authority, whether in the form of the Royal Academy or the Oxford University system, they also generate new forms of authority and knowledge. Even though the Aesthetic Movement is not a homogeneous set of texts and art works, the Aesthetic Movement can be characterized in terms of its utilization of attentiveness as a way to both understand and create modern subjectivity. / Committee in charge: Dr. Forest Pyle， Chair； Dr. Sangita Gopal， Member； Dr. Linda Kintz， Member； Dr. Kenneth Calhoon， Outside Member