Texte remanié de: Doctoral dissertation--Clare College--Cambridge, 2006. / Bibliogr. p. [171]-183.

In his minor poems, Coleridge applies symbolic techniques to embellish the poetry and satisfy his spiritual needs. His symbolism allows for a release of pent-up emotions and transmits philosophical ideas in "capsule forms" rather than in historical prose, making them relate to the poetic appeal.

Thèse--Lettres--Université de Neuchâtel, 1990.

Thesis (Ph. D.)--University of Michigan, 1915. / Published also without thesis note. Bibliography: p. [57]-59.

Inaug.-diss.--Giessen. / Lebenslauf. "Literaturangaben": p. [84]-86.

Thesis (M.A.)--Trinity International University, Deerfield, Ill., 1999. / Abstract. Includes bibliographical references (leaves 126-131).

Version abrégée de: Thesis--Faculty of the department of philosophy--University Park--Pennsylvania state university, 1902? / Notes bibliogr.

This paper evaluates the critical response to Samuel Coleridge's "Kubla Khan." In the Introduction I outline my critical approach, which attempts to see the relationships between parts of the poem, sources outside the poem and poet himself. In analyzing Coleridge's esthetics, I have come to the conclusion that the poem was the first of a new type of Romantic poem. The central structural principle of this type of poem is the use of illusion and the fragmented form, or the illusion of the fragmented form. Poems that fall within this esthetic frequently use the "vision within a dream" motif as a metaphor for this illusion.

This dissertation demonstrates how Samuel Taylor Coleridge provides a unique vision of reality in which his evolving self-consciousness mirrors, contributes to, and is subsumed by a single universal consciousness. Utilizing the divine power of imagination, he is able to decipher the images from the material world as characters of God's symbolic language of self-revelation; subsequently, through the divine "attribute" of reason, he is able to transform them into a corresponding symbolic language of poetry. He realizes that his creativity is a finite repetition of God's infinite act of creation in which "spirit," God's consciousness in creation, comes to an awareness of itself through the human mind. This study argues that, according to Coleridge, these processes follow a divine intention, and the human faculties and the mind's structure have been molded precisely to achieve a particular understanding of reality that conforms to God's requirements and for spirit's self-actualization. Furthermore, the process by which Coleridge creates and derives knowledge from his poetic expressions follows an archetypal blueprint according to which all natural processes operate. This project illustrates not only how the theory of organicism lies at the foundation of the complex, reciprocal relationship between Coleridge's artistic expression and developing subjectivity, but also how there is an organic interrelationship between an individual's developing self-consciousness and spirit's growing awareness of its cosmic totality. Ultimately, Coleridge's writings reveal that the macrocosmic and microcosmic processes are organically interrelated, interdependent, and symbiotic and that this "truth" is gradually discovered through his experiences of the divine elements of love and beauty in creation.

This thesis aims to show that Coleridge's thinking about science was inseparable from and influenced by his social and political concerns. During his lifetime, science was undergoing a major transition from mechanistic to dynamical modes of explanation. Coleridge's views on natural philosophy reflect this change. As a young man, in the mid-1790s, he embraced the mechanistic philosophy of Necessitarianism, especially in his psychology. In the early 1800s, however, he began to condemn the ideas to which he had previously been attracted. While there were technical, philosophical and religious reasons for this turnabout, there were also major political ones. For he repeatedly complained that the prevailing 'mechanical philosophy' of the period bolstered emerging liberal and Utilitarian philosophies based ultimately on self-interest. To combat the 'commercial' ideology of early nineteenth century Britain, he accordingly advocated an alternative, 'dynamic' view of nature, derived from German Idealism. I argue that Coleridge championed this 'dynamic philosophy' because it sustained his own conservative politics, grounded ultimately on the view that states possess an intrinsic unity, so are not the product of individualistic self-interest.