View All Items

Title: WALLACE STEVENS AND THE ESTHETICS OF WILLIAM HOGARTH.
Creator: SURBAUGH, PHYLLIS WHITEHEAD., Florida Atlantic University, Pearce, Howard D.
Abstract/Description: William Hogarth in The Analysis of Beauty, first published in 1753, names the pineapple as the almost perfect form. It combines the oval and the cone and, further, is ornamented to achieve a balance between variety and simplicity. Wallace Stevens, always concerned with forms and the metaphors they engender, uses the pineapple as subject of a major poem, "Someone Puts a Pineapple Together," and elsewhere in his work it appears as a forceful image. Hogarth recommends that the artist study his...
Show moreWilliam Hogarth in The Analysis of Beauty, first published in 1753, names the pineapple as the almost perfect form. It combines the oval and the cone and, further, is ornamented to achieve a balance between variety and simplicity. Wallace Stevens, always concerned with forms and the metaphors they engender, uses the pineapple as subject of a major poem, "Someone Puts a Pineapple Together," and elsewhere in his work it appears as a forceful image. Hogarth recommends that the artist study his subject from within the form, to achieve a fuller realization of its exterior, a technique often practiced by Stevens, whose thinking may proceed from the center of a given form--or idea--to the outside. Hogarth's stated belief that variety is essential to beauty finds confirmation in the poetry of Stevens, who is known for the diversity of his vision.
Show less
Date Issued: 1985
PURL: http://purl.flvc.org/fcla/dt/14236
Subject Headings: Stevens, Wallace,--1879-1955--Criticism and interpretation, Hogarth, William,--1697-1764--Criticism and interpretation
Format: Document (PDF)

Title: The drama of Appollonian-Dionysian opposition: Euripides's "The Bacchae" and Schrader's "Kiss of the Spider Woman".
Creator: Trifan, Alex., Florida Atlantic University, Pearce, Howard D.
Abstract/Description: The Apollonian-Dionysian duality is a mythical opposition that suggests a complex and fundamental pattern of looking at the world. In this opposition Nietzsche identified two antagonistic tendencies whose tense coexistence is a prerequisite of the tragic genre; in his formulation tragic conflict must essentially involve a tension between rationality and irrationality, at the level of plot, character, genre. I adopt this symbolic mythical pattern to explore the theme of dramatic conflict in an...
Show moreThe Apollonian-Dionysian duality is a mythical opposition that suggests a complex and fundamental pattern of looking at the world. In this opposition Nietzsche identified two antagonistic tendencies whose tense coexistence is a prerequisite of the tragic genre; in his formulation tragic conflict must essentially involve a tension between rationality and irrationality, at the level of plot, character, genre. I adopt this symbolic mythical pattern to explore the theme of dramatic conflict in an ancient play, Euripides's The Bacchae, and in a modern text, Schrader's screenplay Kiss of the Spider Woman. At the heart of both these dramatic works there lies a profound and balanced conflict between illusion and reality, emotion and reason, pragmatism and idealism, nature and culture, a conflict structured according to the Apollonian-Dionysian matrix. This thesis explores the connections between the two texts and reveals that their common predicament consists of an unsettled dramatic opposition of Apollonian and Dionysian imaginative realms.
Show less
Date Issued: 1996
PURL: http://purl.flvc.org/fcla/dt/15296
Subject Headings: Conflict (Psychology) in literature, Tragic, The, in literature, Apollo (Greek deity) in literature, Dionysus (Greek deity) in literature, Euripides--Bacchae, Schrader, Leonard--Kiss of the spider woman
Format: Document (PDF)

Title: The flame in the grate: The Kullus character in a selection of Harold Pinter's early works.
Creator: Nudelman, Brian Charles., Florida Atlantic University, Pearce, Howard D.
Abstract/Description: Between the years 1949 and 1955, Harold Pinter was writing not plays, but poems and prose. Three works written during this period are "Kullus," "The Task," and "The Examination." Not only do these works follow chronologically, but also the intricate relationship between the narrator and Kullus established within each seems to continually refer back to a previous work. When read together, with "The Task" central, the three works form a continuing narrative of conflict and personal struggle,...
Show moreBetween the years 1949 and 1955, Harold Pinter was writing not plays, but poems and prose. Three works written during this period are "Kullus," "The Task," and "The Examination." Not only do these works follow chronologically, but also the intricate relationship between the narrator and Kullus established within each seems to continually refer back to a previous work. When read together, with "The Task" central, the three works form a continuing narrative of conflict and personal struggle, and for each to be fully appreciated and understood, one needs that knowledge gained from seeing the progression in relationship that is developed from "Kullus" to "The Examination." Pinter's early exploration with Kullus is not unlike an experiment in dramatic structure. The three works are an experimental proto-play; a playful structure of events that calls upon a willing reader to fulfill his/her role as interpreter and connection-maker.
Show less
Date Issued: 2000
PURL: http://purl.flvc.org/fcla/dt/12693
Subject Headings: Pinter, Harold,--1930---Criticism and interpretation, Pinter, Harold,--1930---Characters--Kullus
Format: Document (PDF)

Title: The naming man: A study of Wallace Stevens's poetry titles.
Creator: Weinschenk, George Godfrey, III., Florida Atlantic University, Pearce, Howard D.
Abstract/Description: The titles of Wallace Stevens's poetry assist in an explication of the poems. Stevens's titling techniques force the reader into a complicit involvement with the text before the commitment to read is even made. By asserting a strong presence in his titles, Stevens is able to engage the reader in an exploration of what is possible for the imagination. He presents his poetry as a foil for the actualization of his audience. Potentials are experienced and made real by this active involvement with...
Show moreThe titles of Wallace Stevens's poetry assist in an explication of the poems. Stevens's titling techniques force the reader into a complicit involvement with the text before the commitment to read is even made. By asserting a strong presence in his titles, Stevens is able to engage the reader in an exploration of what is possible for the imagination. He presents his poetry as a foil for the actualization of his audience. Potentials are experienced and made real by this active involvement with the poems, which in turn permits them to reveal their hidden meanings. A recursive responsiveness to Stevens's titles during the enjoyment of his poems rewards the reader with some answers to Wallace Stevens's masterful mystery. His management of titles is a part of the syntactical expression that is central to a full experience of his poetry.
Show less
Date Issued: 1997
PURL: http://purl.flvc.org/fcla/dt/15402
Subject Headings: Stevens, Wallace,--1879-1955--Criticism and interpretation, Titles of poems, Poetics
Format: Document (PDF)

Title: GABRIEL'S NEMESES: STEVENS'S ANGELS (WALLACE STEVENS, POETRY, PHENOMENOLOGICAL APPROACH).
Creator: ENDRUSCHAT, MARY ELIZABETH., Florida Atlantic University, Pearce, Howard D.
Abstract/Description: The word "angel" derives from "messenger" and enters into the language from the Hebrew mal' ahyehowah "messenger of Jehovah." In Stevens's cosmos, the gods have come to nothing, and so he metamorphoses the western, metaphysical sense of "messenger of God," while maintaining its messenger topos. Stevens's decreation of angel is an exercise in the language about the language. Stevens's new messenger is the poet, like Heidegger's Da-Sein. Stevens's angel poetry is filled with images that are ...
Show moreThe word "angel" derives from "messenger" and enters into the language from the Hebrew mal' ahyehowah "messenger of Jehovah." In Stevens's cosmos, the gods have come to nothing, and so he metamorphoses the western, metaphysical sense of "messenger of God," while maintaining its messenger topos. Stevens's decreation of angel is an exercise in the language about the language. Stevens's new messenger is the poet, like Heidegger's Da-Sein. Stevens's angel poetry is filled with images that are "metagenetic," a characteristic that describes their metamorphic repetition. In the continuous repetition of the angel image, metaphor, and symbol, Stevens develops a poetic theory that differs from the phallologocentric beginnings of the traditional western metaphysical angel. Stevens supplants traditional poetic apotheosis with a transcendence/immanence defined as the aesthetic condition of fuller Being. Angels, destructured and restructured as a fiction, enable the poet and readers to refocus on the needs and aesthetics of contemporary perception.
Show less
Date Issued: 1986
PURL: http://purl.flvc.org/fcla/dt/14303
Subject Headings: Stevens, Wallace,--1879-1955--Criticism and interpretation.
Format: Document (PDF)

Title: Four archetypal patterns in Ted Hughes's "Crow".
Creator: Hiller, Deborah Lynn., Florida Atlantic University, Pearce, Howard D.
Abstract/Description: This thesis examines four archetypal patterns in Ted Hughes's Crow poems--shamanic initiation, Biblical legend, the Great Goddess archetype, and the Trickster cycle. While examining each archetype separately, I also show how Hughes's synthesis of these patterns has produced a new mythology designed to effect a healing catharsis. Also examined as influences on the Crow poems are personal factors, such as Hughes's early interest in nature, his father's World War I experiences, his relationship...
Show moreThis thesis examines four archetypal patterns in Ted Hughes's Crow poems--shamanic initiation, Biblical legend, the Great Goddess archetype, and the Trickster cycle. While examining each archetype separately, I also show how Hughes's synthesis of these patterns has produced a new mythology designed to effect a healing catharsis. Also examined as influences on the Crow poems are personal factors, such as Hughes's early interest in nature, his father's World War I experiences, his relationship with Sylvia Plath, and an interest in the nihilistic philosophy of Arthur Schopenhauer.
Show less
Date Issued: 1990
PURL: http://purl.flvc.org/fcla/dt/14585
Subject Headings: Hughes, Ted,--1930---Crow
Format: Document (PDF)

Title: From void to plenty: A phenomenological approach to the poetry of Robert Bly.
Creator: Samet, Donna Mary., Florida Atlantic University, Pearce, Howard D.
Abstract/Description: Robert Bly's concern with wholeness of self connects him with the phenomenology of Heidegger and Merleau-Ponty. Bly's search for wholeness begins with his experimentation with the object and prose poem. The search continues and intensifies with poems that express unification of subject and object. Bly also sees language as a further manifestation of the outer and inner bounds of self. His search appears to rest in a fullness of being as represented in the beauty and importance of human...
Show moreRobert Bly's concern with wholeness of self connects him with the phenomenology of Heidegger and Merleau-Ponty. Bly's search for wholeness begins with his experimentation with the object and prose poem. The search continues and intensifies with poems that express unification of subject and object. Bly also sees language as a further manifestation of the outer and inner bounds of self. His search appears to rest in a fullness of being as represented in the beauty and importance of human relationships.
Show less
Date Issued: 1990
PURL: http://purl.flvc.org/fcla/dt/14586
Subject Headings: Bly, Robert--Criticism and interpretation
Format: Document (PDF)

Title: GWENDOLYN BROOKS AND SHERWOOD ANDERSON: COMMUNICATION VS. LANGUAGE.
Creator: STOVER, JOHNNIE MAE., Florida Atlantic University, Pearce, Howard D.
Abstract/Description: Poet Gwendolyn Brooks and novelist Sherwood Anderson shared the same literary goal and eventually embraced the same or similar techniques for reaching this goal. Their mutual goal was to loosen the language, to make it more responsive to the needs of the people. And their primary technique revolved around human interactions within a community setting. With the limitations of the language as their adversary, Brooks and Anderson created their respective communities of Bronzeville and Winesburg...
Show morePoet Gwendolyn Brooks and novelist Sherwood Anderson shared the same literary goal and eventually embraced the same or similar techniques for reaching this goal. Their mutual goal was to loosen the language, to make it more responsive to the needs of the people. And their primary technique revolved around human interactions within a community setting. With the limitations of the language as their adversary, Brooks and Anderson created their respective communities of Bronzeville and Winesburg to demonstrate not only how language inhibits the development of human communication, but also inhibits the creative development of the writer. As the characters' relationships with each other create winding, circling, intertwining patterns of human interactions, similar patterns are paralleled in Brooks's and Anderson's literary styles, whereby they shake, twist, and mold the language as a demonstration of its inadequacy.
Show less
Date Issued: 1985
PURL: http://purl.flvc.org/fcla/dt/14237
Subject Headings: Brooks, Gwendolyn,--1917---Criticism and interpretation, Anderson, Sherwood,--1876-1941--Criticism and interpretation, American poetry--African American authors
Format: Document (PDF)

Title: MARGARET ATWOOD'S "TRICK HIP": TRANSCENDING DUALITY WITH IMAGINATION.
Creator: LAMB, MARTHA MOSS., Florida Atlantic University, Pearce, Howard D.
Abstract/Description: The major theme of Margaret Atwood's work is the transcendence of duality. Several critics, led by Cheryl Grace, have emphasized the duality only, yet there are many examples of wholeness in Atwood's early poems and novels as well as in her more recent fiction. The clearest examples of the reconciliation of opposites are in Atwood's late poems. The poetics of the romantics Blake and Coleridge, as discussed by the twentieth-century critics Northrop Frye and I. A. Richards, and underscored by...
Show moreThe major theme of Margaret Atwood's work is the transcendence of duality. Several critics, led by Cheryl Grace, have emphasized the duality only, yet there are many examples of wholeness in Atwood's early poems and novels as well as in her more recent fiction. The clearest examples of the reconciliation of opposites are in Atwood's late poems. The poetics of the romantics Blake and Coleridge, as discussed by the twentieth-century critics Northrop Frye and I. A. Richards, and underscored by new theories in physics, may be used to clarify how Atwood resolves dualities. The last five poems of "New Poems 1985-1986" from Selected Poems II demonstrate the blending of life/death, God/human, spiritual/material, body/nature, real/imaginary, male/female, subject/object into one through the use of paradox, poetic image, and remaking of myth, techniques of the imagination that Atwood shares with Blake and Coleridge.
Show less
Date Issued: 1994
PURL: http://purl.flvc.org/fcla/dt/15037
Subject Headings: Atwood, Margaret Eleanor,--1939---Criticism and interpretation
Format: Document (PDF)

Title: IMAGERY AND IDEA OF SCALE IN THREE STORIES BY HENRY JAMES.
Creator: JOHNSON, JO LYNN., Florida Atlantic University, Pearce, Howard D.
Abstract/Description: Language of spatial movement, the arbitrary placement of values on a vertical scale, operates in the fiction of James as a means of expressing central themes, as well as minor themes that "depend" from them. The placement of something on a scale, either high or low, indicates the difficulty of permanence or of "fixing" in a world where change is a necessary condition of life. In "The Lesson of the Master" the idea of perfection as the apex of the vertical scale develops conflicts and ironies....
Show moreLanguage of spatial movement, the arbitrary placement of values on a vertical scale, operates in the fiction of James as a means of expressing central themes, as well as minor themes that "depend" from them. The placement of something on a scale, either high or low, indicates the difficulty of permanence or of "fixing" in a world where change is a necessary condition of life. In "The Lesson of the Master" the idea of perfection as the apex of the vertical scale develops conflicts and ironies. The artistnarrator in "The Real Thing" thinks in terms of the paradoxical perpendicular scale in practicing his art of illustration. In "The Birthplace" Morris Gedge manifests a more complex, ironical version of this idea in his obtuse and non-fixed values.
Show less
Date Issued: 1976
PURL: http://purl.flvc.org/fcla/dt/13806
Subject Headings: James, Henry,--1843-1916--Criticism and interpretation
Format: Document (PDF)

Title: Expressions of the religious imagination in the work of Jane Austen and Flannery O'Connor.
Creator: Payne, Pamela Wood., Florida Atlantic University, Pearce, Howard D.
Abstract/Description: Jane Austen and Flannery O'Connor possess essentially religious imaginations. The character of their work is determined by the degree of similarity or difference between their beliefs and those generally held by their intended audiences. Austen, an orthodox Anglican in a fundamentally religious era, creates a fiction of restraint: gently satiric, ultimately comic in form and intent, directed to a reader who shares her vision of spiritual and moral order revealed through social structure. O...
Show moreJane Austen and Flannery O'Connor possess essentially religious imaginations. The character of their work is determined by the degree of similarity or difference between their beliefs and those generally held by their intended audiences. Austen, an orthodox Anglican in a fundamentally religious era, creates a fiction of restraint: gently satiric, ultimately comic in form and intent, directed to a reader who shares her vision of spiritual and moral order revealed through social structure. O'Connor, a Catholic in an age of unbelief, writes a fiction of extremity, characterized by fierce satire, violence, grotesquerie, and the juxtaposition of comic characters and situations with tragic form and meaning, directed to an unbelieving reader whom she wishes to "shock" into a new awareness of the sacred. A comparison of the work of Austen and O'Connor in this context leads to a renewed appreciation of the interdependence of imagination and reality in determining the distinctive qualities of a writer's oeuvre.
Show less
Date Issued: 1993
PURL: http://purl.flvc.org/fcla/dt/14889
Subject Headings: O'Connor, Flannery--Criticism and interpretation, Austen, Jane,--1775-1817--Criticism and interpretation, Imagination--Religious aspects
Format: Document (PDF)

Title: FROST'S FLOWERS. (ROBERT FROST).
Creator: CONFORTI, DIANE LYNNE., Florida Atlantic University, Pearce, Howard D.
Abstract/Description: This thesis, a study of approximately eighty Robert Frost poems in which the word flower or a specific flower appears, attempts to correlate botanical information with poetic technique. The thesis progresses along the lines of complexity and accumulation, dividing the poems into three interlocking groups based upon the flower's use. In the first stage, the flower is simply an emotional projection of the speaker. In the second more developed stage, the flower is a persona in the poem,...
Show moreThis thesis, a study of approximately eighty Robert Frost poems in which the word flower or a specific flower appears, attempts to correlate botanical information with poetic technique. The thesis progresses along the lines of complexity and accumulation, dividing the poems into three interlocking groups based upon the flower's use. In the first stage, the flower is simply an emotional projection of the speaker. In the second more developed stage, the flower is a persona in the poem, exhibiting a force of its own which impels the speaker toward union with men. The flower, in the third and most complex stage blending the two previous characteristics, is both an emotional projection of the speaker's fears about survival and a persona of nature which teaches man about the futility of trying to subjugate or impede nature in her cyclical movement. In Frost, the flower is a positive symbol, usually serving as an intermediary or agent, which tends to be a means of union between man and nature, man and man, or man and himself.
Show less
Date Issued: 1974
PURL: http://purl.flvc.org/fcla/dt/13675
Subject Headings: Frost, Robert,--1874-1963--Criticism and interpretation, Flowers in literature
Format: Document (PDF)

Title: FLANNERY O'CONNOR AND BURKE'S THEORY OF THE SUBLIME (SOUTHERN, GROTESQUE, CATHOLIC).
Creator: MUNCY, EMILY MAXWELL., Florida Atlantic University, Pearce, Howard D.
Abstract/Description: Flannery O'Connor's works show traces of the sublime as it is defined by Edmund Burke. Although she has, up to now, been referred to critically as a Southern, Catholic, Grotesque writer, she should more properly be referred to as a sublime writer, since that kind of pain referred to by Burke, actual or imagined, physical or emotional, is found in her works. By examining Burke's theory of the sublime and comparing it to Flannery O'Connor's use of "terrible objects," things that operate in a ...
Show moreFlannery O'Connor's works show traces of the sublime as it is defined by Edmund Burke. Although she has, up to now, been referred to critically as a Southern, Catholic, Grotesque writer, she should more properly be referred to as a sublime writer, since that kind of pain referred to by Burke, actual or imagined, physical or emotional, is found in her works. By examining Burke's theory of the sublime and comparing it to Flannery O'Connor's use of "terrible objects," things that operate in a "manner analogous to terror," and by observing her characters with their various deformities, both physical and emotional, and their being brought to a recognition of death, the reader can realize the elements which constitute the sublime in Flannery O'Connor's works.
Show less
Date Issued: 1985
PURL: http://purl.flvc.org/fcla/dt/14255
Subject Headings: O'Connor, Flannery--Aesthetics., Burke, Edmund,--1729-1797.
Format: Document (PDF)

Title: Henry James and Plato: Divining the truth in "What Maisie Knew".
Creator: Marquart, Rosanne B., Florida Atlantic University, Pearce, Howard D.
Abstract/Description: Henry James's and Plato's presumed ideological incompatibility is fostered in part by the philosopher's well documented censure of literature and the arts and by his belief that true knowledge is secured by purely rational apprehension. Henry James, however, contends that the philosopher and novelist have comparable concerns, for both seek truth and the origins and meaning of virtue. Plato's conception of knowledge and ethics, however, differs markedly from James's: if true knowledge is...
Show moreHenry James's and Plato's presumed ideological incompatibility is fostered in part by the philosopher's well documented censure of literature and the arts and by his belief that true knowledge is secured by purely rational apprehension. Henry James, however, contends that the philosopher and novelist have comparable concerns, for both seek truth and the origins and meaning of virtue. Plato's conception of knowledge and ethics, however, differs markedly from James's: if true knowledge is commensurate with rational apprehension, emotions and imagination distort rather than elucidate truth. Yet is there but a single path to knowledge? In What Maisie Knew James illustrates that learning, like narrative, is an experiential process involving intuition, emotion, and imagination. Moreover, although Jamesian and Platonic thought may appear antithetical, a comprehensive study of their works reveals not only the expected differences, but certain unexpected discursive and ideological similarities.
Show less
Date Issued: 1997
PURL: http://purl.flvc.org/fcla/dt/15360
Subject Headings: James, Henry,--1843-1916--What Maisie knew, James, Henry,--1843-1916--Criticism and interpretation, Plato--Influence, Ethics, Philosophy in literature, Literature and morals
Format: Document (PDF)

Title: LOVING BEDFELLOWS: WHITMAN AND ZEN.
Creator: SMATHERS, FRANK T., Florida Atlantic University, Pearce, Howard D.
Abstract/Description: The voice of Leaves of Grass is the voice of nature "without check with original energy." Zen, as described by its followers, is Nature itself. This thesis is a comparison of Zen nature and Whitman's voice of nature. Zen-- A monk was anxious to learn Zen and said: "Will you be gracious enough to show me the way to Zen?" The master said: "Do you hear the murmuring sound of the mountain stream?" The monk answered: "Yes I do." The master said: "Here is the entrance." Whitman-- Was somebody...
Show moreThe voice of Leaves of Grass is the voice of nature "without check with original energy." Zen, as described by its followers, is Nature itself. This thesis is a comparison of Zen nature and Whitman's voice of nature. Zen-- A monk was anxious to learn Zen and said: "Will you be gracious enough to show me the way to Zen?" The master said: "Do you hear the murmuring sound of the mountain stream?" The monk answered: "Yes I do." The master said: "Here is the entrance." Whitman-- Was somebody asking to see the soul? See your own shame and countenance, persons, substances, beasts, the trees, the running rivers, the rocks and sands. Zen insight rests somewhere within perception or consciousness of the mountain stream. Whitman places a similar value on perception of nature.
Show less
Date Issued: 1973
PURL: http://purl.flvc.org/fcla/dt/13603
Subject Headings: Whitman, Walt,--1819-1892--Leaves of grass, Zen Buddhism
Format: Document (PDF)

Title: Metaphorical worlds in Samuel Beckett's "Endgame" and Harold Pinter's "Ashes to Ashes".
Creator: Fiedler, Robin M., Florida Atlantic University, Pearce, Howard D.
Abstract/Description: Harold Pinter's debt to Samuel Beckett is not a matter of direct copying or replication, but a natural progression of the postmodern dramatic form. Both Pinter and Beckett examine human violence, companionship, game playing, religion, and philosophy, culminating in a world-as-stage metaphor where characters are subtly aware of being both spectators and players. Pinter's and Beckett's mimetic representations, whether successful or not, capture the essence of existence as a continuous creative...
Show moreHarold Pinter's debt to Samuel Beckett is not a matter of direct copying or replication, but a natural progression of the postmodern dramatic form. Both Pinter and Beckett examine human violence, companionship, game playing, religion, and philosophy, culminating in a world-as-stage metaphor where characters are subtly aware of being both spectators and players. Pinter's and Beckett's mimetic representations, whether successful or not, capture the essence of existence as a continuous creative process: characters examine dreamlike memories of experiences for meaning and narrate the past in their present existence in order to bring purpose to their future. The creative process of defining the past influences the characters' present decisions: the phenomenology of being in time is the only certainty. Pinter and Beckett move beyond tragicomedy and absurdity to an ontological metaphor: play creates fiction as an epistemological truth.
Show less
Date Issued: 2000
PURL: http://purl.flvc.org/fcla/dt/12677
Subject Headings: Beckett, Samuel,--1906-1989.--Endgame., Pinter, Harold,--1930-2008.--Ashes to ashes., Drama--Technique., Realism in literature.
Format: Document (PDF)

Title: Encounters between mind and world in the poetry of William Wordsworth and Wallace Stevens.
Creator: Sakal, Nancy., Florida Atlantic University, Pearce, Howard D.
Abstract/Description: The interaction between mind (consciousness) and world (sensory phenomena) is explored in depth by poets William Wordsworth and Wallace Stevens, with particular attention given to the role of imagination. In The Prelude, Wordsworth describes events from his own early life, encounters between mind and world, leading to the development of a poetic sensibility. Stevens, writing in a playful, improvisational style very different from Wordsworth's, examines a variety of encounters between...
Show moreThe interaction between mind (consciousness) and world (sensory phenomena) is explored in depth by poets William Wordsworth and Wallace Stevens, with particular attention given to the role of imagination. In The Prelude, Wordsworth describes events from his own early life, encounters between mind and world, leading to the development of a poetic sensibility. Stevens, writing in a playful, improvisational style very different from Wordsworth's, examines a variety of encounters between characters such as Crispin in "The Comedian as the Letter C" and external reality. For both poets, the boundaries between mind and world are indeterminate, and the question of supremacy in their dynamic relationship is unresolved. Yet the sense of a "something" that grounds this interplay, what Stevens identifies as "Being," leads the ever-active imagination to do its work, at home in the world.
Show less
Date Issued: 1991
PURL: http://purl.flvc.org/fcla/dt/14740
Subject Headings: Wordsworth, William,--1770-1850--Criticism and interpretation, Stevens, Wallace,--1879-1955--Criticism and interpretation
Format: Document (PDF)

Title: The significance of the space between: A consideration of liminality, meditation, and modernity in selected poems by Wallace Stevens and Charles Baudelaire.
Creator: Wonn, Charles S., Florida Atlantic University, Pearce, Howard D.
Abstract/Description: The state of liminality, as defined by Mihai Spariosu and exemplified by Wallace Stevens and Charles Baudelaire, is a significant one, transitional in its "structure," and one in which a vital activity takes place. Namely, this activity is the moving between worlds, states, or perceptions, and the choice of new ones, or of considering new potentialities. Essentially, this idea of being in limbo and the result of this state of "in-betweenness" is that we emerge from a relatively indeterminate,...
Show moreThe state of liminality, as defined by Mihai Spariosu and exemplified by Wallace Stevens and Charles Baudelaire, is a significant one, transitional in its "structure," and one in which a vital activity takes place. Namely, this activity is the moving between worlds, states, or perceptions, and the choice of new ones, or of considering new potentialities. Essentially, this idea of being in limbo and the result of this state of "in-betweenness" is that we emerge from a relatively indeterminate, contemplative, and subjective space with an ultimate satisfaction or heightened or altered awareness. Much of Stevens's poetry, especially his later poetry, exemplifies a meditative contemplation of being, while Baudelaire's poetry portrays the liminally sublime, ghostly being in a transitional urban world. Both poets demonstrate such concepts of transition and ultimate coping in a modern state of flux.
Show less
Date Issued: 2002
PURL: http://purl.flvc.org/fcla/dt/12957
Subject Headings: Stevens, Wallace,--1879-1955--Criticism and interpretation, Baudelaire, Charles,--1821-1867--Criticism and interpretation, Liminality in literature
Format: Document (PDF)

Title: The telegraphist's odyssean journey in Henry James's "In the Cage".
Creator: Olson, Peter J., Florida Atlantic University, Pearce, Howard D.
Abstract/Description: Henry James's In the Cage offers a character, a young female telegraphist, who constantly applies theories to and comes up with interpretations of the people, objects, and events that make up the world outside her cage. The experiences she undergoes with the telegrams' ambiguous messages and her customers' strange actions compel her to weave an intricate drama that not only clears up the ambiguities but also allows her to play an important role. She creates a subjective reality through which...
Show moreHenry James's In the Cage offers a character, a young female telegraphist, who constantly applies theories to and comes up with interpretations of the people, objects, and events that make up the world outside her cage. The experiences she undergoes with the telegrams' ambiguous messages and her customers' strange actions compel her to weave an intricate drama that not only clears up the ambiguities but also allows her to play an important role. She creates a subjective reality through which she can embark on an exciting, dangerous adventure. This reality, however, is not immutable. When faced with new sets of circumstances, new flashes from the outside world, she struggles to re-work her interpretations and re-create her fiction; like Odysseus, she is forced to submit to an overwhelming external power and find a new path on which to travel.
Show less
Date Issued: 1996
PURL: http://purl.flvc.org/fcla/dt/15346
Subject Headings: James, Henry,--1843-1916--In the cage, James, Henry,--1843-1916--Criticism and interpretation, James, Henry,--1843-1916--Technique, Homer--Odyssea, Ambiguity in literature, Narration (Rhetoric)
Format: Document (PDF)

Title: A textual comparison of Henry James's "An International Episode".
Creator: Wilson, Mary Kay., Florida Atlantic University, Pearce, Howard D.
Abstract/Description: In revising his works for inclusion in the New York Edition, James shows his artistic growth. The revised text of An International Episode, James's tale of the English in America and the Americans in England, startles the reader who compares it with the earlier Cornhill publication. The characters, as well as the worlds that they inhabit and visit, are changed by James's additions of new dialogue and description. An International Episode was initially reviewed as unfairly satirical in its...
Show moreIn revising his works for inclusion in the New York Edition, James shows his artistic growth. The revised text of An International Episode, James's tale of the English in America and the Americans in England, startles the reader who compares it with the earlier Cornhill publication. The characters, as well as the worlds that they inhabit and visit, are changed by James's additions of new dialogue and description. An International Episode was initially reviewed as unfairly satirical in its portrayal of English customs and English characters. My thesis argues that many changes to the original text were James's response to this criticism. His text for the New York Edition shows a balancing of English and American characterizations, revealing a more equal satire.
Show less
Date Issued: 1995
PURL: http://purl.flvc.org/fcla/dt/15182
Subject Headings: James, Henry,--1843-1916--Criticism and interpretation, James, Henry,--1843-1916--International episode
Format: Document (PDF)

Stevens, Wallace,--1879-1955--Criticism and interpretation (10)	+ -
James, Henry,--1843-1916--Criticism and interpretation (6)	+ -
O'Connor, Flannery--Criticism and interpretation (5)	+ -
Stevens, Wallace,--1879-1955--Criticism and interpretation. (3)	+ -
Children in literature (2)	+ -

Jarrell, Randall,--1914-1965--Criticism and interpretation (2)	+ -
Pinter, Harold,--1930---Criticism and interpretation (2)	+ -
Plath, Sylvia--Criticism and interpretation (2)	+ -
Women in literature (2)	+ -
Yeats, W B--(William Butler),--1865-1939--Criticism and interpretation (2)	+ -
Albee, Edward,--1928---Characters (1)	+ -
Ambiguity in literature (1)	+ -
American poetry--African American authors (1)	+ -
Anderson, Sherwood,--1876-1941--Criticism and interpretation (1)	+ -
Androgyny (Psychology) (1)	+ -
Apollo (Greek deity) in literature (1)	+ -
Archer, Isabel (Fictitious character) (1)	+ -
Archetype (Psychology) in literature. (1)	+ -
Aristotle--Aesthetics (1)	+ -
Atwood, Margaret Eleanor,--1939---Criticism and interpretation (1)	+ -
Austen, Jane,--1775-1817--Criticism and interpretation (1)	+ -
Authorship (1)	+ -
Baudelaire, Charles,--1821-1867--Criticism and interpretation (1)	+ -
Beckett, Samuel,--1906-1989.--Endgame. (1)	+ -
Bly, Robert--Criticism and interpretation (1)	+ -
Bond, Edward--Criticism and interpretation (1)	+ -
Borges, Jorge Luis,--1899- (1)	+ -
Brooks, Gwendolyn,--1917---Criticism and interpretation (1)	+ -
Burke, Edmund,--1729-1797. (1)	+ -
Conflict (Psychology) in literature (1)	+ -

Florida Atlantic University (63)	+ -
Pearce, Howard D. (63)	+ -
COHEN, NANCY SITARIK. (1)	+ -
CONFORTI, DIANE LYNNE. (1)	+ -
CONNOLLY, JOANNE MARIE. (1)	+ -

CONNOLLY, PATTY BARNHILL. (1)	+ -
Campbell, Nicole. (1)	+ -
Danylyshen, Darren Joseph. (1)	+ -
Department of English (1)	+ -
Dorothy F. Schmidt College of Arts and Letters (1)	+ -
ENDRUSCHAT, MARY ELIZABETH. (1)	+ -
FOTOPOULOS, NIKI PRAVLIS. (1)	+ -
Felt, Richard Thomas. (1)	+ -
Fiedler, Robin M. (1)	+ -
Frusciante, Denise Marie. (1)	+ -
GLADDING, MARTHA W. (1)	+ -
HAGER, STANTON ROBERT. (1)	+ -
HENDRICKS, VICKI DUE. (1)	+ -
Higgins, Barbara B. (1)	+ -
Hiller, Deborah Lynn. (1)	+ -
JOHNSON, JO LYNN. (1)	+ -
JOHNSON, MARA LOUISE. (1)	+ -
JOHNSON, MARTHA F. (1)	+ -
Johnson, Jamie (1)	+ -
KAPLAN, MARLYNE (MARZI). (1)	+ -
KILPATRICK, DIANA D. (1)	+ -
KLINE, GLORIA CORNELIA. (1)	+ -
LAMB, MARTHA MOSS. (1)	+ -
LENAHAN, TERI S. (1)	+ -
LEWIN, DOROTHY MAY. (1)	+ -

Search In

Pages

Pages

Sort Results By:

Narrow results by:

Collection

Topical Subject

Genre

Type of Resource

Language

Creator

Format

Owner