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The evolution of the Yeatsian goddess in relation to the changing climate of Irish politics.

机译：与爱尔兰政治气候变化有关的亚述女神的演变。

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摘要

This dissertation focuses on the changing poetic images of women Yeats constructed in his work to mirror his shifting perception of the needs of the Irish Republic over the course of his career. Successive alterations of the "Yeatsian" woman parallel the poet's evolving attitude toward political and social transformations occurring in the country. This dissertation examines how Yeats adjusts his female persona in accordance with the varying politics of the Republic, and employs her as a vehicle for expressing his personal beliefs regarding Ireland's attempt to gain power and independence via his assumption that poetry can change politics. Under the guise of four female images recurring through sequential stages of Yeats's career, this study demonstrates how each persona mirrors the poet's personal response to the changing political climate.;The first female to be considered is the character of the Goddess/Enchantress introduced during Yeats's Romantic period, 1889--1903. During these relatively peaceful years preceding the Rebellion and Civil War, Yeats associated Ireland with beauty, nature and courtly love. The second female image is the Warrior which emerged during Yeats's Nationalist period, 1903--1923. Yeats responded to the strife and turmoil taking place in Ireland by replacing the Romantic Enchantress with a challenging femme fatale more suited to understanding the needs of the embattled country. The final poetic images occur during the Modernist/post Rebellion era, 1923--1939. During this time Yeats was presented with the double challenge of creating a character that would help the country recover from war as he encouraged gender equality. He responded by forming two distinct female figures: the Mother, who provides the nurturing Ireland required after the Rebellion; and the independent female interested in protecting her own rights. Yeats's response to the changing climate of Irish politics was answered through his use of poetry as a way to combat chauvinism allowing both country and women to possess agency and control.
机译：本文着重研究叶芝在其作品中所建构的诗意形象的变化，以反映他在职业生涯中对爱尔兰共和国需求的不断转变的看法。连续不断的“耶夫族”妇女的变迁与诗人对在该国发生的政治和社会变革的态度不断演变。本文研究了叶芝如何根据共和国的政治变化来调整其女性角色，并将其作为表达自己对爱尔兰企图通过诗歌可以改变政治的假设来获得权力和独立的个人信念的工具。以叶芝职业生涯的连续阶段反复出现的四幅女性形象为幌子，这项研究证明了每个人格是如何反映诗人对不断变化的政治气候的个人反应的;第一位被考虑的女性是叶芝时代提出的女神/女巫的性格浪漫时期，1889--1903。在起义和内战之前的相对和平的岁月里，叶芝将爱尔兰与美丽，自然和有礼貌的爱联系在一起。第二个女性形象是在叶芝的民族主义时期（1903--1923年）出现的战士。叶芝回应了爱尔兰发生的纷争和动荡，以更具挑战性的蛇蝎美人取代浪漫的女妖，更适合理解这个陷入困境的国家的需求。最终的诗歌意象发生在1923--1939年的现代主义/后叛乱时期。在这段时间里，叶芝面临创建双重角色的双重挑战，因为他鼓励性别平等，从而可以帮助该国摆脱战争。他的回应是组成了两个截然不同的女性形象：母亲，她提供了叛乱后所需的培育爱尔兰的母亲；有兴趣保护自己权利的独立女性。叶芝对爱尔兰政治气候变化的反应是通过他使用诗歌作为打击沙文主义的一种方式得到回应的，沙文主义允许国家和妇女都拥有代理和控制权。

著录项

  • 作者

    Dalianis, Stephanie Maria.;

  • 作者单位

    Drew University.;

  • 授予单位 Drew University.;
  • 学科 Literature Modern.;Gender Studies.;Political Science General.;Literature English.
  • 学位 Ph.D.
  • 年度 2011
  • 页码 170 p.
  • 总页数 170
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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