Procesos de construcción del sistema imaginario de Robert Lowell
Sumary:This PhD Thesis depicts, analyses, and delves into the great and powerful chord that Robert Lowells poetics represent within contemporary North American literature.
My approach to Robert Lowells imagery system starts from an initial reflection on the Tragic Sequence underlying Shakespeares poetics as analyzed by Ted Hughes in his work Shakespeare and the Goddess of Complete Being (1994). Gradually, I have delved into the romantic processes that deal with the projection of the world of privacy and intimacy into their universal sphere. Achilles feelings are no longer an outburst or overflow of anger, but rather a deep feeling of madness and alienation.
Lowells work implies a deep revision of the main cultural traditions of occidental civilization. It is a process of re-invention of the Tragic Equation as a recreation of the Iliad, developing an extremely complex imaginary sequence. The orchestras director who has been guiding my critical approach has been Herman Melville, a great challenge that led me to read in Lowell a threefold permanent tragic sequence: Shakespeare in Melville and the latter in Lowell. In short, processes that wading across psychological collapses (Construction and Deconstruction of the Hero Demens) have been translated into the modulation and transfiguration of those myths with which Robert Lowell has identified since a map of re-readings and re-writings generating the cancellation of the conventions of time. It has been a journey that has transfigured my role as literary critic into a kind of Shakespearean chorus following John Berrymans concept of confession. And here Henry V and Paradise Lost have shaped my prelude or overture, the stage where to proceed to my story, creating an imaginary space that shapes a bridge between contemporary voices and registers and classical myths as seen and expressed through Robert Lowells ventriloquial voice.
Concepts such as Poetry of Psychological Pressure as defined by M. L. Rosenthal and Tragic Existence as defined by Arthur Schopenhauer interpreting pain as a way of knowledge have been fully discussed in the light of Lowells aesthetics of pain and guilt. Progressively my analysis of the de-construction of the Hero Demens and Lowells spatial poetics developed in his Life Studies (1959) led me to the sequences of his maturity.
Regarding the analysis of his last poetic sequence, Day by Day (1977), I dealt with the methodically calculated transfiguration of the poet from Aquilles into Ulyses, displacing the centre of gravity of what we have defined as the conflicting structural axis (in Robert Lowells system of imagery) of the sublime enthusiasm (and according to literary relevance, my critical discourse as well) towards the serene reflection, plastic, circular and retrospective in cohesion with the reflective art of Jan Van Eyck and the intimate meditations of Jan Vermeer.
Advisor:Derrick Grisanti Paul Scott
School:Universitat de València
Source Type:Master's Thesis
Keywords:filologia anglesa i alemanya
Date of Publication:05/24/2003