{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/23134"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/23134","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"The poetic self in the English ode, 1740-1820","abstract":"\"This dissertation focuses on the history of the ode from about 1740 to 1820 as represented in works of Thomas Gray, William Collins, Coleridge, Wordsworth, and Keats. With the rise of New Criticism in the 1930s, genre criticism has been neglected. The importance of the individual poem has led to ignoring the context or labeling process of poems which share a group of common characteristics in form and purpose. The English ode in particular is a much neglected genre. Yet, the so-called masterpieces of the Romantic period, Wordsworth's \"\"Intimations Ode,\"\" Coleridge's \"\"Dejection,\"\" Keats's \"\"Ode on a Grecian Urn\"\" are odes, and the Romantics, however experimental they may have been said to be, are very conscious of genre and very cautious about labeling their poems. In nine chapters I trace the poet's Self fashioning in the ode by pairing mid-eighteenth-century odes with Romantic odes. This approach diminishes the gap between two literary periods which have been considered mutually exclusive (the Age of Sensibility and the Romantic Period), and it affirms the centrality of the ode to both the poet of Sensibility and the Romantic poet without solely attributing its use to genius in the case of the latter.\"","abstract_html":""This dissertation focuses on the history of the ode from about 1740 to 1820 as represented in works of Thomas Gray, William Collins, Coleridge, Wordsworth, and Keats. With the rise of New Criticism in the 1930s, genre criticism has been neglected. The importance of the individual poem has led to ignoring the context or labeling process of poems which share a group of common characteristics in form and purpose. The English ode in particular is a much neglected genre. Yet, the so-called masterpieces of the Romantic period, Wordsworth's ""Intimations Ode,"" Coleridge's ""Dejection,"" Keats's ""Ode on a Grecian Urn"" are odes, and the Romantics, however experimental they may have been said to be, are very conscious of genre and very cautious about labeling their poems. In nine chapters I trace the poet's Self fashioning in the ode by pairing mid-eighteenth-century odes with Romantic odes. This approach diminishes the gap between two literary periods which have been considered mutually exclusive (the Age of Sensibility and the Romantic Period), and it affirms the centrality of the ode to both the poet of Sensibility and the Romantic poet without solely attributing its use to genius in the case of the latter."","abstract_has_math":false,"creators":["Van de Veire, Heide-Marie Clara Achiel"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"Ph.D.","degree_level":"Dissertation","degree_discipline":"English","degree_department":null,"school":null,"contributors":["Stillinger, Jack"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2011,"date_issued":"2011-05-07T14:03:22Z","date_published":"2011-05-07T14:03:22Z","updated_at":"2026-07-22T22:25:21Z","subjects":["Literature, English"],"languages":["eng"],"rights":["Copyright 1990 Van de Veire, Heide-Marie Clara Achiel"],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["AAI9114448","(UMI)AAI9114448"],"render_values":[{"text":"AAI9114448","href":null,"code":true},{"text":"(UMI)AAI9114448","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/23134","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Stillinger, Jack"]},{"key":"dc:creator","label":"Author","values":["Van de Veire, Heide-Marie Clara Achiel"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2011-05-07T14:03:22Z","10000-01-01","1990"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["English"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Ph.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Literature, English"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Copyright 1990 Van de Veire, Heide-Marie Clara Achiel"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["AAI9114448","(UMI)AAI9114448","http://hdl.handle.net/2142/23134"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["\"This dissertation focuses on the history of the ode from about 1740 to 1820 as represented in works of Thomas Gray, William Collins, Coleridge, Wordsworth, and Keats. With the rise of New Criticism in the 1930s, genre criticism has been neglected. The importance of the individual poem has led to ignoring the context or labeling process of poems which share a group of common characteristics in form and purpose. The English ode in particular is a much neglected genre. Yet, the so-called masterpieces of the Romantic period, Wordsworth's \"\"Intimations Ode,\"\" Coleridge's \"\"Dejection,\"\" Keats's \"\"Ode on a Grecian Urn\"\" are odes, and the Romantics, however experimental they may have been said to be, are very conscious of genre and very cautious about labeling their poems. In nine chapters I trace the poet's Self fashioning in the ode by pairing mid-eighteenth-century odes with Romantic odes. This approach diminishes the gap between two literary periods which have been considered mutually exclusive (the Age of Sensibility and the Romantic Period), and it affirms the centrality of the ode to both the poet of Sensibility and the Romantic poet without solely attributing its use to genius in the case of the latter.\"","Made available in DSpace on 2011-05-07T14:03:22Z (GMT). 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With the rise of New Criticism in the 1930s, genre criticism has been neglected. The importance of the individual poem has led to ignoring the context or labeling process of poems which share a group of common characteristics in form and purpose. The English ode in particular is a much neglected genre. Yet, the so-called masterpieces of the Romantic period, Wordsworth's \"\"Intimations Ode,\"\" Coleridge's \"\"Dejection,\"\" Keats's \"\"Ode on a Grecian Urn\"\" are odes, and the Romantics, however experimental they may have been said to be, are very conscious of genre and very cautious about labeling their poems. In nine chapters I trace the poet's Self fashioning in the ode by pairing mid-eighteenth-century odes with Romantic odes. This approach diminishes the gap between two literary periods which have been considered mutually exclusive (the Age of Sensibility and the Romantic Period), and it affirms the centrality of the ode to both the poet of Sensibility and the Romantic poet without solely attributing its use to genius in the case of the latter.\"","Made available in DSpace on 2011-05-07T14:03:22Z (GMT). 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