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Cernahoschi-Condurateanu, Raluca. "The political, the urban, and the cosmopolitan : the 1970s generation in Romanian-German poetry." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/28009.
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This study is an introduction to the body of work produced by the German poets who were born during or after World War II in Romania and whose almost simultaneous debut lies in the relatively liberal period 1965 – 1971. Helped onto the Romanian-German literary scene by a propitious environment and informed by the socialist ideology they were born “into,” the poets born between 1942 and 1955 formed a remarkable generation unit which sought to significantly renew German-language literature in Romania. Rejecting identification with the insulary Romanian-German communities, the young poets strove to create a socially and politically relevant verse expressing an urban and cosmopolitan attitude. The growing nationalist rhetoric and isolationist stance of Romania's regime and the material and psychological hardships endured by its population through the 1970s and 80s forced the generation to revise its incipient enthusiasm for Romanian socialism. Increasingly, the poets' work came to depict the threatened existence of the German minority and the harsh general living conditions in Romania and to provide an alternative to the absurd official proclamations of a “golden age” under Ceauşescu, despite the poetry's growing reliance on obscuring literary techniques. The emigration of most of the generation members in the mid to late 1980s brought about the eventual unravelling of the generation unit and marks the end of my study.
By following the evolution of three themes – social and political engagement, the German minority, and the urban environment – which define the poets as a generation throughout their literary careers in Romania, the analysis illuminates not only the generation's development from identification with Romanian socialism and rejection of the German minority to criticism of the country's policies and a renewed interest in the fate of the German community but also the changing possibilities and limits of literary expression under communism. In addition to providing an introduction to the body of work created by the 1970s generation in Romania, the study also expands the understanding of German literature in the 20th century by providing new material on literature written under totalitarianism and of intercultural German literature.
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Liu, Weicheng. "Sha qiu zhi lü : qi shi zhi jiu shi nian dai Xianggang xin shi zhong de si wang biao shu = Travel to the dunes : an exploration of the representation of death in modern Hong Kong poetry from the 1970s to the 1990s /." click here to view the abstract and table of contents, 2003. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b17626559a.pdf.
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Head, Adrian. "The resurgence of myth in the 1970s in the poetry of Ted Hughes and R.S. Thomas : a Jungian perspective." Thesis, University of Sheffield, 1994. http://etheses.whiterose.ac.uk/14823/.
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This thesis attempts to introduce Jungian concepts to the study of poetry through a critical examination of the poetry written in the 1970s by Ted Hughes and R.S.Thomas. My Introduction examines two contrasting approaches to literature, the mythical and the historical, defines myth, and introduces aspects of a Jungian approach to literature, including the many-angled approach and analogy. Chapter One explains the Jungian concepts of the Archetype and the Collective Unconscious in a discussion of Crow, and also explores the mythological material relevant to the poems of Crow. Chapter Two deals with the Jungian idea of Compensation, and brings this, as well as the idea of the archetype and the collective unconscious, to bear on the mythological material relevant to Gaudete. Chapter Three introduces Jung's Individuation process and discusses the mythological sources of Cave Birds, in particular Ancient Egyptian myth and Alchemy. At the end of the chapter there is a brief discussion of Jung and Hughes, acting as a sort of conclusion to my discussions of Hughes. Chapter Four uses the philosophy of Kierkegaard to explore the 1970s poetry of R.S.Thomas within a Jungian framework which includes ideas of the archetype, the collective unconscious, compensation and individuation. Jung's idea of Psychological Types is also briefly explored in this chapter. Chapter Five finds in Gnostic literature clear parallels with R.S.Thomas' poetry, and, using the Jungian concepts already mentioned, goes on to suggest that R.S.Thomas attempts to modify Christianity in accordance with the beliefs of the Gnostics. My Conclusion finds that many of the authorities quoted in this thesis call for a reorientation of society along the lines of the mythologies discussed in earlier chapters, and goes on to suggest that there is an unexplored unconscious history of the West.
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Calixto, Fabiano Antonio. "Um poeta não se faz com versos: tensões poéticas na obra de Torquato Neto." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-12122012-101411/.
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Nesta dissertação de mestrado, procuro ler a obra de Torquato Neto através das tensões poéticas e políticas que a mesma engendra. Sua obra é construída num momento importante e ao mesmo tempo problemático da história brasileira, onde, entre outros aspectos, dá-se o processo de autonomia do campo literário (e cultural) brasileiro e, no campo político e social, vive-se uma ditadura militar. Ambas as circunstâncias compõem o turbulento painel criativo torquatiano. Do construtivismo anárquico, passando pelas dicotomias em jogo (vida/arte, política/poética, expressão/construção, matéria/material) e os deslocamentos e a instabilidade enunciativa, à resistência como forma máxima de expressão.In this dissertation, I try to read the writings of Torquato Neto through the poetic and political tensions that it engenders. His work was built during an important yet problematic moment of Brazilian history, when occurred, among other factors, the process of autonomy of Brazilian literary (and cultural) field, and in the political and social fields people were living under a military dictatorship. Both conditions are responsible for the composition of the artists turbulent and creative panel. From the anarchic constructivism, through the dichotomies at stake (life/art, politics/poetics, expression/construction, substance/materiality), displacement and enunciative instability, to the maximum resistance as a form of expression.
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Anderson, Crystal Lee. "The Coagulate, and, 'Not simply a case' : Frank Bidart's post-confessional framing of mental illness, typography, the dramatic monologue and feint in 'Herbert White' and 'Ellen West'." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/the-coagulateandnot-simply-a-case-frank-bidarts-postconfessional-framing-of-mental-illness-typography-the-dramatic-monologue-and-feint-in-herbert-white-and-ellen-west(2408f29d-e56f-46fe-8301-0f10a463f901).html.
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This doctoral thesis involves two components, a book length collection of poems and a critical study of ‘Herbert White’ and ‘Ellen West’ by Frank Bidart. The collection of poems, The Coagulate, consists of four parts: 1) Semi-personal poems focusing on nature both in a general sense and in specific reference to the natural British landscape. 2) Poems that explore the nature-based myths and contemporary social idiosyncrasies of Japan.3) Poems that explore the social perception of mental illness and the individual voices that exist in spite psychological classification.4) Poems by an alter-ego and pseudonym named Lee Cole, a completely foreign perspective to my own. These poems were written with the intent to adhere to Frank Bidart’s concept of Herbert White as ‘all that I was not.’ However, unlike Bidart, these poems attempt to remove the presence of the poet and forgo the use of a feint. The collection is organised with contexture in mind rather than chronology. Poems build upon one another and one section flows into the next causing the book to have a fluid quality. The critical component examines Bidart’s treatment of two mentally ill characters in respect to the establishment of the form, style, and voice that would become a hallmark of his poetry. Chapter 1 looks at the first poem of Bidart’s first book, ‘Herbert White.’ This chapter examines how Bidart’s unique use of typography, voice, Freudian theory, and the sharing of the poet’s history contributed to the crafting of a mentally ill character and the contexture of Golden State. It suggests that the inclusion of the poet, a stable presence in comparison to White, allows the reader to recognise certain universal human personality traits in a character that seems inhuman. Chapter 2 examines how Bidart crafted ‘Ellen West,’ a character just as unlike Bidart as ‘Herbert White.’ Central to this analysis is the examination of how to construct a character struggling with identity. It also examines the use of dramatic monologues and how ‘Ellen West’ fits into a form with a flexible definition. As with Chapter 1, Chapter 2 examines how Bidart uses the poet’s self to add to a fictional narrative and how that reflects upon his personal poetry, indicating that Bidart’s use of the self is a redirection from how the Confessional poets used first-person.
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Provase, Lucius. "Lastro, rastro e historicidades distorcidas: uma leitura dos anos 70 a partir de Galáxias." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-16082016-150905/.
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Neste trabalho proponho uma relação entre literatura e história a partir do conceito de historicidades distorcidas. Partindo da obra galáxias, de Haroldo de Campos, volto-me aos anos 70 para pensar uma historicidade que consiga levar em contas as múltiplas historicidades em jogo, muitas vezes entrecruzando-se, sem que se caia no relativismo ou em uma nova tentativa de construir narrativas. Para tanto, sob o conceito de historicidades distorcidas, mostro que o regime de historicidade de um poema é relacional, ou seja, só existe em relação a um outro regime de historicidade, seja ele do leitor, de outro poema ou de ambos. Essa maneira de pensar a relação entre literatura e história passa a ser a mais funcional, assim defendo, pois vimos experimentando o que chamo de perda de lastro discursivo: um aumento da distância, temporal e espacial, entre o espaço de experiência e o horizonte de expectativa (Koselleck, 2006), que leva a uma diminuição daquilo que compartilhamos como mínimo múltiplo comum discursivo: o contexto, a fraseologia, o que é ou não ideológico, o que é ou não cinismo. Nessa combinação entre uma concepção dos regimes de historicidade vistos de forma relacional, as historicidades distorcidas, e a diminuição daquilo que compartilhamos em nosso espaço público discursivo, a perda do lastro discursivo, termino propondo, no último capítulo, uma prática historiográfica, terminando em uma possível ontologia variável do poema.In this thesis, I propose a relationship between literature and history from the concept of distorted historicities. Departing the work galaxies, by Haroldo de Campos, I turn to the 70s to think such a historicity that can take on multiple historicities accounts, often crisscrossing up without it falling into relativism or into a new attempt to build big narratives. To this end, under the concept of distorted historicities, I show that the historicitys regime of a poem is relational, which means that it exists only in relation to one another historicitys regime, whether the reader, another poem or both. That way of thinking about the relationship between literature and history becomes the most functional as well, I argue, as we are experiencing what I call the loss of discursive ballast: an increase of the distance, both in time and space, between the space of experience and the horizon expectation (Koselleck, 2006), which leads to a decrease of what we share as our discursive least common multiple: the context, the phraseology, what is or is not ideological, what is or is not cynicism. This combination of a conception of historicity schemes seen relationally, what I call distorted historicity, and the reduction of what we share in our discursive public space, the loss of discursive ballast, I end offering, in the last chapter, a historiographical practice, ending in a possible variable ontology of the poem.
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Muñoz, Tracy Manning. "Peripheral visions Spanish women's poetry of the 1980s and 1990s /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149000160.
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Muñoz, Tracy Manning. "Peripheral Visions: Spanish Women's Poetry of the 1980s and 1990s." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1149000160.
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劉偉成. "沙丘之旅 : 七十至九十年代香港新詩中的死亡表述 = Travel to the dunes : an exploration of the representation of death in modern Hong Kong poetry from the 1970s to the 1990s." HKBU Institutional Repository, 2003. http://repository.hkbu.edu.hk/etd_ra/481.
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Gillis, Alan A. "Irish poetry of the 1930s /." Oxford (GB) : Oxford university press, 2005. http://catalogue.bnf.fr/ark:/12148/cb399230605.
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Au, Chung-to, and 區仲桃. "Shifting ground: modernist aesthetics in Taiwanese poetry since the 1950s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2554939X.
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Gillis, A. A. "Awakening constellations : history in Irish poetry of the 1930s." Thesis, Queen's University Belfast, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390887.
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Gardner, Calum. "Roland Barthes and English-language avant-garde poetry, 1970-1990." Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/94082/.
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This thesis looks at the engagement of English-language poets with the writing of Roland Barthes, and considers how a reading of Barthes may help understanding of a range of challenging experimental work. The introduction to the thesis lays a groundwork of how Barthes has been read in English since the first widely available translations of his work appeared in the 1960s, and thus establishes the intellectual context in which poets have written since. Beginning in the first chapter with Veronica Forrest-Thomson, the first of these poets to have looked at Barthes in detail, it looks both at poetry and of poets’ writings in the fields of criticism and poetics. From Forrest-Thomson the thesis moves in the second chapter to North America and considers the place of Barthes, particularly his Writing Degree Zero, in the intellectual context out of which emerged what has come to be known as ‘language writing’, combining a survey of this writing with close readings of the work of Ron Silliman, Ray DiPalma, Lyn Hejinian, Bernadette Mayer, and others. In the third chapter, the investigation of this diffuse tendency in poetry is followed through various strands, focussing in particular on periodicals and archival material. Finally, the fourth chapter looks at Anne Carson, Deborah Levy, and Kristjana Gunnars, and considers Barthes’ relevance to their texts’ thinking about writing. The intersection of theory and the emotional life is explored using the theoretical lens of Chris Kraus’ experimental fiction, particularly her notion of a ‘lonely girl phenomenology’. Barthes has had a diverse range of effects on poets’ thinking about writing and their writing practices, and our understanding of Barthes as a writer, what we mean by the ‘Barthesian’, and individual notions of his such as the ‘death of the author’ and his work on the possibilities of the fragment, have changed over time. The thesis considers the potential of Barthes’ writing to help us think about literature and its future utility for poetry studies.
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Harter, Odile. "In Others' Words: Poetry, Quotation, and the Great Depression." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10629.
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Quotation, the placing of found material into a new context, always involves transforming that material. The modernist poets who first incorporated extensive quotation into poetry prioritized hierarchy, aesthetic excellence, and formal license, values that encourage us to measure a poet’s genius by the audacity with which he transforms found material. This conception of poetry as masterful arrangement proved inadequate, however, in the wake of the Great Depression, as Marxist politics, a trend toward collectivism, and a vogue for documentary forms inflected the words of others with ethical status and social significance. In Others’ Words traces the effect of the Great Depression on the quoting practice of six poets, each of whom seeks to quote in a way that sufficiently honors other voices and other experiences, selecting material for its authenticity of experience as much as for its linguistic aptness. Ezra Pound imagines a “common sepulcher” of evidence and alternates between lyric and documentary expressions of the same ideas to represent the growing conflict between his early theorizations of his quotation method and his changing sense of his quotations’ purpose. In Marianne Moore’s poems, collective, error-prone speech and a plural speaking voice denote a transition, in her career, from a poetics based on exceptional discernment to a poetics based on participation and social connection. William Carlos Williams’s most important work with quotation, not published until the 1940s, developed out of his struggle throughout the 1930s to reconcile his commitment to rendering the “American idiom” with his growing doubts about his own ability to fully comprehend others’ experience. Finally, Charles Reznikoff, Muriel Rukeyser, and Louis Zukofsky each embarks, during the 1930s, on a documentary project that emphasizes the limitations of a poet’s power to shape the meaning of his or her poem.
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Retief, Petronella. "Die konstruksie van die vroulike subjek in die oeuvres van enkele Afrikaanse vrouedigters sedert 1970 /." Link to the online version, 2005. http://hdl.handle.net/10019.1/1282.
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Jenner, Simon. "Oxford poets of the 1940s." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243010.
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Mellor, Michael Alexander Tudor. "Ethnopoetics : ba Dialogue between poetry and Anthropology in the 1970's." Thesis, King's College London (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498089.
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Ruutu, Hanna. "Patterns of transcendence : classical myth in Marina Tsvetaeva's poetry of the 1920s /." Helsinki : Dep. of Slavonic and Baltic Languages and Literatures, 2006. http://www.loc.gov/catdir/toc/fy0803/2007465568.html.
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Smith, Aaron Mitchell. "Clothes for Clio? : form and history in the 1930s poetry of Robert Graves, Louis MacNeice and W. H. Auden." Thesis, Queen's University Belfast, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.677277.
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Nuernberger, Renan. "Inquietudo: uma poética possível no Brasil dos anos 1970." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-04022015-111548/.
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O presente trabalho propõe uma leitura de certa poesia brasileira produzida na década de 1970 em suas relações, explícitas e implícitas, com a reflexão teórica e a criação textual dos poetas concretos oriundos da década de 1950. Para tanto, optou-se por uma pesquisa panorâmica, atenta aos documentos de época e às mudanças gradativas na postura dos próprios poetas concretos durante as décadas de 1960 e 1970, que iluminasse os modos de incorporação ou refutação dos pressupostos concretistas no quadro geral daquele período. Além disso, o estudo abordou a obra, dispersa em revistas, antologias e edições não-comerciais, dos jovens poetas que se autointitulavam como herdeiros da poesia concreta, sobretudo Paulo Leminski, ainda que, como contraponto necessário, tenha se detido em algumas considerações sobre a chamada poesia marginal.The following study offers an interpretation of a specific phase in the Brazilian poetry of the 1970s, taking into account the relations, both implicit and overt, that can be established between it and the theoretical and textual creations of the Concrete poets of the 1950s. In order to do so, a broad range was chosen for this research, in which documents from the period as well as the gradual changes in the Concrete poets stances during the decades of 1960 and 1970 were noted, as a means of clarifying the forms of incorporation or denial of the Concretes general assumptions at that time. Moreover, this study paid attention to the works scattered in magazines and non-commercial anthologies and editions of the young poets who were self-proclaimed inheritors of Concrete poetry, more specifically, Paulo Leminski, although some considerations were made concerning the socalled poesia marginal.
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Lindqvist, Ursula Anna Linnea. "The politics of form : imagination and ideology in 1930s transnational exhibitions and socially engaged poetry /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3190531.
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Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 295-305). Also available for download via the World Wide Web; free to University of Oregon users.
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Arsenijevic, Damir. "The politics of poetry in Bosnia and Herzegovina : re-assessing tradition since the late 1980s." Thesis, De Montfort University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438867.
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Kaze, Douglas Eric. "The environmental imagination in Arthur Nortje’s poetry." Thesis, Rhodes University, 2018. http://hdl.handle.net/10962/58024.
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This thesis seeks to contribute to the conversations in the humanities about the treatment of the physical environment in the context of a global ecological fragility and increased scholarly interest in the poetry of Arthur Nortje, a South African poet who wrote in the 1960s. While previous studies on Nortje concentrate on the political, psychic and technical aspects of his poetry, this study particularly explores the representations of the environment in Nortj e’s poetic imagination. Writing in the dark period of apartheid in South Africa’s history, Nortje’s poetry articulates a strong interest in the physical environment against the backdrop of official racialization of space and his personal nomadic life and exile. The poetry abounds with constant intersections of nature and culture (industrialism, urbanity and the quotidian), a sense of place and a deep sense of dislocation. The poems, therefore, present a platform from which to reevaluate conventional ecocritical ideas about nature, place-attachment and environmental consciousness. Drawing mainly on Felix Guattari’s ideas of three ecologies and transversality along with other theories, I conduct the study through what I call a transversal postcolonial environmental criticism, which considers the ecological value of the kind of assemblages that Nortje’s works represent. The first chapter focuses on conceptualizing a postcolonial approach to the environment based on Guattari’s concept of transversality to lay the theoretical foundation for the whole work. The second chapter analyses Nortje’s poetic imagination of place and displacement through his treatment of the private-public tension and the motif of exile. While the third chapter examines Nortje’s depiction of nature as both an everyday and urban phenomenon, the fourth chapter turns to his direct treatment of environmental crises handled through his imagination of the Canadian urban spaces, exile memory of apartheid geography, war and ecocide and the human body as a subject of environmental degradation. The fifth chapter, which is the conclusion, takes a brief look at the implication of Nortje’s complex treatment of the environment on postcolonial environmentalism.
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Wigginton, C. J. "Modernism from the margins : a study of the 1930s poetry of Dylan Thomas and Louis MacNeice." Thesis, Swansea University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.636596.
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Following recent work that problematizes the notion of Modernism as a monolithic phenomenon, this thesis explores and historicizes the response to High Modernism in the 1930s poetry of Louis MacNeice and Dylan Thomas. The attitude to MacNeice as simply a member of the 'Auden Generation' has been challenged by Edna Longley and Peter McDonald, who chart the counter-influence of Yeats. However, in their attempt to assimilate MacNeice into a Northern Irish canon his relationship to Modernism has been ignored. The thesis argues that while MacNeice, like Eliot, Yeats and Pound, has a classicizing impulse, he harnesses it to a discursive democratiziation of Modernism as opposed to constructing a myth-reliant metanarrative. Making explicit the contradictions of Modernist aesthetics by refusing such overarching structures, MacNeice concentrates on weaving specific and contemporary political and personal histories into the fabric of his work. While established critics of Thomas, such as Ralph Maud, Walford Davies and James A. Davies, have done much to further a balanced appreciation of the poetry, many readings are inclined to valorize or dismiss his work as that of a regional Romantic. What criticism of Thomas has neglected is the way in which he reacts to, and engages with, his Modernist precursors. Within a historicizing framework, it is argued here that Thomas's poetry, like MacNeice's, stands in contradistinction to the self-transcendent gestures of High Modernism. Deploying theories of subject formation and sexuality, it is suggested that Thomas does so by forging a poetics of the body which internalizes an equally valid Modernism based on necessarily regional responses to certain personal and political crises. In exploring the nature of their differences as poets following on from - and responding to - High Modernism, this thesis argues that their work may be read complementarily, MacNeice exploding and Thomas imploding the Modernist inheritance. Availing themselves of Yeats's refurbishment of 'well-made' form, both poets use regional and marginal affiliations which subvert metropolitan, classicizing norms.
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Mayk-Hai, Liati. "Towards a Poetics of I/Eye-Witness| Documentary Expression and Jewish American Poetry of the 1930s." Thesis, The Jewish Theological Seminary of America, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3738079.
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This dissertation, “Towards a Poetics of I/Eye-Witness: Documentary Expression and Jewish American Poetry of the 1930s,” explores the ways in which a lens of witnessing can shed light on the ethical and aesthetic concerns embedded in the work of three Jewish-American poets. The study begins with the English writing and verse of Charles Reznikoff (1894-1976) and Muriel Rukeyser (1913-1980), and continues to the Yiddish poetry of Berish Weinstein (1905-1967). It situates their poetry and ancillary writings from the early thirties within the culture of documentary expression that permeated artistic creation, social action and public discourse throughout the Depression era. By focusing on poetry that deals with human catastrophe, including historical and contemporary contexts of racial injustice, Jewish persecution, personal loss and animal slaughter, my analysis weighs the burden of representation on personal and universal levels. Transcending the visual and moral divide between the “eye” and the “I,” the poets in this study use verse to document the memories, experiences, histories and testimonies of Others; in doing so, they uphold their own ethical ideals of reparation, truth and justice. In the prologue, I set the stage for the dissertation by examining the link between lynching photography and Jewish poetry embodied by the famous Jazz song “Strange Fruit.” The introduction presents the theoretical framework and historical background central to the literary analysis of the dissertation. I offer an overview of the Great Depression and the American documentary scene and demonstrate how the visual and ethical ideas of “documentary” and “witness” have been utilized in various contexts. Chapter One builds a case for a Jewish poetics of I/eye-witness in the work of Objectivist poet Charles Reznikoff. I trace the intersections of documentary form, historical consciousness, personal rectitude and justice through a selection of poetic texts and archival materials, including two long works published by The Objectivist Press in 1934, Testimony and In Memoriam: 1933. Chapter Two reflects on the emerging sense of poetic witness in Muriel Rukeyser’s early poetry and documentary writing. I locate her ideas about responsibility, utility and truth in her Jewish upbringing and education at the Ethical Culture-Fieldston School. I then offer a comparative reading of the three genres Rukeyser utilized to represent her experiences as a witness to the second Scottsboro Trial: diary entry, reportage and poetry. Chapter Three contributes new translations and an in-depth analysis of a selection of Yiddish poems from Berish Weinstein’s first published collection, Brukhvarg (1936). I focus on Weinstein’s representation of the slaughterhouse as the symbolic locus of modern suffering, and the relevance of such a trope for the historical barbarism against African Americans, as well as Jews.
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Scanlan, Patricia Hope. "English surrealism in the 1930s, with special reference to the little magazines and small presses of the period." Thesis, Royal Holloway, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368111.
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Jenike, Lesley Marie. "Ghost of Fashion." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212075272.
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Taylor, Helen Louise. "Adrian Henri and the Merseybeat movement : performance, poetry, and public in the Liverpool scene in the 1960s." Thesis, Royal Holloway, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.590669.
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The thesis focuses on the Merseybeat movement and its manifestations in Liverpool in the 19605, with particular emphasis on the work of Adrian Henri. The Merseybeat movement - centred upon Adrian Henri, Roger McGough, and Brian Patten - was a site-specific confluence of the alternative avant-garde and the British populist tradition of art, and deserves exploration as both a literary and a cultural phenomenon. The thesis argues that the dismissal of Merseybeat as 'pop poetry' has come from using the wrong critical tools: it is better viewed as a 'total art' movement, encompassing not only poetry but also visual art, music, comedy, happenings, and other forms of artistic expression. The thesis is primarily concerned with the performative and collaborative aspects of Merseybeat. As well as considering this particular movement in terms of oral performance and audience communication, this research also contributes to our understanding of the dissemination of this poetry - particularly how its audiences experienced live poetry alongside other artforms and media. I have used the term 'crossmedia' to refer to the way in which a piece can blend media and to explore how a piece can be performed in different ways to suit different occasions, appropriating elements from various artforms to create a unique performance instance. The thesis has been divided into five chapters in order to consider, first, the movement's origins (in the city of Liverpool) and suggested antecedents (in the American Beat scene), and second, its three most important facets: live readings, performances with music, and visual art practices. The work draws on literary geography, performance studies, and visual art theories, and I have also undertaken much new archival research and interviews with both performers and audience members in order to present a 'thick description' of not only the events but also the context in which they arose.
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Afrax, Maxamed Daahir. "Between continuity and innovation : transitional nature of post-independence Somali poetry and drama, 1960s to the present." Thesis, SOAS, University of London, 2013. http://eprints.soas.ac.uk/18432/.
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This study explores the transitional nature of post-independence Somali poetry and drama. It examines this in the context of the historical, political and social changes that have taken place in Somalia in the period leading up to and following independence in 1960. This is viewed as a period of transition from a traditional way of life to a modern one and from pre-colonial and colonial systems to an unsuccessful nation-state building. The purpose of the study is to examine the salient features of post-independence Somali poetry and drama with a view to determine whether these features display evidence that these two forms are both in a state of transition. To achieve this goal extensive research, collecting data and analysing it, was undertaken. This study, which explores a subject that has never been studied before, draws on original sources of Somali poetry and drama. Different research methods were applied, including examination of source texts, interviews, archival research and conversations with people involved in the field. This led to the conclusion that post-independence Somali poetry and drama, both of which are the product and expression of a historical period of transition, appear to be in a transitional state. The term 'transitional' is used in the sense that the poetry and drama in question are in a passage between traditional and modern ways of cultural expression, between orality and writing and between conformity to tradition and responding to the pressures and influences of a changing, modern life. By exploring, for the first time, the significant changes in post-independence Somali poetry, which gave it the stated transitional character, this thesis makes an original contribution to the study of Somali literature. Another original contribution emerges from the uncovering of the nature of Somali drama as an art form in transition. Highlighting the links which the stated literary developments have with the unprecedented, political, social and economic changes and crisis that have taken place in post-independence Somalia, may help towards better understanding of Somali realities and the root causes of the current Somali predicament.
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Retief, Petronella (Ronel). "Die konstruksie van die vroulike subjek in die oeuvres van enkele Afrikaanse vrouedigters sedert 1970." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/1282.
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Thesis (DLitt (Afrikaans and Dutch))--University of Stellenbosch, 2005.ENGLISH ABSTRACT: The construction of the female subject in the poetry of Afrikaans women poets since 1970 is examined with reference to the oeuvres of Sheila Cussons, Ina Rousseau, Wilma Stockenström and Antjie Krog. The work of three French feminists, namely Julia Kristeva, Hélène Cixous and Luce Irigaray, is selected as the theoretical framework, because of, amongst other reasons, their attention to the structuring role which language plays in the construction of subjectivity. In terms of defining the scope more precisely, there is a specific focus on the role of the mother-daughter relationship, as reflected in the work of these three women. This focus examines not only biological mother-daughter relationships, but also the stance which women adopt regarding the “place of the mother”, as well as the way in which the relationship with the mother’s body emerges in the writing of women. The question is posed whether there is indeed a clearly identifiable feminine subject in the oevres of the four Afrikaans women discussed and, if so, whether this feminine subject is potentially capable of destabilising or even subverting the prevailing patriarchal order.
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Harris, Christopher. "The function of Andrew Lang and other minor poets of the 1970's and 1880's in the appropriation of pre-classical french poetry by the English literary canon." Thesis, University of Essex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499818.
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Ten, Hacken Hilde. "Self-definition through poetry in the work of Gloria Fuertes and Pilar Paz Pasamar in the period 1950-1970." Thesis, St Andrews, 2007. http://hdl.handle.net/10023/421.
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Nakayama, Shintarô. "La figure du sujet lyrique dans la poésie contemporaine : Jacques Dupin, Philippe Jaccottet et Jacques Réda." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2023.
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Notre étude s’attache à cerner les figures du sujet lyrique dans la poésie de Jacques Dupin (1927- 2012), Philippe Jaccottet (1924- ) et Jacques Réda (1928- ), trois écrivains majeurs de l’après-guerre dont le travail poétique a contribué à l’évolution de la poésie lyrique contemporaine. Sans pour autant négliger l’œuvre antérieure et postérieure de ces poètes, notre étude se concentrera principalement sur les ouvrages des années 1960 et 1970. A cette période, en effet, la poésie lyrique s’est trouvée prise dans une situation critique sans précédent du fait l’avènement du structuralisme et du « textualisme » proclamé par l’avant-garde. En réaction au textualisme des années 1960 et 1970, Dupin, Jaccottet et Réda poursuivent une quête opiniâtre du lyrisme. Notre étude n’a pour but ni d’élaborer des critères globaux et universels afin de définir les caractéristiques universelles de la « poésie lyrique » en tant que genre littéraire, ni d’élaborer une réflexion philosophique sur le Sujet ou l’En-soi. A travers l’analyse des figures de sujet lyrique, nous étudierons les caractéristiques de chacun de nos poètes, ainsi que les modes de la poésie lyrique au cours de cette période malaisée. La notion de « sujet lyrique » nous servira de paramètre en vue d’éclairer la singularité et l’historicité des poèmes, voire de la poétique propre à chaque écrivain. Traditionnellement, la poésie lyrique est souvent associée à l’emphase ou au sentimentalisme. La poésie de Dupin, Jaccottet et Réda s’acharnent à se dégager de l’embrasse du lyrisme traditionnel encombré d’égocentrisme. La poésie lyrique n’est plus un genre qui exprime les sentiments et la subjectivité du poète. Nos poètes sont à la recherche d’une nouvelle forme de poésie lyrique, qui convienne à leur époque. L’impersonnalité, que nous trouvons souvent dans leur poétique, s’associe à la production d’une nouvelle modalité de la subjectivité, éloignée de la métaphysique de la subjectivité. Le refus d’une certaine forme de subjectivité coexiste avec la recherche d’une parole singulière, ainsi que d’une nouvelle figure de sujet lyriqueOur study aims to examine the figures of the lyric subject in the poetry of Jacques Dupin (1927- 2012), Philippe Jaccottet (1924-) and Jacques Réda (1928-), three major poet of the postwar whose poetic work contributed to the evolution of contemporary lyric poetry.Without neglecting the anterior and posterior work of these poets, our study will focus mainly on the works of the 1960s and 1970s. At that time, in fact, the lyric was taken in a critical situation without precedent because of the advent of the structuralism and the “textualism” proclaimed by the avant-garde. In response to textualism of 1960s and 1970s, Dupin, Jaccottet and Réda continue an obstinate search of lyricism.Our study doesn’t aim to develop global and universal criteria to define the universal characteristics of "lyric poetry" as a literary genre, nor to develop a philosophical reflection on the subject or the En-soi. Through the analysis of the figures of lyric subject, we will study the characteristics of each of our poets, as well as patterns of lyric poetry during the difficult period. The notion of "lyric subject" will serve as a parameter in order to clarify the singularity and the historical nature of the poems, and those of the poetic peculiar to each writer.Traditionally, lyric poetry is often associated with the emphasis or sentimentality. The poetry of Dupin, Jaccottet and Reda struggle to free themselves from the traditional lyricism based on the egocentricity. Lyric poetry is no more a genre that expresses the feelings and subjectivity of the poet. Our poets are looking for a new form of lyrical poetry, which is suitable for the times. The impersonality, we often find in their poetic, is associated with the production of a new form of subjectivity, far from the metaphysics of subjectivity. The refusal of some form of subjectivity coexists with the search for a singular word and the new figure of lyric subject
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Alves, Ana Cristina Tannús. "Em busca do discurso poético de Aristides Klafke : marginália e contracultura /." São José do Rio Preto : [s.n.], 2007. http://hdl.handle.net/11449/94168.
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Orientador: Susanna BusatoBanca: Aguinaldo José Gonçalves
Banca: Betina Bischof
Resumo: Nesta dissertação, a proposta de trabalho centra-se no estudo da poesia brasileira contemporânea, com ênfase para a vanguarda de 1970 (Poesia Marginal) na qual se observa o programa estético de dessacralização do discurso literário, de repúdio às formas de enunciação consagradas pelo sistema, considerando-se, também, que boa parte dessa produção poética ainda não foi devidamente avaliada. Assim, pretende-se estudar a dicção poética de Aristides Klafke, visando à identificação de sua escrita em um cenário políticocultural de ditadura, com ressonância ainda hoje. A hipótese de investigação está no fato de que a escrita marginal desconstruiria o discurso poético hegemônico, seja pela instância da reprodução artesanal, seja pela da configuração estética. Portanto, trata-se de proporcionar a esse polêmico fenômeno literário uma leitura diversa àquela propagada por alguns críticos ao avaliarem sua existência devido à circunstância de silêncio político, enfatizando a atitude simbólica de contestação em detrimento de seu conteúdo poético. Os argumentos dos estudiosos convergem para o nível de qualidade poética, caracterizando o movimento da Poesia Marginal como uma escrita "de" e "da" circunstância. Para tanto, propõe-se rever o rótulo "marginal" a partir do sinônimo maldito confrontando os discursos de teóricos e produtores, em procedimento comparativo e dedutivo, observando afinidades ou divergências no trato desta questão para fundamentar análise e interpretação da poesia de Aristides Klafke. Isso, além de recorrer aos estudos mais representativos da Historiografia e Crítica Literária brasileiras contemporâneas que fundamentam a teoria de poesia. Assim, pretende-se realizar uma leitura da escrita marginal no que tange ao reconhecimento das individualidades poéticas, neste caso, Aristides Klafke. Os poemas... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: In this study, the proposal of this work is centered in the contemporary Brazilian poetry study, emphasizing the Vanguard of 1970 (Marginal Poetry) in which is observed a radical rupture with the traditional literary discourse, and marked for a refusal to the enunciation forms instituted by the system, considering that great part of this poetic production was not still well analyzed. So, this work aims at studying the poetic diction of Aristides Klafke, with the objective to identify his writing in politic and cultural scenery of dictatorship, with resonance still today. A hypothesis of investigation is in the fact that the marginal writing would deconstruct the hegemonic poetical discourse either for the instance of the non conventional reproduction, either for the aesthetic configuration. Therefore, this work deals with this polemic literary subject giving to this a different reading from that diffused by some critics when evaluating its existence connected with the circumstance politic silence, emphasizing the symbolic protest attitude in favor of its poetical content. The criticss arguments converge to the level of poetical quality characterizing the movement of Marginal Poetry as a writing "of" and "the" circumstance. For in such a way, we consider to review the label "marginal" from its synonymous "cursed", collating the speeches of theoreticians and producers, in a comparative and deductive procedure, observing affinities or divergences referring to this question to justify the analysis and interpretation of the poetry of Aristides Klafke. This, besides appealing to the most representative studies of the Historiography and contemporaries Literary Brazilian Critical who base the poetry theory. So, its intended realize a reading of marginal writing referring to the recognition of the poetical individualities, in this case, Aristides Klafke. The poems for analysis... (Complete abstract click electronic access below)
Mestre
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CARTER, STEVEN MICHAEL. "EPISTEMOLOGICAL MODELS SHARED BY AMERICAN PROJECTIVIST POETRY AND QUANTUM PHYSICS." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/187927.
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The American Projectivist verse of Jack Spicer, Charles Olson, and Robert Duncan contains within its poetics many epistemological assumptions shared by quantum physics. These assumptions exist in three broad categories: perception, process, and wholeness. In physics, the epistemology of perception has been profoundly altered by the Heisenberg Uncertainty Relation, which creates a symbiotic relationship between the observer and the observed. At least one photon of light is necessary to observe an electron; one photon is sufficient to alter the electron's momentum or position; therefore, a physicist affects an electron's "fate" in the act of observing it. Similarly, in Projectivist poetics, the perceptions of the reader are often enlisted to help "compose" the poem which is offered to him in "pieces," or, as in Robert Duncan's poetry especially, in self-reflexive segments. By "self-reflexive," we further mean that the Projectivist poem often "mirrors itself" as an electron "mirrors itself" as wave or as particle, while it is paradoxically both. A Projectivist poem may pause halfway through and "unravel" itself, i.e., study its own etymology. The reader thus must participate in "putting the poem back together," as the physicist participates in the phenomena he observes. The second epistemological model in physics and poetry stresses becoming, rather than being. Matter at the subatomic level has been defined as energy-in-flux. Similarly, the Projectivist poems of Charles Olson especially often exist as "fields" with no syntactical beginnings or endings. Moreover, the "I" of the Maximus Poems is often seen in a perpetual process of becoming the world of spacetime in the poems, creating a system similar to the being-and-becoming model of particle-and-field in quantum mechanics. Third, wholeness is a premise governing poetry and physics separately and together. Jack Spicer's thematics blend matter and consciousness, as "love and death matter/Matter as wave and particle." Similarly, Robert Duncan's poetics describes a "dancing organization between personal and cosmic identity." In physics, wholeness is seen primarily in an "implicate order" which attempts to overturn the old paradigms of fragmentation and connect matter and consciousness, including language, as interrelated systems of information.
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McCann, Benjamin Edward. "Set design, spatial configurations and the architectonics of 1930s French poetic realist cinema." Thesis, University of Bristol, 2002. http://hdl.handle.net/1983/c99b13b0-9aca-425b-ba16-4ce97d9c643f.
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The aim of this study is to demonstrate that 1930s French poetic realist cinema is characterised by a highly readable set design. It is a decor imbued with meaning - not a silent shell, standing detached from the action but rather the amplifier of narrative concerns. The thesis develops the claim that the decor is freighted with a powerful dramaturgical and symbolic charge, whereby the figural dimensions of everyday decor fragments anthropomorphise into powerful signifying elements. Stylised studio-bound spatial configurations define the film's visual ambience, enhance its emotional dimensions and function as amplifier of the story. In order to identify the importance of decor as an interpretative matrix of poetic realism, I shall show how poetic realist decor is the confluence of orthodox architectural practice, personal temperament and an appeal to popular memory. By examining the design practices of individual set designers, the thesis will provide evidence for the capacity for architecture to act as resonator of mental impact. The study will show how the set designer emotionalises architecture, investing it with a strong spatial, visual and performative presence. Although other critical studies of poetic realism have recognised the distinctiveness of the set design, they have not fully examined the architectural specificity of the films. The thesis contends that the director-designer collaboration sought to distil a visual concept from the thematic and psychological concerns of the screenplay. This interface between story and style will be demonstrated by a move from the general to the specific, looking at depictions of the city, a rhythmic recurrence of decor fragments and the micro-dimensions of the object. Ultimately, the set design and architectonics of poetic realism are performative in the sense that they can represent a discourse of their own, producing an engaging dialogue with more traditional modes of film performance.
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Thiers, Bettina. "Poétiques expérimentales et engagement : Poésie concrète, visuelle, sonore et pièces radiophoniques expérimentales dans l'espace germanophone de 1945 à 1970." Thesis, Tours, 2014. http://www.theses.fr/2014TOUR2018.
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Les poésies concrète, visuelle, sonore, apparues au début des années 1950 dans une vingtaine de pays du monde, dont l’Allemagne, la Suisse et l’Autriche, et les pièces radiophoniques expérimentales ont, jusqu’à présent, été perçues comme jeux formels avec le matériau verbal épargnant à leurs auteurs une prise de position politique par rapport au réel. Face à la réception réductrice du concept sartrien de « littérature engagée », les poétiques expérimentales apparaissent comme « désengagées ». Or, les auteurs invoquent la portée politique de leur déconstruction de poétiques traditionnelles, de normes linguistiques et de modes de pensée de la culture occidentale. Les formes d’écriture expérimentale ne seraient-elles pas alors des choix politiques au sens où elles ébranlent des visions et expériences du monde? Cette mise à distance du réel provoquerait ce que Rancière appelle la « subjectivation politique », c'est-à-dire l’émancipation du citoyen par rapport à son identité sociale figée par des manières de dire et de penser. Montrant l’intention politique immanente à certains choix poétiques cette étude aborde la notion d’engagement sous un angle poétologiqueConcrete, visual and sound poetry, as well as experimental radio plays, appearing in the early 1950s in Germany, Switzerland and Austria specifically, have until now been perceived as formal games with language, sparing their authors from taking any political position with regards to reality. Given this narrow understanding of the sartrian concept of “engaged literature”, experimental poetry hence appeared as “disengaged.” And yet, authors insist on the deconstruction of traditional poetry, of linguistic norms and of the Occidental vision of culture. As a consequence, shouldn’t we also understand experimental literary forms as political in the sense that they shatter our traditional vision and experience of the world? The distance taken from reality leads to what Rancière calls “political subjectivity”, by which he means the emancipation of the individual from a fixed social identity through news ways of saying and thinking. Analyzing the political intention inherent to specific poetical choices, this study offers a poetic approach of literary political engagement
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Alves, Ana Cristina Tannús [UNESP]. "Em busca do discurso poético de Aristides Klafke: marginália e contracultura." Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/94168.
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Nesta dissertação, a proposta de trabalho centra-se no estudo da poesia brasileira contemporânea, com ênfase para a vanguarda de 1970 (Poesia Marginal) na qual se observa o programa estético de dessacralização do discurso literário, de repúdio às formas de enunciação consagradas pelo sistema, considerando-se, também, que boa parte dessa produção poética ainda não foi devidamente avaliada. Assim, pretende-se estudar a dicção poética de Aristides Klafke, visando à identificação de sua escrita em um cenário políticocultural de ditadura, com ressonância ainda hoje. A hipótese de investigação está no fato de que a escrita marginal desconstruiria o discurso poético hegemônico, seja pela instância da reprodução artesanal, seja pela da configuração estética. Portanto, trata-se de proporcionar a esse polêmico fenômeno literário uma leitura diversa àquela propagada por alguns críticos ao avaliarem sua existência devido à circunstância de silêncio político, enfatizando a atitude simbólica de contestação em detrimento de seu conteúdo poético. Os argumentos dos estudiosos convergem para o nível de qualidade poética, caracterizando o movimento da Poesia Marginal como uma escrita “de” e “da” circunstância. Para tanto, propõe-se rever o rótulo “marginal” a partir do sinônimo maldito confrontando os discursos de teóricos e produtores, em procedimento comparativo e dedutivo, observando afinidades ou divergências no trato desta questão para fundamentar análise e interpretação da poesia de Aristides Klafke. Isso, além de recorrer aos estudos mais representativos da Historiografia e Crítica Literária brasileiras contemporâneas que fundamentam a teoria de poesia. Assim, pretende-se realizar uma leitura da escrita marginal no que tange ao reconhecimento das individualidades poéticas, neste caso, Aristides Klafke. Os poemas...
In this study, the proposal of this work is centered in the contemporary Brazilian poetry study, emphasizing the Vanguard of 1970 (Marginal Poetry) in which is observed a radical rupture with the traditional literary discourse, and marked for a refusal to the enunciation forms instituted by the system, considering that great part of this poetic production was not still well analyzed. So, this work aims at studying the poetic diction of Aristides Klafke, with the objective to identify his writing in politic and cultural scenery of dictatorship, with resonance still today. A hypothesis of investigation is in the fact that the marginal writing would deconstruct the hegemonic poetical discourse either for the instance of the non conventional reproduction, either for the aesthetic configuration. Therefore, this work deals with this polemic literary subject giving to this a different reading from that diffused by some critics when evaluating its existence connected with the circumstance politic silence, emphasizing the symbolic protest attitude in favor of its poetical content. The critics s arguments converge to the level of poetical quality characterizing the movement of Marginal Poetry as a writing of and the circumstance. For in such a way, we consider to review the label marginal from its synonymous cursed, collating the speeches of theoreticians and producers, in a comparative and deductive procedure, observing affinities or divergences referring to this question to justify the analysis and interpretation of the poetry of Aristides Klafke. This, besides appealing to the most representative studies of the Historiography and contemporaries Literary Brazilian Critical who base the poetry theory. So, it s intended realize a reading of marginal writing referring to the recognition of the poetical individualities, in this case, Aristides Klafke. The poems for analysis... (Complete abstract click electronic access below)
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Simkin, Stephen John. "Gerard Manley Hopkins : critical perceptions of his relation to poetic tradition to 1970." Thesis, University of St Andrews, 1992. http://hdl.handle.net/10023/15092.
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The aim of this thesis has been to make an accurate assessment of the developments in Hopkins criticism up until 1970, with overriding emphasis on perceptions of his relation to poetic tradition. The chosen methodology involves a chapter by chapter discussion of Hopkins' perceived relation to individual poets or groups of poets. Generally, each chapter opens with an examination of Hopkins' published correspondence, scrutinizing his own criticism of the poet or poets in question, and proceeds in a chronological survey of the ways in which critics and reviewers have related him to the predecessor in question. Material covered in the thesis includes major published works on Hopkins; articles and reviews in scholarly periodicals, as well as more popular journals and some newspapers; and other critical works where Hopkins receives some degree of attention. The 'cutoff' point of this study is 1970, although a final chapter has been appended with a less detailed survey of the developments from 1970 to the present day. On certain occasions, I have ventured to investigate more fully some areas of Hopkins' literary genetics that seem not to have received the attention they deserve. In general, however, the focus of the thesis is upon the perceptions of the critics, and attempts are made to assess the ways in which Hopkins' fluctuating critical standing has altered these perceptions and vice versa. One of the most frequently recurring demands has been the need to try and determine why Hopkins has been related to different poets and different poetic traditions at different times. To provide a more 'three-dimensional' perspective, two chapters are devoted to exploring the ways in which Hopkins has been perceived as an influence on twentieth century poetry, in general terms, and in specific cases. In conclusion, a 'map' of the territory of Hopkins' criticism charting the perceived relations between his oeuvre and poetic tradition is proposed. And, with a necessary emphasis on the provisional (particularly with the post-1970 study taken into account), some suggestions are made for new directions in this area of study.
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Williams, Euriona Lucretia. "Lost in the shadows : Welsh women poets writing in English, c.1840 - 1970." Thesis, Bangor University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429646.
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Pelland, Roland Guy. "Mort et renaissance dans la poésie néo-nationaliste acadienne de 1970 à 1980." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/mq27076.pdf.
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Johnson, Mary C. "A critical study of the poetic voice in the narratives of selected documentary films of the 1930s /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487598748018253.
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Matter, Augustin. "Gonzague de Reynold, poète." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE3052.
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Cette thèse porte sur le domaine de la littérature française en Suisse romande et est consacrée à la production littéraire de l’un des acteurs du renouveau littéraire romand au début du XXe siècle, Gonzague de Reynold (1880-1970), compagnon d’écrivains célèbres comme C. F. Ramuz et Ch. A. Cingria. Dans une œuvre abondante et inégale, particulièrement consacrée à des essais historiques et parfois politiques, un corpus poétique plus restreint a été délimité, couvrant particulièrement la période contemporaine de La Voile latine (1904-1910) et du premier conflit mondial, jusqu’aux grandes années de l’Entre-deux-guerres. Entre 1904 et 1931, Reynold accorde en effet une place importante à la création littéraire, avant de se laisser accaparer par l’action catholique et/ou nationaliste, l’écriture d’essais politiques et plus tard la composition de vastes synthèses sur l’idée européenne. De L’Âge d’or (1898) et Au Pays des Aïeux (1904) à Conquête du Nord (1931), en passant par Cités et pays suisses (1914-1920), et les Contes et légendes de la Suisse héroïque, plusieurs œuvres en vers et en prose assurent à leur auteur le statut de poète, image que vient bientôt concurrencer sa renommée d’intellectuel et d’historien de la civilisation. Jusque dans les années cinquante, Reynold est considéré en Suisse et à l’étranger comme le principal écrivain de Suisse romande avec Ramuz, avant que le vieillissement d’une œuvre, les remises en cause de la deuxième Guerre mondiale et l’émergence de concurrents viennent lentement le reléguer au second plan. Le but de cette thèse est d’étudier comment Reynold a été le principal acteur d’une poésie helvétiste renouvelée destinée à ré-enchanter tant le singulier que le collectif. Cette relecture des œuvres de Reynold fait assister à la forge d’une identité qui esquisse une quête lyrique de soi, une refondation du lieu d’origine et une tentative épique. Si la poésie elle-même inclut une expression du politique et une ontologie, l’œuvre poétique de Reynold montre les conditions de réalisation et les contradictions d’une poésie d’inspiration nationaliste en Suisse, de son esquisse à son effacement/dépassement, au rythme des événements historiques et de l’évolution intellectuelle et culturelle du début du XXe siècleThis thesis deals with the French litterature in French-speaking Switzerland and focuses on Gonzague de Reynold (1880-1970), comrade of some famous writers like C.F. Ramuz and Ch. A. Cingria and one of the actors of the French-speaking Switzerland literary revolution at the beginning of the XXth Century. In an extensive but uneven work particulary devoted to some historical and sometimes political essays, a limited corpus covering the contemporary period which is named "La Voile Latine" (1904-1901) and from the First World War to the interwar years has been chosen.Between 1904 and 1931, Reynold gives literary production a significant place just before being caught by catholic and/or nationalist action, political essays writing and finally the European idea. From "L'Âge d'or" (1898), "Au pays des Aïeux" (1904) to "Conquête du Nord" (1931) by way of "Cités et pays suisses" (1914-1920), "Contes et légendes de la Suisse héroïque" and many poems written in verse or prose, all these different works give the writer the status of poet although his image will soon be in competition with his reputation of an intellectual and a historian.Up to the fiftees, Reynold used to be considered inland and abroad as the main writer in French-speaking Switzerland just as Ramuz. But the ageing of a literary production and the new questioning after World War II push him progressively into the background. The aim of this thesis is to study how Reynold was the main actor of a new form of Swiss poetry destined to re-enchant the person as well as the people.This poem shows the building of one's identity by means of a lyrical quest of oneself, a reconstruction of the original place, an epic attempt. Reynold's poetry eventually shows the conditions of realisation and the contradictions of a poetry inspired by Swiss nationalism from its draft to its eradication/overtaking, at the pace of the historical events and cultural/intellectual evolution at the beginning of the XXth Century
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Woodcock-Squires, Zoe E. "Art Deco poets : reframing the works of W.H. Auden and Louis MacNeice in the context of Interwar Visual Art." Thesis, Loughborough University, 2014. https://dspace.lboro.ac.uk/2134/17419.
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This thesis examines works by the British interwar writers W.H. Auden and Louis MacNeice in the context of their relationship with the contemporary style of visual art known as Art Deco or the Moderne. It is my contention that, having absorbed many of the Art Deco idioms as an accepted part of the world they experience, these are reflected in the writers' works, firmly relating the work to a unique historical moment, place and social and cultural environment. In my reading of their work I identify sources of inspiration in their themes, idioms and imagery common to the artistic style, and investigate the extent to which their work has been informed in content and composition by visual art. Using diaries, travelogues, letters, essays, prose and poetry, I will argue that if Art Deco characterised the interwar period, it follows that it will also characterise the work of Auden and MacNeice. As such, I seek to reframe their work in an entirely new context, one seemingly unnoticed by earlier critics. My project also considers the ways in which a worldview is formed and environments are learned from childhood, with reference to early twentieth-century psychologists Erich Fromm, Lev Vygotsky and Maria Montessori, in order to posit the notion that growing up in the heyday of Art Deco, Auden and MacNeice may have subceived a great many of its motifs. I also identify the ways in which the writers engage visual art with intent, and establish a relationship between the writers and Art Deco's politics, imagery and composition through discussion of individual poems and their co-authored book Letters From Iceland (1937). In particular, the thesis examines the presence and impact of Art Deco elements in their work, such as Cubism (using both visual and literary examples), Futurism, the cinema, the Ballets Russes, and interwar attempts at producing what Wagner termed gesamtkunstwerk, the 'total work of art'.
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Litron, Fernanda Félix 1981. "Poesia marginal e a antologia "26 Poetas Hoje" : debates da critica antes e depois de 1976." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270075.
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Orientador: Maria Betania AmorosoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho ocupa-se em examinar atentamente a atuação da crítica em seu papel de mediadora e qualificadora de um fenômeno cultural e poético conhecido como ¿poesia marginal¿ que, segundo a percepção de seus críticos, surge de maneira repentina durante a década de 70. De certa forma, tal poesia foi legitimada através da antologia intitulada 26 Poetas Hoje. Para realizar a análise, foram coletadas ¿ e são reproduzidas em anexo como parte integrante de nossa pesquisa ¿ as fontes primárias dessa discussão, isto é, os artigos, reportagens, resenhas e entrevistas publicadas durante a década de 70. Vale ressaltar a importância assumida pela imprensa nos conturbados anos da ditadura militar no Brasil. Muitas vezes a ela coube instigar ou manter acesas discussões e debates culturais em meio a um clima geral de sufocamento das manifestações, fossem elas políticas ou individuais. Nas décadas de 60 e 70, especificamente, tem-se uma modalidade jornalística bastante peculiar tratada como imprensa alternativa ou nanica. Assim, serão principalmente esses jornais e revistas que darão espaço para maiores debates e apresentações da poesia marginal e da cultura alternativa do período
Abstract: This dissertation aims to examine attentively the criticism performance in its mediation and qualification role of a poetic phenomenon known as ¿poesia marginal¿ (¿marginal poetry¿) which, according its critics¿ perception, ppeared in a sudden way during the 1970¿s. In certain way, this poetry has been legitimized through an anthology entitled 26 Poetas Hoje (26 Poets Today). For this analysis, they were collected ¿ and are presented here as a final result of our research ¿ the primary sources of this discussion, that is the articles, newspaper reports, summaries and interviews published during the 1970¿s, apart from our exam on such journalistic criticism. It¿s worth emphasizing that the journalistic gender stands out in a time of repression and censorship, once it assumes a questioning function about the Brazilian culture in a period politically disturbed. Then, specifically in the 1960¿s and 1970¿s, a peculiar journalistic "modality¿ emerges treated as alternative press or ¿nanica¿ (¿tiny press¿). Therefore, it is mainly this journalist modality that will give space for larger discussions and presentations of the marginal poetry and alternative culture of its period
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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Perrais, Agnès. "Lyrisme et politique en cinéma : Duras, Garrel, Godard, années 1970-1980." Thesis, Université de Lorraine, 2017. http://www.theses.fr/2017LORR0338/document.
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Cette étude traite de l’articulation en cinéma de la ressource lyrique et de l’approche politique du réel. Pour aborder sous un angle plus spécifique la question du « cinéma de poésie », elle propose une relecture de la théorisation littéraire du lyrisme, dans la perspective d’une critique de la polarisation autour de la notion de subjectivité. À partir d’une étude des imbrications entre poétique et enjeux politiques chez Hölderlin, Rimbaud et les surréalistes, elle propose la notion de « lyrisme objectif » pour questionner la façon dont les films peuvent s’émanciper du modèle discursif utilisé par le cinéma militant, tout en tentant de proposer une pensée critique du politique à partir de leurs formes sensibles. À travers l’analyse d’un corpus de films de Marguerite Duras, Philippe Garrel et Jean-Luc Godard, réalisés dans l’après-1968 à un moment de reflux des luttes, nous montrons comment leurs héritages poétiques influencent la figuration du politique, à partir d’un geste commun de mise en retrait de la narration au profit d’une logique de sensation. Nous proposons ainsi de voir comment chez Marguerite Duras, à partir d’une pensée radicale de la négativité, la mobilisation d’une parole lyrique prend en charge un enjeu de subjectivation politique. Par ailleurs, si la résurgence d’un héritage romantique et du versant hermétique du surréalisme chez Philippe Garrel reconduit une approche expérientielle du politique, la reprise de la théorie surréaliste de l’image comme rapport et des principes rimbaldiens de décentrement du sujet entraine chez Jean-Luc Godard une dialectisation du lyrisme, qui articule une positivité sensible à une critique objectivanteThis dissertation articulates the concept of lyricism and a political approach of the real in cinema. In order to study more specifically the issues of « poetry cinema », it proposes a reading of the literary theory of lyricism through a critique of the conceptual polarization of subjectivity. Starting with a study of the interdependence of poetics and politics in Hölderlin, Rimbaud and the Surrealists’ works, I put forward the notion of « objective lyricism » to understand how film can move away from the discursive paradigm of activism and forge a critical evaluation of political issues by way of their esthetics. By analyzing a number of films by Marguerite Duras, Philippe Garrel et Jean-Luc Godard, all made in the years just after 1968, when activism receded, I show how their formal legacies influenced the depiction of politics by withdrawing the narrative structure to the profit of a logic of sensation. Furthermore, I intend to demonstrate how in Marguerite Duras’ films political subjectivation is achieved by a lyrical voice rooted in a radical thinking of negativity. If the resurgence of a romantic legacy and of the cryptic side of surrealism in Philippe Garrel’s films lead to an experiential approach of politics, the re-actualization of the surrealist theory of the image-as-interaction and Rimbaud’s principles of the subject’s decentering push Jean-Luc Godard to a dialectization of lyricism, articulating a sensitive positivity to an objectifying critique
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Wang, Lianghe. "Shi guan de chong tu yu zhu liu de jing zhu : Xianggang ba, jiu shi nian dai shi tan de liu pai fen zheng--yi "Zhong Weimin xian xiang" ying zhao = The clash of poetic views and striving to be the centre : an exploration of the conflict between poetic schools in the 1980s and 90s in Hong Kong in the light of the "Chung Wai Man phenomenon" /." click here to view the abstract and table of contents, 2001. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b17040474a.pdf.
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McMurtry, Aine. "Crisis and form in Ingeborg Bachmann's late verse and prose : an aesthetic examination of the poetic drafts of the 1960s." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:bdad508f-d96c-4480-8fa3-87f1b648e41d.
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This thesis demonstrates the aesthetic impact of crisis on Ingeborg Bachmann's late verse and prose. It examines poetic drafts written during a period of personal breakdown in the 1960s, which have largely been received as documents of personal suffering, and identifies these texts as a radical stage of writing that was to prove formally significant for Bachmann's development of the prose "Todesarten"-Projekt. This thesis draws on the new material made available with the publication of these poetic drafts to chart the genesis of Bachmann's acclaimed late oeuvre. By selecting and grouping lyric fragments, the thesis defines recurrent features in this verse and accounts for the texts as a body of writing that forms a radical, yet undocumented, part of this oeuvre. In terms of both their form and of their content, the fragmentary drafts are shown to reflect new engagement with aspects of experience conventionally excluded from High Art. In light of Bachmann's growing preoccupation with the need for aesthetic engagement in the post-war era, close readings reveal how she set about taking her subjective suffering as a basis for a critique of the social order. The thesis outlines how, during the 1960s, Bachmann pioneered a symptomatic expressive mode that - in the disrupted form of the writing - found an indirect means of manifesting the wider origins of subjective disturbance. The ambiguous aesthetic status of these poetic drafts, which were never finished by Bachmann, is related to an inability to establish structural distance from crisis in lyric form. Building on its readings of the poetic drafts, the thesis traces Bachmann's prose experimentation with the same motifs. It identifies how, ultimately, the prose medium enabled the author to resolve problems of aesthetic form raised in the verse. Parallels with the work of other writers and thinkers illuminate the development of a reflexive mode where sophisticated aesthetic strategies enable the oblique expression of cultural critique.
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Schwab, Catharine Mary. "The melodie française moderne : an expression of music, poetry and prosody in fin-de-siècle France, and its performance in the recitals of Jane Bathori (1877-1970) and Claire Croiza (1982-1946) /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb370598791.
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Musa, Suad Mustafa Elhag. "The identity, agency and political influence of al-Hakkamat Baggara women poets in armed conflict in Darfur, Sudan, from 1980s to 2006." Thesis, University of Bradford, 2011. http://hdl.handle.net/10454/5394.
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This research explores the role of al-Hakkamat rural women poets in the context of armed conflict in Darfur, from 1980s to 2006. Utilising QSR NVivo7 software, the study analyses and interprets qualitatively collected data in the light of the posed research questions. Processes and attributes leading to the identification of al-Hakkamah, such as her singing and composing talents, are explored - from identifying and nurturing to fully constructing her role as a folk singer and agitator as well as a powerful social actor. Her nurtured personal and social identities reconstruct for her gender roles that are found to be both feared and revered by the community and appropriated by the government. She is found to respond effectively to situations ranging from gallantry (lauding), solidarity (lobbying) to downright belligerency (inciting). These roles exhibit robust and proactive gender roles and power relations in Darfur that enable women, not without historical precedence, to exercise their own identity, agency and political influence in an otherwise overwhelmingly patriarchal society. The study also reveals that the conflict of Darfur is rooted in the history of the neopatrimonial domestic politics pursued by the riverine ruling elites, marked by systemic failure to manage resource issues equitably between tribal and ethnic entities in Darfur. In such circumstances, al-Hakkamat agency is either volunteered or enlisted in the attempt to secure an advantage. In either case her agency is verifiably seen to bolster the hypothesis that rural women in Darfur exercise more power than their counterparts in rural northern Sudan.