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McCurry, Sara Kathleen. "The places of contemporary American poetry /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3181111.
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Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 260-266). Also available for download via the World Wide Web; free to University of Oregon users.
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Jenkins, Sarah E. "Facing God : contemporary American devotional poetry /." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2392.pdf.
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Thomas, Joseph T. Susina Jan. "Refiguring the culture(s) of contemporary American children's poetry." Normal, Ill. Illinois State University, 2003. http://wwwlib.umi.com/cr/ilstu/fullcit?p3087877.
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Thesis (Ph. D.)--Illinois State University, 2003.Title from title page screen, viewed October 19, 2005. Dissertation Committee: Jan Susina (chair), Victoria Harris, Anita Tarr. Includes bibliographical references (leaves 241-258) and abstract. Also available in print.
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Corrigan, Paul T. "Wrestling with Angels: Postsecular Contemporary American Poetry." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5671.
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In the current “secular age,” more and more people find beliefs and behaviors associated with traditional religion intellectually and ethically untenable. At the same time, many “postsecular” writers, both believers and nonbelievers, continue to write with religious or religiously-inflected forms, themes, and purposes. In the United States, postsecular poets “wrestle with angels” by engaging constructively and deconstructively with matters traditionally considered the domain of religion and spirituality. While the recent work of Jürgen Habermas, Charles Taylor, John McClure and others puts the concept of the postsecular at the cutting edge of various fields of study, including religion, sociology, and literature, this dissertation presents the first study of contemporary postsecular poetry. The central question is, how should we define and describe contemporary postsecular poetry in the United States and how should we understand its religious and literary significance? To answer this question, this dissertation presents a broad survey of postsecular contemporary American poetry, offers extended analyses of the work of two preeminent postsecular poets—Li-Young Lee and Scott Cairns—and probes the implications for readers of the poetic forms found in such texts.
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Piasecki, Bohdan A. "Anthologies of contemporary Polish poetry in English translation : paratexts, narratives, and the manipulation of national literatures." Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/55714/.
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Sedlak, Emma Adams. "Origin stories and contemporary epistles in American prose poetry." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/26043.
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My poetry portfolio is 75 pages long, and consists of single poems as well as two series. The first series includes the ‘Good Work’ poems, which explore different ideas of ‘good work’ based on characters’ occupations, preoccupations and mental perspectives. The second series is the ‘Makar’ poems, depicting an imagined world in which the poet is a guardian angel or guiding force. The style of my poetry varies from lyric to prose poetry, with a few language-focused abstract poems, and more formal styles, like a villanelle. Dreaming and waking are two themes that reflect aspects of reality and perception. Much of my portfolio is rooted in reflections of identity: Identity in terms of work, and the story we tell to the world about what we do; identity in terms of inter-personal relationships and how those connections form who we become; identity in terms of memory, and the story of who we have been; and identity in terms of the stories we tell ourselves about who we think we are. And if none of those stories align, what kind of fragmented self-identity does that reveal? The narrative poems often use different characters and personas in order to enact these lenses of identity. Even with only a few epistles in the collection, my poetry has been influenced by the epistolary ideas of separation and reunion (as critic Altman describes them: ‘bridge’ and ‘distance’). Similarly, the prose poems often riff on the unification and distancing of various themes, in a mediation of together- and apart-ness. I have used letters and diary-entries as addresses to the audience, and also as invitations for the reader to access the poem through different points of entry. My academic thesis focuses on the utilisation of epistles in contemporary American prose poetry. It is 26,000 words, and is divided into three sections: focused on Epistles: Poems by Mark Jarman; Letters to Kelly Clarkson by Julia Bloch, and The Desires of Letters by Linda Brown; and Dear Editor: Poems by Amy Newman. Why are we still writing poems as letters when we don’t habitually write letters for personal correspondence anymore? The poem-as-letter, or epistle, offers the ability to craft complex relationships within the reader/author, writer/recipient, and open/closed dynamics of intimacy in literature. The criticism is framed within the methodology of reader-response theory, and draws upon examples of epistles in history and literature to connect and establish themes.
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Hay, Rebecca Cecilia. "Nostalgia: Movement and Stasis in Contemporary American Poetry." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3475.
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A remarkable amount of award-winning contemporary American poetry incorporates nostalgia as a prominent idea discussed. This poetry appears to use nostalgia as means to a greater end. In other words, nostalgia, while a dominant theme within different works, is more a way to treat concepts such as representation and memory, more so than the work being an actual commentary on nostalgia itself. Given the poetry's predominant concept, it seems poets such as Carl Dennis, Natasha Trethewey and Ted Kooser could be representative of a literary historical moment. This moment is one which comments heavily on the past's presence within the present. While each poet's writing is heavily influenced by nostalgia, I posit the theory that these poets are speaking to a greater literary historical moment found in both the literature itself as well as current trends in literary theory. It is not that these poets are writing to a specific theory, rather, their Pulitzer-prize winning poetry is rooted in a trend of yearning for the past. As overt a connection between contemporary poetry's treatment of nostalgia and nostalgia theory itself, little, if any, literary criticism has connected these two. In his essay "Theorizing Nostalgia Isn't What It Used to Be," Paul Grainge contends, "Since the late 1980s, when memory became a topic of concerted critical interest, nostalgia has been taken up in critiques of reactionary conservatism, in accounts of retro phenomena, in relation to the growing memorial tendencies in Europe and America, and as central to particular theories of postmodernism" (20). Grainge continues on to describe two forms nostalgia takes: "mood" and "mode." Similarly, Svetlana Boym suggests nostalgia as either "reflective" or "restorative" (41). This type of current scholarship addressing nostalgia seems to set up a nostalgic reading of texts as more the end game of the literature—the literature is nostalgic. However, if literature then ends as only nostalgic, there seems to be a lack of nostalgic theory's breadth. Dennis, Trethewey and Kooser all address this gap through their poetry—expanding the notion of nostalgia as being more the vehicle leading one through the landscape of memory. Suggesting nostalgia as merely reflective or restorative, as Boym and Grainge have done, seems to create a sense of nostalgia as stagnant rather than as a dynamic movement within the literature, and even the act of recollection itself. The three poets addressed in my project all suggest at some level that this residue of the past can lead one to see that perhaps experience itself delights in memory. Furthermore, nostalgia's dependence upon present memory indicates not just a longing for the past, but rather the past's presence in the present. The act of remembering serves as a type of catalyst which transforms memories to manifestations in present circumstance.
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Stone, Alison Jane. "Contemporary British poetry and the Objectivists." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/30174.
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This thesis examines a neglected transatlantic link between three post-war British poets – Charles Tomlinson, Gael Turnbull and Andrew Crozier – and a group of Depression-era modernists: the Objectivists. This study seeks to answer why it was the Objectivists specifically, rather than other modernists, that were selected by these three British poets as important exemplars. This is achieved through a combination of close readings – both of the Americans’ and Britons’ poetry and prose – and references to previously unpublished correspondence and manuscripts. The analysis proceeds via a consideration of how the Objectivists’ principles presented a challenge to dominant constructs of ‘authority’ and ‘value’ in post-war Britain, and the poetic is figured in this sense as a way-of-being as much as a discernible formal mode. The research concentrates on key Objectivist ideas (“Perception,” “Conviction,” “Objectification”), revealing the deep ethical concerns underpinning this collaboration, as well as hitherto unacknowledged political resonances in the context of its application to British poetries. Discussions of language-use build on recent critical perspectives that have made a case for the ‘re-forming’ potential of certain modernist poetries, particularly arguments about ‘paratactic’ versus ‘fragmentary’ modernisms, and as such the three British poets’ interest in the Objectivists is interpreted as a response to a need for restitution following the trauma of World War II. Ultimately, it is argued that this interaction (which this thesis figures in explicitly transatlantic terms) was a challenge to the emphasis placed on collective and normative viewpoints in much post-war British poetry, many of which were located in an organic conception of ‘nation.’ This study claims that the Objectivists’ example posited a contrasting poetic, foregrounding individual agency and capacity for thought as the only viable means for the poet to re-connect with and make meaningful statements about society and the world.
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Luck, Jessica Lewis. "Gray matters contemporary poetry and the poetics of cognition /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3215175.
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Thesis (Ph.D.)--Indiana University, Dept. of English, 2006.Source: Dissertation Abstracts International, Volume: 67-04, Section: A, page: 1339. Adviser: Paul John Eakin. "Title from dissertation home page (viewed March 22, 2007)."
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Rickey, Russell P. "Referentially speaking, generating meaning(s) in contemporary North American poetry." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq23476.pdf.
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Badrideen, Ahmed. "Aspects of domesticity in contemporary British, Irish and American poetry." Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11502/.
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This thesis explores representations of home and domesticity in contemporary verse. Home-life and domestic scenes are significant in contemporary verse, not only because they are found in unprecedented abundance, but also because they are often taken as the principal subject of a poem, rather than as contextual setting. In short, in the post-war era, domestic experiences have proven to be rich and seemingly inexhaustible source of poetry. This is traceable primarily to an interest in ‘experiences of ordinariness’ exhibited by contemporary poets – an interest which is in no small part a product of the Movement aesthetic – and also to the surge in academic and imaginative explorations of the nature and quality of home-life during the postwar decades. A principal concern of this thesis will be with moments of epiphany or rarefication, when the domestic sphere loses its ‘domestic’ colouring as it mediates and is involved with deep emotional or intellectual experiences. The first chapter considers Hardy and Larkin. These poets, often paired together and seen as principal figures in the ‘English line’, are shown to be significant poets of the domestic sphere. The second chapter considers representations of the childhood home. Here the house is shown to be a ‘formative’ place, the ground for moral and intellectual growth. In the eyes of the child, the one who defamiliarises his or her surroundings par excellence, the house and its contents might become somewhat monumental, imbued with import unavailable to adults. The third chapter considers poems of domestic love and marriage. It shows that these poems hinge on a combination of the mundane and homely with high emotion and feeling. This leads to a new type of love poetry: wry, often sardonic, with under-stated sentiment and affection. The fourth chapter, which looks at political poems set at home, offers the most ambivalent account of domestic space. Home life might accrue negative regard when considered in relation to wars or political disturbance. On the other hand, domestic life is regarded positively as the desired end of war or civil unrest. An unmolested and normal home life is the fruit of peace. The fifth chapter looks at domestic architecture in itself, considering the various ways that domestic interiority is presented in relation to the wider world. It explores various types of relationships between domestic interiority and the exteriority beyond, from poetry where the house is besieged by the external environment, to poems where the impulse is a movement from inside to outside. The sixth chapter explores how domestic scenes and items are invoked in the work of mourning. The thesis concludes with a chapter on poetic representations of hotels and hospitals, which may be regarded as ersatz homes, ghosted by the presence of the authentic home.
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Fogarty, William. "Local Languages: The Forms of Speech in Contemporary Poetry." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19662.
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Robert Frost’s legendary description of “the sound of sense” to define his poetics has for decades sounded like little more than common sense. His idea is now taken to be fairly straightforward: the inflections of an utterance resulting from the tension between demotic speech and poetic form indicate its purport. However, our accepted notion of Frost’s formulation as simply the marriage of form and meaning misconstrues what is potentially revolutionary in it: if everyday speech and verse form generate tension, then Frost has described a method for mediating between reality, represented by speech, and art, represented by verse form. The merger is not passive: the sound of sense occurs when Frost “drag[s] and break[s] the intonation across the metre.” And yet Frost places speech and verse form in a working relationship. It is the argument of this dissertation that poets reckon with what is often understood as discord between poetry and reality by putting into correspondence forms of speech and the forms of poetry. The poets I examine–Seamus Heaney, Gwendolyn Brooks, Tony Harrison, and Lucille Clifton–are concerned with their positions in local communities that range from the family unit to ethnic, religious, racial, economic, and sexual groups, and they marshal forms of speech in poetic form to speak from those locales and to counter the drag and break of those located social and political realities. They utilize what I call their “local languages”–the speech of their particular communities that situates them geographically in local contexts and politically in social constructs–in various ways: they employ them as raw material; they thematize them; they invent idiosyncratic “local” languages to undermine expectations about the communities that speak those languages; they devise generalized languages out of standard and nonstandard constructions to speak not just to and from specific locations but to speak more broadly about human experience. How, these poets ask, can poetry respond to atrocities, deprivations, divisions, and disturbances without becoming programmatic or propagandistic and without reinforcing false preconceptions about the kinds of language suitable for poetry? They answer that question with the living speech of their immediate worlds.
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Kimberley, Emma. "Ekphrasis and the role of visual art in contemporary American poetry." Thesis, University of Leicester, 2007. http://hdl.handle.net/2381/9042.
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This thesis engages with three US poets – Jorie Graham, Charles Wright and Mark Doty – as well as using other writing, from the Modernists to the ekphrastic collection, to engage with the context of ekphrasis, ‘the verbal representation of visual representation’, in the US. After an introduction that evaluates previous work on ekphrasis and studies the forms of engagement between visual and verbal art, a section of three chapters is devoted to each poet. The first explores Jorie Graham’s work on abstract painting, photography and film, analyzing how she uses the different temporal conventions of each genre to write about the past. The second section looks at the links between memory and present perception in the work of Charles Wright and his struggle with how to represent as he follows the path to abstraction before returning to the more simple desire to say what he sees, accepting the sleight of hand that is necessarily a part of this. The third section goes on to explore the work of Mark Doty, a poet who embraces illusion in representation, arguing that the process of creating and deconstructing illusions is a fundamental part of how we define our own identity as well as how we make space for ourselves within the community. Refuting accusations that ekphrastic writing often depends too heavily on the visual artwork for its credibility, this section considers how it can be used positively as a tool for legitimation by writers who come from a minority perspective, analysing the visual aspect of poems on cruising, drag and public sex performances. A final section uses the relatively new phenomenon of the ekphrastic collection – with work by Cole Swensen, Debora Greger and Claudia Rankine– to examine how ekphrasis deals with issues of gender and iconic cultural images.
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Abdulrahim, Safaa. "Between empire and diaspora : identity poetics in contemporary Arab-American women's poetry." Thesis, University of Stirling, 2013. http://hdl.handle.net/1893/19525.
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This dissertation aims to contribute to the burgeoning field of Arab-American feminist critique through an exploration of the work of four contemporary Arab-American women poets: Etel Adnan (1925-), a poet and a visual artist and a writer, Naomi Shihab Nye (1952-), poet, a song writer, and a novelist, Mohja Kahf (1967-), a poet, an Islamic feminist critic and author, and Suheir Hammad (1973-), a hip-hop poet and political activist. The study traverses the intersections of stereotypical racial and Orientalist discourses with which these women contend, and which have been further complicated by being shaped against the backdrop of the “War on Terror” and hostility against Arabs, Muslims and Arab-Americans in the post-September 11 era. Hence, the study attempts to examine their poetry as a tool for resistance, and as a space for conciliating the complexities of their hyphenated identities. The last two decades of the twentieth-century saw the rise of a rich body of Arab-American women writing which has elicited increasing academic and critical interest. However, extensive scholarly and critical attention was mainly drawn to novels and non-fiction prose produced by Arab-American women writers as reflected in the huge array of anthologies, journal articles, book reviews and academic studies. Although such efforts aim to research and examine the racial politics that have impacted the community and how it relates to feminist discourses in the United States, they have rarely addressed or researched how the ramifications of these racialised politics and discourses are articulated in Arab-American women’s poetry per se. Informed by a wide range of postcolonial and United States ethnic theory and criticism, feminist discourses of women of colour such Gloria Anzaldúa's borderland theory, and Lisa Lowe's discussions of ethnic cultural formations in addition to transnational feminism, this study seeks to lay the groundwork for a complex analysis of Arab-American feminist poetics, based on both national and transnational literary approaches. The dissertation addresses the following questions: how does the genre of poetry negotiate identity politics and affiliations of belonging in the current polarized and historical moment? How do these women poets challenge the troubling oppressed/exoticised representations of Arab/Muslim women prevalent in the United States mainstream culture? How does each of these poets express their vision of social and political transformation? Emphasising the varying ethnic, religious, national, political, and cultural backgrounds and affiliations of these four poets, this dissertation attempts to defy any notion of the monolithic experience of Arab-American women, and argues for a nuanced understanding of specificity and diversity of Arab-American feminist experiences and articulations. To achieve its aim, the study depicts the historical evolution of Arab women’s poetry in the United States throughout four generations in order to examine the deriving issues and formative elements that contributed to the development of this genre, and also to pinpoint the defining characteristics marking Arab-American women poetry as a cultural production of American women of Arab descent. Through close readings and critical analyses of texts, the dissertation offers an investigation of some of the major themes and issues handled by these Arab-American women to highlight the most persistent tropes that mark this developing literary genre. Eventually, this study shows how literature, and specifically poetry becomes a conduit to investigate Arab-American cultural and sociopolitical conditions. It also offers productive explorations of identities and representations that transcend the rigid essential totalising categorisation of identity, while attempting to forge a new space for cultural translation and social transformation.
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Phillips, Malcolm. "Experiment and representation : the domestic surreal in contemporary British and American poetry." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/14707.
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In order to counter what I regard as premature and reductive formulations of a 'native' British postmodernism, I identify a specific tendency in contemporary writing which I name the domestic surreal, and which I trace through the poetry of John Ashbery, Frank O'Hara, Roy Fisher, Christopher Middleton, John Ash, Peter Didsbury and Ian McMillan. Through close reading and a comparative approach, I uncover key preoccupations with idiosyncratic perception, shared experience, urban space and poetic play. I also describe a network of allegiances and influence among these writers which reveals the domestic surreal to be one of the contemporary manifestations of an imaginative tradition which stretches back through the Surrealist and Cubist movements to Baudelaire and Rimbaud. For the poets of the domestic surreal, engagement with an aesthetic tradition is inextricably linked with their response to contemporary conditions. Drawing on dialectical and poststructuralist perspectives, I propose that the domestic surreal attempts to resist the constraints of social and aesthetic consensus in Britain and America in the period following the Second World War.
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Hussain, Nasser. "Embodiment in contemporary North American performance poetry from David Antin to Christian Bök." Thesis, University of York, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.445468.
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Morse, Andrew. ""A new discipline of vision" : the synthesis of poetic and scientific epistemologies in contemporary speculative verse /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3102180.
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Thesis (Ph. D.)--University of Oregon, 2003.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 232-241). Also available for download via the World Wide Web; free to University of Oregon users.
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Guthrie, Brock. "Small Bar." Ohio University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1127251559.
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Frank, Rebecca M. "The Last Time I Saw Manila." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337007672.
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Dorris, Kara Delene 1980. "For the Ruined Body." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849739/.
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This dissertation contains two parts: Part I, "Self-Elegy as Self-Creation Myth," which discusses the self-elegy, a subgenre of the contemporary American elegy; and Part II, For the Ruined Body, a collection of poems. Traditionally elegies are responses to death, but modern and contemporary self-elegies question the kinds of death, responding to metaphorical not literal deaths. One category of elegy is the self-elegy, which turns inward, focusing on loss rather than death, mourning aspects of the self that are left behind, forgotten, or aspects that never existed. Both prospective and retrospective, self-elegies allow the self to be reinvented in the face of loss; they mourn past versions of selves as transient representations of moments in time. Self-elegies pursue the knowledge that the selves we create are fleeting and flawed, like our bodies. However by acknowledging painful self-truths, speakers in self-elegies exert agency; they participate in their own creation myths, actively interpreting and incorporating experiences into their identity by performing dreamlike scenarios and sustaining an intimate, but self-critical, voice in order to: one, imagine an alternate self to create distance and investigate the evolution of self-identity, employing hindsight and self-criticism to offer advice; two, reinterpret the past and its role in creating and shaping identity, employing a tone of resignation towards the changing nature of the self. This self-awareness, not to be confused with self-acceptance, is often the only consolation found.
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Groom, Kelle. "Five Kingdoms." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2168.
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GROOM, KELLE . Five Kingdoms. (Under the direction of Don Stap.) Five Kingdoms is a collection of 55 poems in three sections. The title refers to the five kingdoms of life, encompassing every living thing. Section I explores political themes and addresses subjects that reach across a broad expanse of time--from the oldest bones of a child and the oldest map of the world to the bombing of Fallujah in the current Iraq war. Connections between physical and metaphysical worlds are examined. The focus narrows from the world to the city in section II. The theme of shelter is important to these poems, as is the act of being a flâneur. The search for shelter, physical and spiritual, is explored. The third section of Five Kingdoms narrows further to the individual. Political themes recur, as do ekphrastic elements, in the examination of individual lives and the search for physical and metaphysical shelter. The title poem "Five Kingdoms," was written on the 60th anniversary of the atomic bombing of Hiroshima on August 6, 1945. This non-narrative poem is composed of a series of questions for the reader regarding personal and national security. It is a political poem that uses a language of fear and superstition to question what we are willing to sacrifice to be safe and what "safety" means. The poem ends with a call to action: "Before you break in two, categorize/the five kingdoms, count all the living things." The poems in this manuscript are a kind of counting that pays attention to the things of the world through praise and elegy. The poems in Five Kingdoms are indebted to my reading of many poets, in particular Michael Burkard, Carolyn Forché, Brenda Hillman, Tony Hoagland, Kenneth Koch, Philip Levine, Denise Levertov, Jane Mead, W.S. Merwin, Pablo Neruda, Frank O'Hara, Mary Oliver, Adrienne Rich, and Mark Strand.M.F.A.
Department of English
Arts and Humanities
Creative Writing MFA
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Militello, J. "From the maternal to the mechanical : the struggle against sentiment in contemporary American motherhood poetry." Thesis, Bath Spa University, 2017. http://researchspace.bathspa.ac.uk/9484/.
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The purpose of this study is to examine the poems of a small number of contemporary American poets who have worked to undermine poetic traditions of sentimentality that have sometimes figured large in the representation of motherhood. The study focuses on writers who have been formative to my own practice and who have helped me consider a challenge that I have wrestled with in my own writing and personal life. I write about their practices in relation to my own creative project, and to a concern that the more challenging aspects of motherhood not be oppressed. The first two chapters define idealism and sentimentality as factors that have been an important strand of motherhood poetry, explore the ways in which some contemporary American poets have sought to counter these factors in their work, and address the ways in which poets such as Sylvia Plath have examined the loss of maternal identity, which acts as precursor to the depersonalization of the mother in poetry. The thesis then investigates the depersonalization of the maternal figure by addressing the ways in which the mother can be mechanized and objectified in poems, and explores the objectification of the child in the work of several poets, showing how children have been embodied as objects in order to counter the culturally enforced response a child’s presence engenders. These later chapters also explore some of the reasons a poet might objectify the mother and child figure, and address the effects of this approach. As a way of concluding each chapter, the study speaks to the creative manuscript and its contextualization, discussing the ways in which the research has influenced the writing of the poems. The creative portion of the work is a manuscript of poems titled 'The Reproduction Cinema', which also addresses maternal struggle. The study finds that the objectification and depersonalization of mother and child is one important method by which poets wishing to write against more traditional ideas of motherhood might do so. The conclusion suggests that this more inclusive version of a poetics of the maternal experience will help broaden the discourse around the poetry of motherhood.
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Kepple, Amy Jo. "Imaging the body in Contemporary Women's Poetry: Helga Novak, Ursula Krechel, Carolyn Forche, Nikki Giovanni." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1389348189.
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Levan, Michael Jon. "Taken In." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4767/.
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Marvin, Catherine Christabel. "Chicanery." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054816982.
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Williams, Nerys Owen. "'Not exactly a mark, not exactly a trace' : error and the lyric in contemporary American poetry." Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.393248.
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Voth, Harman Karin. "Speak it mama : the voice of the mother contemporary British and North American fiction and poetry." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263917.
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Schmittauer, Janet Elaine. "Words into bytes : an analysis of the initial-drafting behaviors of freshmen-composition students in a curriculum focusing on contemporary American poetry." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1287431183.
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Cannella, Wendy. "Fireplaces: The Unmaking of the American Male Domestic Poet (Frost, Stevens, Williams, and Stephen Dunn)." Thesis, Boston College, 2011. http://hdl.handle.net/2345/2161.
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Thesis advisor: Paul MarianiThe fireplace has long stood at the center of the American home, that hearth which requires work and duty and which offers warmth and transformation in return. Fireplaces: The Unmaking of the American Male Domestic Poet takes a look at three major twentieth-century men whose poetry manifests anxieties about staying home to "keep the fire-place burning and the music-box churning and the wheels of the baby's chariot turning," as Wallace Stevens described it (L 246), during a time of great literary change when their peers were widely expatriating to Europe. Fireplaces considers contemporary poet Stephen Dunn as an inheritor of this mottled Modernist lineage of male lyric domesticity in the Northeastern United States, a tradition rattled by the terrorist events of September 11, 2001 after which Dunn leaves his wife and family home to remarry, thus razing the longstanding domestic frame of his poems. Ultimately Fireplaces leaves us with a question for twenty-first century verse--can a male poet still write about home? Or has the local domestic voice been supplanted at last by a placeless strain of lyric
Thesis (PhD) — Boston College, 2011
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: English
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Gerstle, Mary Valerie. "CANNED ROSES." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin990448249.
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Aguirre, Lina. "ENTRE LA VULNERABILIDAD Y EL GOCE: PRECARIEDAD Y GLOBALIZACION EN EL ARTE JOVEN CHILENO ACTUAL." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345488169.
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Alabdullah, Nada A. A. "The Beats: The Representation of a Battered Generation." University of Dayton / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1398678807.
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Johnson, Kris Erin. "All these rivers (a collection of poetry), &, Beyond the temple, beyond the pond : deep ecology and contemporary writing of the American West." Thesis, University of Newcastle upon Tyne, 2016. http://hdl.handle.net/10443/3378.
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This thesis comprises a collection of poetry, All These Rivers, and a critical dissertation Beyond the Temple, Beyond the Pond: Deep Ecology and Contemporary Literature of the American West, which collectively explore the relationship between the literature of the American West and Deep Ecology. All These Rivers engages with the themes and tenets of Deep Ecology in its methods and principles of construction. It considers my relationship to the landscape of home, the Pacific Northwest, and how it is maintained and intensified by the process of writing my experiences into existence during a period of geographic isolation. The collection’s title responds to the many rivers in this region, but also alludes to the collection’s themes of origins, direction and cycles. The content and structure of this body of work demonstrate how nature and natural processes not only shape the landscape, but imprint upon the self. Voicing my complex relationship with this geography through the process of writing, re-mapping and recounting experiences, this collection seeks to collapse the distance between vast and intimate geographies, reconcile the wild and the civilized, and to reunify myself with home terrain. The critical component provides a context for reading this collection of poems and further explores of the relationship between Deep Ecology and contemporary Western American literature through critical readings of Annie Dillard’s Holy the Firm and Ellen Meloy’s The Last Cheater’s Waltz. Concluding this body of work, I embark on a brief critical reading of All These Rivers, suggesting that the process of writing the collection, and the poems themselves, engage in a practice of Deep Ecology.
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Foster, Benjamin Thomas. "HISTORICAL INTIMACY: CONTEMPORARY RECLAMATIONS OF AFRICAN AMERICAN HISTORY IN THE DRAMA, POETRY, AND FICTION OF SUZAN-LORI PARKS, NATASHA TRETHEWAY, AND COLSON WHITEHEAD." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/dissertations/1066.
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Three contemporary authors – Suzan-Lori Parks, Natasha Trethewey, and Colson Whitehead – within the African American Literary Tradition explore relationships to history in light of a dominant rhetoric that represents African American history through a white, hegemonic lens. In Parks’ The America Play, Trethewey’s Bellocq’s Ophelia, and Whitehead’s The Intuitionist, these authors comment on historical representation through such symbols as iconic figures like Abraham Lincoln, photographs, and elevators as starting points to explore the possibility of an independent space for African American history. Rather than remarking on just the representation of the artifact, however, the authors enter a conversation on how history is remembered and experienced. Parks, Trethewey, and Whitehead each form their own expression on historical representation; in each case, their works address the ability, or inability, to achieve historical intimacy amidst a push back from hegemonic narratives in the public eye. Historical intimacy, as the leading concept of the dissertation, refers to developing a close proximity to history not as a mere representation but as lived experience. Parks sees historical insight developing only through brief moments of intimate contact, if at all. Trethewey imagines personal, even sensual, familiarity with the subjects of her poems as a way of breaking through social frames and learning to connect with the past. Whitehead works through paradoxes to dissolve representational patterns of discourse, like verticality, and reach for a post-rational space wherein both open historical possibility, which stresses self-reflexivity, and a foundation in a “real,” experienced history unlock the opportunity for the construction of an intimate history. Although no author presents historical intimacy as an achieved goal, their works suggest varying degrees of potential and connection.
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Mateus, Andrea Martins Lameirao. "A poética multifacetada de Jerome Rothenberg." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-14012015-170016/.
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A Poética Multifacetada de Jerome Rothenberg investiga o modo operacional da poética de Jerome Rothenberg (1931). Nascido em Nova York, em 1931, Rothenberg fez parte de uma geração intermediária entre movimentos poéticos bastante conhecidos de público e crítica: a poesia beatnik dos anos 1950 e 1960 e a language poetry do início da década de 1970. Junto com o poeta Robert Kelly, Rothenberg concebe a deep image nos anos 1960, movimento de curta duração, mas essencial para seu desenvolvimento poético. Rothenberg é conhecido principalmente por ter criado o termo etnopoesia e por seus experimentos com o que chamou tradução total, ao traduzir a poesia indígena norteamericana. A tradução total foi um método inovador de considerar a musicalidade, a presença de distorções de palavras ou palavras sem sentido, e outros mecanismos poéticos das artes verbais indígenas como parte integrante da composição. Dessa forma, o resultado da tradução deveria necessariamente contemplar todos esses aspectos. A partir de seu dito o primitivo é complexo Rothenberg passa a considerar aspectos poéticos da produção oriunda de culturas orais, ditas primitivas, como a base de seu conceito de etnopoesia. Sua busca pelo primitivo também o conecta diretamente com outros autores lidos como experimentais na poesia, de William Blake e Walt Whitman a Allen Ginsberg, passando por uma tríade modernista: Ezra Pound, William Carlos Williams e Gertrude Stein. A hipótese desta tese é demonstrar que o impulso etnopoético, aparentemente restrito ao seu trabalho como antologista e suas traduções, na realidade é mais abrangente e inclui sua própria produção poética. A etnopoesia se torna o conceito pelo qual podemos ler o seu retorno à sua ancestralidade judaica e seus poemas que tratam de temas como a vida dos judeus na Polônia dos anos 1930, a tradição mística da cabala e o Holocausto. A tese aborda também questões como inserção no meio poético, autoria, influência e originalidadeThe Multifaceted Poetry of Jerome Rothenberg deals with the methods applied by Jerome Rothenbergs poetics. Born in New York, in 1931, Rothenberg was part of a generation in between well known poetic movements: the beatnik poetry from the 1950s e 1960s and the language poetry of the 1970s. With fellow poet Robert Kelly, Rothenberg starts the deep image in the 1960, a short-lived movement, yet an essential one for his poetic development. Rothenberg is better known for having coined the term etnopoetry and for his experimentations with what he called total translation, while working with North-American Indian poetry. Total translation was an innovative method in considering musicality, the presence of word distortions or meaningless words and other poetic mechanisms of Indian poetry as an integral part of a poem or song, so that the resultant translation would necessarily contemplate all these aspects. From the perspective of his saying primitive is complex, Rothenberg starts considering the characteristics of poetry from oral culture, or those called primitive, as the basis for his concept of an etnopoetics. His search for the primitive also connects him with authors read as experimental in poetry, from William Blake and Walt Whitman to Allen Ginsberg, passing through the modernist triad Ezra Pound, William Carlos Williams and Gertrude Stein. The hypothesis of this thesis is to show how the etnopoetic impulse, apparently restricted to his work as anthologist and translator, is, in reality, much more broad in its spectrum and includes his own poetic production. Etnopoetry then becomes the concept we can use to read his return to his Jewish ancestrality and the poems dealing with topics such as the life of Jews in Poland in the 1930s, the mystical kabbalah and the Holocaust. This thesis also shows his insertion in the poetic scene, and debates questions like authorship, influence, and originality
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Blazer, Alex E. ""I am otherwise": the romance between poetry and theory after the death of the subject /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1053631716.
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Thesis (Ph. D.)--Ohio State University, 2003.Document formatted into pages; contains 386 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 May 26.
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Patterson, Arnecia. "Concrete Evidence: A Collection of Poems Versifying the City." Dayton, Ohio : University of Dayton, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1260112007.
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Thesis (M.A. in English) -- University of Dayton.Title from PDF t.p. (viewed 4/12/10). Advisor: Albino Carrillo. Includes bibliographical references (p. 34-36). Available online via the OhioLINK ETD Center.
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Gontovnik, Monica. "Another Way of Being: The Performative Practices of Contemporary Female ColombianArtists." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420473106.
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Reuter, Victoria. "Penelope differently : feminist re-visions of myth." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4f1ffe10-d690-441d-8726-7fe1df896cb4.
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This thesis examines feminist rewritings of the Penelope myth and the intersections between poetry, myth, and feminist theory. The theoretical framework develops from Rosi Braidotti’s theory of memory and subjectivity which has its roots in the work of Michel Foucault. In Braidotti’s understanding, subjectivity is constructed through narratives of the past including myth. In order to support new, minority, and dissident subjectivities, a re-remembering of mythical narratives needs to happen. This process is linked to Judith Butler’s recent work on narrating the self and to Adrienne Rich’s idea of “Re-vision”. What Butler’s theory adds to Braidotti’s is the notion of dispossession: that as subjects we do not own our identities. We are, instead, dependent on others for recognition. This co-dependence based notion of subjectivity has ethical implications for how we interact with one another and what kind of narratives we iterate and reiterate. The writers discussed in this thesis, namely, Francisca Aguirre, Katerina Anghelaki-Rooke, Gail Holst-Warhaft, and Margaret Atwood, not only rewrite Penelope, but perform Re-visions of the myth. They look back at it with a critical eye and remake it. This thesis further contends that Re-vision provides contemporary feminist writers with a reading and writing strategy that allows them to engage with myth in a way that parallels feminist theory’s efforts to construct new forms of subjectivity. Chapter 1 frames feminist appropriations of myth in a contemporary context and discusses Adrienne Rich’s theory of Re- vision. The next four chapters focus on specific writers who carry out a sustained dialogue with Penelope; they each take an element of the myth and tease it out towards a modern relevance. In looking at how Penelope is revised, this thesis demonstrates that women writers are engaged in a process of remaking canonical, mythic texts in such a way that speaks to contemporary issues of ethical subjectivity and self-making.
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Huang, Stephanie M. "Nostos: On Recollecting Loss and the Physical Manifestation of Loss." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/760.
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This paper examines nostalgia in photo-poetry book Nostos, and nostalgia’s existence as a theoretical global condition arising from displacement, looking at nostalgia specifically not as a yearning for home, but a yearning for a lost sense of feeling at home. It traces the lineage of image-text hybrid art practices and examines the significance of conveying meaning through both synergistically. It studies the psychoanalytic process of transforming loss into object, or absence into presence, ultimately using the object as a lens to view oneself and the way in which nostalgia manifests itself.
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Fleck, Gilmei Francisco [UNESP]. "O romance, leituras da história: a saga de Cristóvão Colombo em terras americanas." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/103668.
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Apoiado nos pressupostos da literatura comparada, o presente estudo investiga as principais produções de romances no contexto da poética do descobrimento em terras americanas, cujas produções incluem obras que revelam desde o discurso apologético ao paródico e carnavalizado. Tais releituras se alimentam das imagens dicotômicas de Colombo, expostas tanto pela historiografia tradicional como pela nova história e pelo romance histórico. Partindo de um corpus bastante amplo, com romances produzidos em diferentes períodos, objetiva-se, primeiramente, destacar o discurso apologético presente nas produções norte-americanas desde o romantismo até a contemporaneidade para, em seguida, ao abordar a produção hispano-americana da temática – iniciada na década de 70 do século XX – mostrar que esta modalidade de novo romance histórico acabou influenciando as produções sobre o descobrimento em todo o território americano, levando determinados romancistas norteamericanos a se alinharem com os logros estéticos da literatura hispano-americana. Como conseqüência deste processo, temos, na literatura norte-americana contemporânea, um conjunto de obras que inclui a dialética da apologia e da paródia em relação à poética do descobrimento, fato que revelamos pela análise de um corpus específico. O procedimento de seleção do corpus levou em conta, para sua delimitação, os seguintes critérios: obras que pertencessem à modalidade romance histórico americano contemporâneo; que fossem oriundas de cada uma das três Américas; e que fossem representativas de cada uma das modalidades contemporâneas de romance histórico em língua espanhola e inglesa...
Supported by the principles of Compared Literature, the present study investigates the main novels’ productions on the poetry of the discovery in America, whose fictional production includes works with different discourses, from the apology to parody and carnivalization. Such re-elaborations have as one of their sources the dichotomic images of Columbus widespread by both the traditional historiography and the new history, as well as the historical novel. Based on a comprehensive corpus of historical novels produced in different periods in America, we firstly intend to prove that this literary genre in North America has produced a discourse of apology since Romanticism until contemporary times, and then, by approaching the Hispanic American fictional production of the theme – which started around the 70s of the 20th century –, to show that this kind of historical novel has eventually influenced the whole fictional production on the discovery in the whole American continent. This fact made some of the North American novelist align themselves with the aesthetic aspects achieved by the Hispanic American Literature. As a consequence of this process, the current North American Literature presents a number of works including the dialectic of apology and parody in relation to the discovery, which can be confirmed by the analyses of works from our corpus. In the selection of this corpus, we considered the following criteria: works classified as contemporary American historical novels; works produced in each of the three Americas; and works which are representative of the different... (Complete abstract click electronic access below)
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França, Vinicius. "A poesia de Philip Levine = estudo seguido de pequena antologia traduzida e comentada." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269959.
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Orientador: Eric Mitchell SabinsonDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O objetivo desta dissertação foi estudar a obra do poeta Philip Levine (1928- ). A partir de uma caracterização da poesia de Levine, que é tido como um dos mais importantes poetas em atividade nos E.U.A., foi estabelecida uma antologia traduzida e comentada de seus poemas. Para tanto, em um primeiro momento, buscou-se apontar os rumos que a poesia norte-americana tomou a partir de 1945. Em seguida, com o auxílio da leitura da crítica especializada, foi elaborada uma discussão do lugar que a obra de Levine ocupa na poesia norte-americana do pós-guerra, com o intuito de caracterizar e estabelecer um corpus representativo de sua produção poética, a partir de seus três primeiros livros que foram publicados entre 1963 e 1974
Abstract: The goal of this thesis was to study the work of poet Philip Levine (1928- ). From a characterization of Levine?s poetry, who is regarded as one of the most important poets in activity in the U.S., a translated and annotated anthology of his poems was established. The direction that American poetry has taken since 1945 is described. After presenting a reading of the relevant criticism, we discuss Levine's place in postwar American poetry in order to characterize and establish a representative corpus of his poetry from his first three books, which were published between 1963 and 1974
Mestrado
Teoria e Critica Literaria
Mentre em Teoria e História Literária
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Fleck, Gilmei Francisco. "O romance, leituras da história : a saga de Cristóvão Colombo em terras americanas /." Assis : [s.n.], 2008. http://hdl.handle.net/11449/103668.
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Orientador: Heloísa Costa MiltonBanca: Livia Maria de Freitas Reis
Banca: Lourdes Kaminski Alves
Banca: Ana Maria Carlos
Banca: Cleide Antônia Rapucci
Resumo: Apoiado nos pressupostos da literatura comparada, o presente estudo investiga as principais produções de romances no contexto da poética do descobrimento em terras americanas, cujas produções incluem obras que revelam desde o discurso apologético ao paródico e carnavalizado. Tais releituras se alimentam das imagens dicotômicas de Colombo, expostas tanto pela historiografia tradicional como pela nova história e pelo romance histórico. Partindo de um corpus bastante amplo, com romances produzidos em diferentes períodos, objetiva-se, primeiramente, destacar o discurso apologético presente nas produções norte-americanas desde o romantismo até a contemporaneidade para, em seguida, ao abordar a produção hispano-americana da temática - iniciada na década de 70 do século XX - mostrar que esta modalidade de novo romance histórico acabou influenciando as produções sobre o descobrimento em todo o território americano, levando determinados romancistas norteamericanos a se alinharem com os logros estéticos da literatura hispano-americana. Como conseqüência deste processo, temos, na literatura norte-americana contemporânea, um conjunto de obras que inclui a dialética da apologia e da paródia em relação à poética do descobrimento, fato que revelamos pela análise de um corpus específico. O procedimento de seleção do corpus levou em conta, para sua delimitação, os seguintes critérios: obras que pertencessem à modalidade romance histórico americano contemporâneo; que fossem oriundas de cada uma das três Américas; e que fossem representativas de cada uma das modalidades contemporâneas de romance histórico em língua espanhola e inglesa... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Supported by the principles of Compared Literature, the present study investigates the main novels' productions on the poetry of the discovery in America, whose fictional production includes works with different discourses, from the apology to parody and carnivalization. Such re-elaborations have as one of their sources the dichotomic images of Columbus widespread by both the traditional historiography and the new history, as well as the historical novel. Based on a comprehensive corpus of historical novels produced in different periods in America, we firstly intend to prove that this literary genre in North America has produced a discourse of apology since Romanticism until contemporary times, and then, by approaching the Hispanic American fictional production of the theme - which started around the 70s of the 20th century -, to show that this kind of historical novel has eventually influenced the whole fictional production on the discovery in the whole American continent. This fact made some of the North American novelist align themselves with the aesthetic aspects achieved by the Hispanic American Literature. As a consequence of this process, the current North American Literature presents a number of works including the dialectic of apology and parody in relation to the discovery, which can be confirmed by the analyses of works from our corpus. In the selection of this corpus, we considered the following criteria: works classified as contemporary American historical novels; works produced in each of the three Americas; and works which are representative of the different... (Complete abstract click electronic access below)
Doutor
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Austin, Travis R. "Laminated PAINT." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5462.
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Though we may not perceive it, we are surrounded by material-in-flux. Inert materials degrade and the events that comprise our natural and social environments causally thread into a duration that unifies us in our incomprehension. Sounds reveal ever-present vibrations of the landscape: expressions of the flexuous ground on which we stand.
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Blake, Greyory. "Good Game." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5377.
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This thesis and its corresponding art installation, Lessons from Ziggy, attempts to deconstruct the variables prevalent within several complex systems, analyze their transformations, and propose a methodology for reasserting the soap box within the display pedestal. In this text, there are several key and specific examples of the transformation of various signifiers (i.e. media-bred fear’s transformation into a political tactic of surveillance, contemporary freneticism’s transformation into complacency, and community’s transformation into nationalism as a state weapon). In this essay, all of these concepts are contextualized within the exponential growth of new technologies. That is to say, all of these semiotic developments must be framed within the post-Internet sphere.
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Johnston, Devin Dillon. "Precipitations : contemporary American poetry as occult practice /." 1999. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9951803.
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Cottingham, Reid Ann. "Postwork poetics : contemporary American poetry and the disappearance of work /." 2001. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3029480.
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Porter, Julie LaRue. "Beyond McPoetry: Contemporary American Poetry in the Institutionalized Creative Writing Program Era." Thesis, 2012. https://doi.org/10.7916/D8W95H5J.
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This dissertation examines the rise of the creative writing program in American higher education and considers its influence on contemporary American poetry. I investigate how the patronage of the university has impacted American poetry and reconfigured the contemporary literary landscape. Using Mark McGurl's (2009) groundbreaking research on post-World War II fiction and the rise of the creative writing program as a launching point, I consider the following questions: (1) How might contemporary American poetry be understood in relation to the rise of mass higher education and the creative writing program? (2) How and why has the creative writing program reorganized U.S. poetry production in the postwar period?, and (3) How can the rise of the creative writing program be brought to bear on a reading of contemporary poetry itself? Investigating beyond the well-worn claim that institutionalized creative writing programs produce McPoetry, this humanities-based research examines the ascents of three of America's most celebrated living poets. First, I investigate Kay Ryan's rise as an "outsider" poet happily unaffiliated with creative writing programs. Through close readings, I consider how the most dominant and idiosyncratic craft elements in her writing are a partial result of her avoidance of the homogenizing forces of the creative writing workshop. I then examine Jorie Graham's influence as a former faculty member at Iowa Writers Workshop, the most prestigious and indisputably powerful M.F.A. program in the nation, and as a current professor at Harvard University. I examine distinguishing features of Graham's work and trace threads of connection in the poetry of other Elliptical poets who have been heavily influenced by her. I consider how Graham's work necessitates literary scholarship and how those granted power by their institution in turn bolster Graham's body of work. In particular, I examine Helen Vendler's role, as our nation's most powerful poetry critic, in promoting Graham's poetry and popularizing a set of aesthetic values modeled largely after Graham's. Next, I consider Billy Collins' aggressive courting of the general reader of poetry as an antidote to academe's exclusion of non-specialist readers. I argue that Collins' impressive popularity and subversive tendencies serve as a counterweight to the literary authority of "official verse" culture. The examination of Billy Collins, Jorie Graham, and Kay Ryan aims to illuminate higher education's role in bestowing cultural authority on particular poets and kinds of poetry.
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Backer, Henry. "Two for Flinching." 2015. http://scholarworks.gsu.edu/english_diss/141.
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Two for Flinching is a manuscript of forty-four poems broken into three sections. The first section is centered around family and nature, the second is centered around love and relationships, and the third section is mainly poems inspired by various mythologies.
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Hlibchuk, Geoffrey. "The poetics of exception contemporary North American poetry and the ghosts of relation /." 2008. http://proquest.umi.com/pqdweb?did=1542145091&sid=10&Fmt=2&clientId=39334&RQT=309&VName=PQD.
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Thesis (Ph.D.)--State University of New York at Buffalo, 2008.Title from PDF title page (viewed on Nov. 19, 2008) Available through UMI ProQuest Digital Dissertations. Thesis adviser: McCaffery, Steve Includes bibliographical references.