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Riley, Peter. "Moonlighting in Manhattan : American poets at work 1855-1930." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610494.
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Hanson, Jeffrey Allan. "SAVING APPEARANCES." Ohio University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1172593287.
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Laffey, Seth Edward. "The Letters of Edwin Arlington Robinson: A Digital Edition (1889-1895)." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1499369594701871.
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Fiorussi, André. "Inundação musical: a música da poesia modernista hispano-americana." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-26062013-094151/.
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A tese investiga possíveis funções históricas da formulação e do uso de categorias poéticas relacionadas à música na poesia modernista hispano-americana, a partir da leitura e análise de poemas selecionados principalmente de Rubén Darío (1867-1916) e Julio Herrera y Reissig (1875-1910) e de textos críticos, teóricos, programáticos e narrativos que participam da primeira recepção histórica do modernismo. Divide-se em cinco capítulos que organizam os resultados de cinco frentes de investigação: aspectos da relação entre os poetas modernistas e a arte musical; papel da musicalidade na modernização do idioma poético castelhano; técnicas rítmicas e harmônicas e funções do efeito musical em diversos poemas modernistas; relação entre a música do modernismo e a ascensão oitocentista da música à condição de meta e metáfora da poesia; particularidades do aporte à música na poesia de Herrera y Reissig.This PhD dissertation investigates the possible historical functions of the formulation and use of poetical categories related to music in the Hispanic-American Modernist poetry, beginning with the reading and analyses of selected poems mainly those of Rubén Darío (1867-1916) and Julio Herrera y Reissig (1875-1910) and of critical, theoretical, programmatic and narrative texts that participate in the first historical reception of Modernism. The dissertation is divided into five chapters that organize the results of five domains of investigation: specific aspects of the relation between the Modernist poets and musical art; the role of musicality in the modernization of the Spanish poetic idiom; rhythmical and harmonic techniques and functions of the musical effects in diverse Modernist poems; the relation between the music of Modernism and the rise of music, in the 19th century, to the condition both of goal and metaphor for poetry; the particularities of the recourse to music in the poetry of Herrera y Reissig.
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Boulton, Lauren. "Free Women: Fairytales From A Lumbertown Brothel." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1436914200.
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Ziegler, Christopher Taylor. "Jeffersonianism and 19th century American maritime defense policy." [Johnson City, Tenn. : East Tennessee State University], 2003. http://etd-submit.etsu.edu/etd/theses/available/etd-1110103-111416/unrestricted/ZieglerC120103a.pdf.
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Thesis (M.A.)--East Tennessee State University, 2003.Title from electronic submission form. ETSU ETD database URN: etd-1110103-111416. Includes bibliographical references. Also available via Internet at the UMI web site.
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Martin, Michael Sean. "Imaginative Thanatopsis: Death and the 19th-Century American Subject." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/41295.
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EnglishPh.D.
In my dissertation, I intend to focus on the way that supernaturalism was produced and disseminated as a cultural category in 19th-century American fiction and non-fiction. In particular, my argument will be that 19th-century authors incorporated supernaturalism in their work to a large degree because of changing death practices at the time, ranging from the use of embalming to shifts in accepted mourning rituals to the ability to record the voices of the dead, and that these supernatural narratives are coded ways for these authors to rethink and grapple with the complexities of these shifting practices. Using Poe's "A Tale of Ragged Mountains" (1844) and Narrative of Arthur Gordon Pym (1838), Alcott's Little Women (1868), Hawthorne's House of the Seven Gables (1851), Melville's Moby-Dick (1851), Brockden Brown's Weiland (1798), Phelps' short fiction, Shaker religious writings, and other texts, I will argue that 19th-century narration, instead of being merely aligned with an emerging public sphere and the development of oratory, relied heavily on thanatoptic or deceased narrators, the successive movement of the 18th-century British graveyard poets. For writers who focused on mesmerism and mesmerized subjects, the supernatural became a vehicle for creating a type of "negative freedom," or coded, limitless space from which writers such as Margaret Fuller and Harriet Martineau could imagine their own death and do so without being scandalous. The 19th-century Shaker "visitations," whereby spirits of the dead were purported to speak through certain Shaker religionists, present a unique supernatural phenomenon, since this discrete culture also engaged with coded ways for rethinking death practices and rituals through their supernatural narratives. Meanwhile, such shifting cultural practices associated with death and its rituals also lead, I will argue, to the development of a new literary trope: the disembodied child narrator, as used first in Brockden Brown's novel and then in Melville's fiction, for example. Finally, I will finish my dissertation with a chapter that, while also considering how thanatoptic narrative is used in literary supernaturalism, will focus more on spaces, mazes, and, to use Benjamin's term in The Arcades Project (tran. 1999), arcades that marked 19th-century culture and architecture and how this change in space - and subsequent thanatoptic geography in 19th-century fiction - was at least partially correlated to shifting death practices. I see this project as contributing to 19th-century American scholarship on death practices and literature, including those by Ann Douglas, Karen Sanchez-Eppler and Russ Castronovo, but doing so by arguing that the literary mechanism of supernaturalism and the gothic acted as categories or vehicles for rethinking and reconsidering actual death practices, funeral rituals, and related haunted technology (recordings, daguerreotypes) at the time.
Temple University--Theses
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Thompson, Aaron Michael. "Poetry of the Slavophiles: Tracing Slavophile Philosophy Through 19th-Century Poetics." Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/579060.
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This is the second part of an overview of the cultural history of Slavophiles, a term applicable to those ascribing to the traditional values, especially in relation to the philosophical treatises written by Aleksey Khomyakov, Ivan Kireevsky, and their contemporaries from 1839 to the middle 1860s. Having established the troika of themes at the treatises' foundation—the Russian state and Tsar, the Russian Orthodox Church, and the hierarchical governmental mir and sociocultural obshchina constructions present in history—I examine the philosophical, theological, and anthropological realities of poems by Khomyakov, Nikolai Yazykov, and Fyodor Tyutchev. My primary focus is on Tyutchev, a philosopher-poet and lifetime Slavophile who is known for many works which fall outside of this investigation. I will uncover and discuss how Khomyakov and Kireevsky's ideas are conveyed through the semiotics, rhetoric, and specific poetics of three decades of Tyutchev's oeuvre. In the end, I find that Tyutchev transversed through three phases, beginning with a personal construction of Slavdom or the Slavic obshchina , creating a relationship between Slavic and universally true good, and concluding with the development of the correlation between Western and evil. The final part of the Slavophile overview will the existing sociopolitical remnants of Slavophile ideologies in the 21st century.
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Lind, Joshua. "Desire and Subjectivity in Twentieth Century American Poetry." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/17889.
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Many studies of American poetry view modernism as an eruption of formal and technical innovations that respond to momentous cultural and political changes, but few attempt to consider the flow and restriction of desire among these changes. This dissertation argues that American modernist poets construct models of desire based on the rejection of sensual objects and a subsequent redirection of desire toward the self and the creative mind. In addition, these models of desire result in a conception of subjects as whole, discrete, and isolated.
In the first chapter, I distinguish between Walt Whitman's sensualist model of desire and Emily Dickinson's intellectualist mode that defers satisfaction. I contend that Ezra Pound, Wallace Stevens, T. S. Eliot, and H.D. (Hilda Doolittle) develop from Dickinson's perspective of deferred satisfaction to an outright rejection of physical desire. The manner and implications of this reorganization of desire differ among these poets, as do the poetic techniques they utilize, but underlying these differences is a related refusal to pursue objects of sensual pleasure. Pound withdraws desire from the world by turning objects into static images; desire is then able to flourish in the creative mind. Stevens allows the imagination to remake the world, creating manifold abstractions for subjects who otherwise reject sensuality.
The second chapter provides a close reading of Eliot's The Waste Land to show how the presentation of sexual futility leads to a poetic experience of separation as a means of spiritual reformation. The third chapter reads H.D.'s Trilogy as a contemplation of the destruction of World War II and the persistent, unified self that outlasts it. Rather than interacting with this devastated world, H.D. insists that desire must be redirected toward the effort of spiritual redemption. In the fourth chapter, Elizabeth Bishop begins to question the deliberate rejection of the world. She sees a world that reasserts itself and imagines a subject who, though still yearning for unity, must admit an inescapably physical environment. The conclusion considers how postwar American poets continue to dissolve the subject and release desire into the world, emphasizing the present moment rather than a lasting, unified self.
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Jung, Sandro. "The poetic fragment in the long eighteenth century." Thesis, University of Wales Trinity Saint David, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683194.
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Maxwell, Catherine. "Looking and perception in nineteenth century poetry." Thesis, University of Oxford, 1990. http://ora.ox.ac.uk/objects/uuid:8f4ff9be-6c07-4060-b777-6a7402d024c7.
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The thesis examines a series of nineteenth century poets whose poems are concerned with complex relations of looking and perception, and concentrates on Shelley and the poets he influenced: Browning, Rossetti, Swinburne, and Hardy. It focusses on poems dealing with the visual arts and aesthetic modes of perception, and concludes with a study of Walter Pater - an unrecognised follower of Shelley - and his notions of artistic character. An emphasis on the way face and bodily form are scrutinised, in poems concerning painting, sculpture and portraiture, leads to the hypothesis that the way the poet pictures essence or character through corporeal form is correlative to the essence or character of his own poetry. The particular spatial relations and visual representations of the poetry provide an index to specific patterns of reading. At the heart of this examination is a Shelleyan conception of the "unsculptured image", the characterising force and pre-given perspective of a poet's poem, which has a primary shaping effect on his language and representations, and continues to exert itself in the poem's reading. As this "image" is an imaginative rather than purely linguistic force, the analyses of selected poems avoid reduction to considerations of language and rhetoric alone, seeking rather to engage with the question of what constitutes a writer's own essence or particularity and what gives a strong poem its compulsive power. The thesis draws on the work of the French literary critic Maurice Blanchot to inform its ideas of poetic space and depth, and to produce an understanding of the poetic text very different from that given by a classical reading; and so alter the way one perceives the poem as literary object. In addition to this, certain nineteenth century and earlier aesthetic writings, and the prose works of the poets themselves, establish the critical basis of the arguments advanced. The thesis also endeavours to follow through the arguments of traditional scholarship in order to provide critique on distinctions or departures made. Chapter I examines Shelley's 'On the Medusa of Leonardo da Vinci in the Florentine Gallery'; Chapter II deals with portraiture in Browning's 'My Last Duchess' and Rossetti's The Portrait'; Chapter III turns to the sculpture of the hermaphrodite in Swinburne's early lyric 'Hermaphroditus'; Chapter IV looks at Thomas Hardy's poems about sketches and shades; Chapter V is an epilogue in which the work of Walter Pater draws together the ideas developed in the rest of the thesis.
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Galloway, Lisa R. "Liminal : a poetry collection." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1313634.
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This project comprises the best poetry written in my graduate study at Ball State University. The title, Liminal, is a term that has reappeared thematically in my work. Merriam Webster defines it as: "the threshold of a physiological or psychological response," but more than that, for me liminality is the doorframe between things; it is poetry. Poetry is a conglomeration of splicing between inner worlds and outer worlds; it tries to capture and recreate physiological or psychological responses, bringing the reader into the threshold that the writer has exited. Poetry is a door, a threshold; it is liminal. Thresholds are infinite and immeasurable; therefore, I have tried to capture or recreate liminal moments of my life into words that are physical, measurable in a sense, and therefore create presence, inviting readers through the threshold of my literary house out of the liminal abyss. These 36 pages of poetry contain liminal subject matter, whether embodying sexuality, relationships, spirituality, or moments bordering life and death, but always the inestimable line between two things.Department of English
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Brozovich, Lauren Kaye. "Environmental Spiral: Scientific Mediation in Twentieth-Century American Poetry." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11017.
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This dissertation asks how the heightening of artistic and scientific mediation has affected the representation of the environment in modernist and contemporary American poetry. In chapters on Marianne Moore, A.R. Ammons, and Jorie Graham, I contend that the twentieth century sees a crucial shift in the representation of the environment, as poets become increasingly attentive to the self-reflexive non-transparency of their own medium and incorporate the mediating discourse of science into their work. While science has served as a source for poetic imagery for centuries, suddenly in the twentieth century, mathematical equations--expressed entirely in symbols--appear in the middle of poems, and qualitative scientific language, remarkable for its opacity to the non-specialist, is woven into the texture of verse. Writing at the height of High Modernism, Moore is fascinated by natural history's fusion of art and science. For Moore, the mimetic copies displayed in natural history museums (for instance, glass flowers) reveal things about real creatures that an unmediated encounter could not. Her incorporation of replicas of natural creatures into her poems about real environments enables her to evoke what I term the "synthetic" super-real. In the early 1960s, Ammons is intrigued by the latest scientific discoveries, especially the mathematical modeling of nonlinear dynamical systems. While philosophers have argued that the poet and the scientist occupy separate spheres, Ammons fuses mathematical modeling and sensuous description. His hybrid poetic style enables him to represent the temporal evolution of nonlinear dynamical systems and the operation of forces within a field. In Sea Change, Graham, writing in the imagined wake of future climate change, fundamentally transforms poetic representational techniques, as she creates a frame-shattering poetic form that is uncomfortably poised on the threshold between a climate model and a sensuously embodied environment. By exemplifying recourse to the mediating discourse of science, these poets extend the representational limits of their own aesthetic medium, as they pave the way for twenty-first-century poets who, with greater urgency than ever before, attempt to represent the environment in an era marked by man-made climate change.
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Radway, John North. "The Fate of Epic in Twentieth-Century American Poetry." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:26718713.
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This dissertation explores the afterlife of the Western epic tradition in the poetry of the United States of America after World War Two and in the wake of high modernism. The ancient, Classical conception of epic, as formulated by Aristotle, involves a crucial, integral opposition between ethos, or character, and mythos, or the defining features, narratives, and histories of the world through which ethos moves. The classical epic and its direct line of succession, from Homer to Virgil to Dante to Milton and even to Joel Barlow, uses the opposition between ethos and mythos to create literary tension and drive. In the first half of the twentieth century, however, Ezra Pound upended this tradition dynamic by attempting to create a new form of epic in which mythos, not ethos, was the principal agonist, and in which large-scale aspects of the political, literary, and economic world struggled for survival on their own terms, thus divorcing epic from its traditional reliance on ethos. Chapter One explores this dubious revolution in terms of Pound’s larger project of breaking away from his nineteenth century forbears. The remaining chapters comprise three case studies of the divergent ways in which later twentieth century poets sought to salvage something of the traditional epic dynamic from the ruin wracked by Pound and his acolytes. Chapter Two explores John Berryman’s 77 Dream Songs, an epic-like poem that models itself subtly on Dante’s Commedia while placing a profound and deliberate emphasis on ethos even at the expense of mythos. Chapter Three explores Robert Lowell’s career-long effort to expose the terrifyingly inexorable nature of mythos, constructing an inconceivably enormous presence against whom character and divinity alike struggle in vain. Finally, Chapter Four examines Adrienne Rich’s early and middle years as an attempt to outline and enact a politically and socially efficacious means by which ethos might finally overcome mythos and liberate itself not only from the recursive historical traps of Pound, modernism, fascism, and patriarchy, but also from the literary history and tradition that lured humanity into believing that those traps ever existed. Berryman’s intervention in the epic tradition is heavily literary and overtly personal; Lowell’s is cynical, apocalyptic, and descriptively political; and Rich’s is revolutionary and messianic. Together, these three poets represent a meaningful sampling of the afterlife of the epic tradition in late twentieth-century America.English
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Chester, Thomas J. "Hard soled shoes : a poetry collection." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1313071.
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Hard Soled Shoes is a collection of poetry designed to appeal to several, specific audiences. The first audience consists of: other poets, creative writers, and literary critics. I have submitted a work drawn from the life experience of a 42 year-old man. I crafted the poems with the academic learning gained from a graduate study of poetry and creative writing. My graduate education has helped me recognize a higher and broader standard in the realm of poetry. It also enabled me to refine my own style of writing; a comfortable mix of song lyrics and image-rich writing.Another group I hope to reach with this collection is a segment of readers who have a limited knowledge of poetry. I feel it is important to reach out beyond the academic community to a broader audience. There are many people outside academia who can appreciate and enjoy good poetry. I chose many poems for this collection that are accessible and relevant to people of many backgrounds, interests, and demographics. The use of humor, meter, rhyme, and familiar characters give the pieces understandable "hooks" to draw the attention of readers. The inclusion of song lyrics and musical devices like refrains bring a familiarity to readers who only have experience of poetry through popular music.My intent is to use simple and clear language to express more complex ideas. Hopefully the depth of subject matter will entice readers to re-read certain pieces and consider new ideas. The use of repetition and rhyme will hopefully bring focus and power to certain poems and create at least a few memorable or quotable lines from the collection.I believe a poetry collection can be an artistic endeavor and still have a broad entertainment appeal. My education has prepared me to recognize and write quality, literary poetry suitable for publication. My years of experience producing creative ideas for media and advertising have made me aware of the challenges of trying to reach a vast audience. I see a hole in the media market. I believe good, accessible poetry could fill a void and successfully satisfy the needs of a specific, literary niche.Department of English
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Davis, Michael A. "Jacksonian Volcano: Anti-Secretism and Secretism in 19th Century American Culture." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1378109351.
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Vara-Dannen, Theresa C. "Benevolence and bitterness : the African-American experience in 19th century Connecticut." Thesis, Swansea University, 2012. https://cronfa.swan.ac.uk/Record/cronfa43161.
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This study examines the African-American experience in 19th century Connecticut through the writing of its eminent resident authors, ordinary people, and journalists. In every racial incident that occurred during this period, white citizens were torn between profoundly emotional racist ideologies and a more humanitarian, Christian benevolence rooted in Connecticut's Congregational history. Even allies of the African-American cause, such as Harriet Beecher Stowe and Mark Twain, set clear limits on their support, perhaps to maximize the appeal of their work to the broadest readership. Newspaper editors, too, seemed to ensure that views within their newspapers expressed community standards. As a consequence, even the most forward-looking papers tended to preserve the balance of white power by perpetrating images of African-Americans as a servile and subservient caste; condoning and advancing colonization efforts; and portraying white people as the victims of 'levelling principles'. State legislation regarding voting rights, property ownership and interracial marriage was more generous than that of most Northern states, and allowed some African-Americans to succeed. Yet they were working against a tremendous weight of white bigotry that was so entrenched in custom and habit that no 'black' laws were deemed necessary, and black civil rights were advocated because they could not possibly affect white social associations. Furthermore, mainstream Connecticut newspapers were unique in that they saw fit to publish only what reinforced the state's most optimistic self-image as a civilized, tolerant and Christian community. This required a seemingly universal journalistic amnesia about white violence against African-Americans and their allies, along with the projection of southern guilt in cases of blatant discrimination in the state, and the thorough condemnation of 'extremists' like John Brown. The daily bigotry suffered by African-Americans, along with the hope of better economic prospects, led many to flee Connecticut's rural areas and group together for mutual help, support and comfort, in major cities. Consequentially, even today, the state is deeply residentially and economically segregated, resulting in physical, economic, social and psychological costs to all Americans.
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Emig, Rainer. "The end of modernism in English poetry." Thesis, University of Oxford, 1992. http://ora.ox.ac.uk/objects/uuid:c02149d4-6f3b-4368-b20e-d8e669514ccf.
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'End' as 'goal' and 'limit' is explored in signs, symbols, metaphors, metonymies, and myths in the works of G.M. Hopkins, Yeats, Eliot, and Pound, before the study examines the aesthetics of modernist poetry which - through psychoanalysis, economy, and language philosophy - presents itself as one facet of the 'modernist project'. Modernist poetry struggles with its material, the lacking motivation of signs, the unstable connection of signifier and signified. Already in Hopkins this creates tensions between mimetic endeavour and construction. Appropriation and distancing as compensation strategies prefigure modernism's tendencies of simultaneous expansion and reduction. They produce impasses, evident in attempts to signify the self: absence, dissolution, and submission to myth, recurring limits in modernist poetry. Yeats's poems avoid mimetic tensions by focussing on opaque signifieds of symbols, intertextuality rather than empiricism. Yet the excluded 'outside' in the shape of history questions works and their creator. Again, silence, dissolution, or superhistoricism become refuges, leading to dissolution of symbols into metaphors and metonymies or their sublimation in myth. Eliot's poems seemingly return to realism. Yet their focussing on everyday life disguises the internalisation of reality in psychological landscapes. Difficulties of drawing borderlines between subject and object(s) result: objects become threatening and characters mutilated in reifications, processes expressed in shifts from metaphor to metonymy. Pound's stabilising strategies reify language itself. His personae try to legitimise poems by incorporating histories of others, but produce overcharge and disintegration. Imagism refines modernism's reductive move, but creates monadic closure. Attempts at impersonality and superhistoricism lead to the dominance of the suppressed. Vorticism's construction/destruction dialectic does not tolerate 'works'. Only the ideogrammatic method achieves the shift to signifiers only which enables poems to 'include' reality and history at the cost of blindness towards themselves. Psychoanalysis displays analogies in its holistic concepts and simultaneous internal delineations, its distrust of signs and incomplete and lacking constructs deriving from them. Modernist poetry's struggle with tradition in order to legitimise its existence mirrors the individual's subjection to the 'law of the father'. Individuation is achieved by mutilation; the return to imaginary wholeness preceding it, although Utopian goal, remains impossible; it appears in poems as self-destruction. The economy of modernist poems shows their fight against expenditure, creation of artificial value through symbols, eventually a reductio ad absurdum in poems producing only themselves in reification. Work and subject become borderlines when reality shifts into the text altogether and the signified is eliminated. Language philosophy reproduces the positions of modernist poems towards reality, admitting the separation of language and objects: Nietzsche in disqualifying truth, Wittgenstein uncovering language's impotence. Again the excluded appears as the mystical which Heidegger re-integrates by setting up language as reality's creator and receptacle of Being. The nominalist upside-down turn of his linguistic universe is analogous to modernism's myth of itself. Adorno criticises the closed nature of works as statements and advocates a 'true' modernism in the fragmentation of the work and openness towards heterogeneity. Like Baudrillard, he stresses the riddle of art which permits its orbital position, neither detached from societal conditioning nor completely subjected to it, thus capable of unveiling the relativity of master-narratives. The 'true' modernist poem displays its tensions and 'sacrifices itself in order to remind its reader of the damages of existence.
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Randall, D'Arcy Clare. ""Adam and his mother" : maternal performance in late twentieth-century American women's poetry /." Digital version:, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008425.
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Quintanilla, Octavio. "Love Poem with Exiles." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28465/.
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Love Poem with Exiles is a collection of poems with a critical preface. The poems are varied in terms of subject matter and form. In the critical preface, I discuss my relationship with poetry as well as the idea that we inherit poems, and that if we are inspired by them, we can transform them into something new.
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Bennett, Sarah. "The American contexts of Irish poetry, 1950-present." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669957.
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Zheng, Juan. "African American Cultural Products and Social Uplift, the End of the 19th Century - the Early of the 20th Century." W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539626432.
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Piantanida, Cecilia. "Classical lyricism in Italian and North American 20th-century poetry." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:4422c01a-ba88-4fe0-a21f-4804e4c610ce.
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This thesis defines ‘classical lyricism’ as any mode of appropriation of Greek and Latin monodic lyric whereby a poet may develop a wider discourse on poetry. Assuming classical lyricism as an internal category of enquiry, my thesis investigates the presence of Sappho and Catullus as lyric archetypes in Italian and North American poetry of the 20th century. The analysis concentrates on translations and appropriations of Sappho and Catullus in four case studies: Giovanni Pascoli (1855-1912) and Salvatore Quasimodo (1901-1968) in Italy; Ezra Pound (1885-1972) and Anne Carson (b. 1950) in North America. I first trace the poetic reception of Sappho and Catullus in the oeuvres of the four authors separately. I define and evaluate the role of the respective appropriations within each author’s work and poetics. I then contextualise the four case studies within the Italian and North American literary histories. Finally, through the new outlook afforded by the comparative angle of this thesis, I uncover some of the hidden threads connecting the different types of classical lyricism transnationally. The thesis shows that the course of classical lyricism takes two opposite aesthetic directions in Italy and in North America. Moreover, despite the two aesthetic trajectories diverging, I demonstrate that the four poets’ appropriations of Sappho and Catullus share certain topical characteristics. Three out of four types of classical lyricism are defined by a preference for Sappho’s and Catullus’ lyrics which deal with marriage rituals and defloration, patterns of death and rebirth, and solar myths. They stand out as the epiphenomena of the poets’ interest in the anthropological foundations of the lyric, which is grounded in a philosophical function associated with poetry as a quest for knowledge. I therefore ultimately propose that ‘classical lyricism’ may be considered as an independent historical and interpretative category of the classical legacy.
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Gill, Laura Fox. "Peripheral vision : the Miltonic in Victorian painting, poetry, and prose, 1825-1901." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/72673/.
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This thesis explores the influence of John Milton on the edges of Victorian culture, addressing temporal, geographical, bodily, and sexual thresholds in Victorian poetry, painting, and prose. Where previous studies of Milton's Victorian influence have focused on the poetic legacy of Paradise Lost, this project identifies traces of Miltonic concepts across aesthetic borders, analysing an interdisciplinary cultural sample in order to state anew Milton's significance in the period between British Romanticism and early twentieth-century critical debates about the value of Paradise Lost. The project is divided into four chapters. The first explores apocalyptic images and texts from the 1820s-Mary Shelley's The Last Man (1826) and the paintings of John Martin-in relation to Miltonic aetiology and eschatology. These texts offer a complex re-thinking of the relation between personal loss and universal catastrophe, which draws on and positions itself against prophecy and apocalypse in Paradise Lost. In the second chapter I address conceptual connections that cross boundaries of medium and nationality, identifying the presence of a Miltonic notion of powerful passivity in the writing and marginalia of Herman Melville and the paintings and anecdotal appendages of J. M. W. Turner. In the third chapter I consider Milton's importance for A. C. Swinburne's poetic presentation of peripheral sexualities, identifying in Milton's poetry a pervasive metaphysics of bodily 'melting' or 'cleaving' which is essential to Swinburne's poetic project. The final chapter analyses the presence of the Miltonic in the fiction of Thomas Hardy, whose repeated readings of Milton contributed to both establishing his poetic vocabulary, and prompting a career-long engagement with Miltonic ideas. The thesis refocuses attention on peripheral elements of the work of these writers and artists to re-articulate Milton's importance for the Victorians, whilst bringing together models of influence which show the Victorian Milton to be at once liminal and galvanising.
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Higgins, Eric W. "The observing ape : poems." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1365515.
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The poems in The Observing Ape are arranged into three chapters: "Neighbors," "Making," and "Strangers." At their core, these poems trace the ways in which speakers internalize the exterior world. Although no single narrative unifies the collection, each poem records the consciousness of a speaker as the interior and the exterior intersect. Through persona poems and intensely perceived images, the collection strives to understand how humans learn, observe, and imagine. However, forays into visual art, primatology, and voyeurism color the poems with cultural referents, and these referents infuse the poems with a quirky reverence for a world that stretches beyond a strictly linguistic or personal experience.Department of English
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Pettinger, Terry Lynn O'Brien. "Where Intellect and Intuition Converge: Epistemological Errancies in the Poetry of Jorie Graham." Thesis, Virginia Tech, 1999. http://hdl.handle.net/10919/31158.
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Over the past two decades, American poet Jorie Graham has composed six books of poems. Graham struggles to understand how we make sense of the world through thinking grounded in the logical operations of reason and through thinking that operates as more of a detached wandering that enables direct experiential participation in the present moment-modes of thought occasionally differentiated as "intellect" and "intuition." Throughout her work, Graham repeatedly experiments with ways to "frustrate" the intellect in order for intuition to wander over an idea while at the same time she relies on the intellect to rescue the mind from directionless wandering. In her early poetry Graham explores ways of defining and describing what it feels like to think. Later, she enacts thinking within the lines of her poems, sometimes allegorizing the operation of the intellect and intuition and sometimes provoking readers into an experience of one particular way of thinking through the act of reading.
This study examines Graham's various successes and failures as she struggles to discover "blossoming" moments of balance between the controlling intellect and the wandering intuition. Beginning with the origins of this line of thinking in Graham's early work, this study traces the poet's path of development through each book of poems in order to demonstrate the back and forth momentum shifts of intellect giving way to intuition and intuition being organized by rational thought. Through her epistemological errancies, her wanderings within and without ways of knowing, Graham discovers "blossoming" moments of wholeness where both modes of thought meet "in solution, unsolved."Master of Arts
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Sutter, Sara. "The Sea Cow and The Siren." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/1346.
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Wakefield, Eleanor. "Extending the Line: Early Twentieth Century American Women's Sonnets." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22651.
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This dissertation rereads sonnets by three crucial but misunderstood early twentieth-century women poets at the intersection of the study of American literary history and scholarship of the sonnet as a genre, exposing and correcting a problematic loss of nuance in both narratives. Genre scholarship of the sonnet rarely extends into the twentieth century, while early twentieth-century studies tend to focus on nontraditional poem types. But in fact, as I show, formal poetry, the sonnet in particular, engaged deeply with the contemporary social issues of the period, and proved especially useful for women writers to consider the ways their identities as women and poets functioned in a world that was changing rapidly. Using the sonnet’s dialectical form, which creates tension with an internal turn, and which engages inherently with its own history, these women writers demonstrated the enduring power of the sonnet as well as their own positions as women and poets. Tying together genre and period scholarship, my dissertation corrects misreadings of Edna St. Vincent Millay, Sarah Teasdale, and Helene Johnson; of the period we often refer to as “modernism”; and of the sonnet form.
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Louw, Denise Elizabeth Laurence. "A literary study of paranormal experience in Tennyson's poetry." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002292.
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My thesis is that many of Tennyson's apparently paranormal experiences are explicable in terms of temporal lobe epilepsy; and that a study of the occurrence, in the work of art, of phenomena associated with these experiences, may be useful in elucidating the workings of the aesthetic imagination. A body of knowledge relevant to paranormal experience in Tennyson's life and work, assembled from both literary and biographical sources, is applied to a Subjective Paranormal Experience Questionnaire, compiled by Professor V.M. Neppe, in order to establish the range of the poet's apparently "psychic" experiences. The information is then analysed in terms of the symptomatology of temporal lobe epilepsy (TLE), and the problems of differential diagnosis are considered. It is shown, by means of close and comparative analyses of a number of poems, that recurring clusters of images in Tennyson's poetry may have their genesis in TLE. These images are investigated in terms of modern research into altered states of consciousness. They are found to be consistent with a "model" of the three stages of trance experience constructed by Professor A.D. Lewis-Williams to account for shamanistic rock art in the San, Coso and Upper Paleolithic contexts. My study of the relevant phenomena in the work of a nineteenth century English poet would seem to offer cross-cultural verification of the applicability of the model to a range of altered-state contexts. This study goes on to investigate some of the psychological processes which may influence the way in which pathology is manifested in the poetry of Alfred Tennyson. But, throughout the investigation, the possible effects of literary precursors and of other art forms are acknowledged. The subjective paranormal phenomena in Tennyson's poems are compared not only with some modern neuropsychiatric cases, but also with those of several nineteenth-century writers who seem to have had similar experiences . These include Dostoevsky and Edward Lear, who are known to have been epileptics, and Edgar Allan Poe. Similarity between some aspects of Tennyson's work and that of various Romantic poets, notably Shelley, is stressed; and it is tentatively suggested that it might be possible to extrapolate from my findings in this study to a more general theory of the "Romantic" imagination.
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Osborn, Andrew Langworthy. "Admit impediment : the use of difficulty in twentieth-century American poetry /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008413.
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Oprava, David E. "Once America : 50 expats, 50 interviews, 50 poems." Thesis, Swansea University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678534.
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Travis, Isabelle. "The poetry of pain : trauma, madness and suffering in post-World War II American poetry." Thesis, University of Reading, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.553108.
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Schrag, Mitzi. "Rei(g)ning mediums : spiritualism and social controls in 19th-century American literature /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/9321.
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Lindesay, Tamar. "The sound of the city collapsing : the changing perception and thematic role of the ruin in twentieth-century British and American poetry." Thesis, University of South Wales, 2003. https://pure.southwales.ac.uk/en/studentthesis/the-sound-of-the-city-collapsing(a371d1ec-c3ea-407a-a1f3-227d87559b3f).html.
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Bridges, James Richard. "Georgianism then and now : a recuperative study." Thesis, University of Gloucestershire, 2001. http://eprints.glos.ac.uk/3033/.
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The thesis attempts to revise our view of Georgian poetry, and thus to rescue it from the critical disregard and disdain it has suffered since the 1930s. Georgian poetry will be redefined as a strong traditional poetry contemporaneous with, and yet different from, literary Modernism. An historical overview of the critical literature from the 1920s onwards will reveal the original co-existence of those now known as 'Georgians' and 'Modernists', stress their mutual break with Edwardian conventions, and will sketch the process by which Georgianism and Modernism became oppositional. Georgianism will be re-evaluated as a brave and creditable attempt to continue the Romantic and humanistic impulse in poetry at a time when younger and ostensibly more radical writers were forsaking it for the values of Modernism. The thesis will further suggest that the Georgian poets had a rather more socially aware and progressive agenda than many of the fledgling Modernists. Georgian poetry is reread, therefore, in order to bring out, as major themes, its concern with the poor and with work, with the changing environment of the nation, with the position of women in Georgian society, and with its response to the First World War. This reappraisal will lead to the contention that Georgianism should not be viewed as a low point in British poetry, but instead as supplying the formal foundations and political sensibility which mark the achievement of Great War poetry. While the thesis is careful not to overbid its claims for reviewing the Georgians' own achievement (especially in respect of their relative lack of formal experimentation compared to the Modernists), it hopes nevertheless to persuade its readers that the poets of 'Liberal England' had a more humane and realistic vision of their world than they have hitherto been credited with.
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Brox, Robin F. "Tinsel Strength and the Orchid Sheaf." Fogler Library, University of Maine, 2005. http://www.library.umaine.edu/theses/pdf/BroxR2005.pdf.
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Lagapa, Jason S. "Inarticulate prayers: Irony and religion in late twentieth-century poetry." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280295.
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Inarticulate Prayers: Irony and Religion in Late Twentieth-Century Poetry examines irony and its implications for religious belief within texts ranging from the New York School Poets to the Language Poets and, in Caribbean literature, within the poems of Derek Walcott and Kamau Brathwaite. Taking Jacques Derrida's distinction between deconstruction and negative theology as a point of departure, I argue that contemporary poets employ ironic language to articulate an ambivalent, and skeptical, system of belief. In "How to Avoid Speaking: Denials," Derrida contrasts his theory of differance--as a fundamentally negative and critical mode of inquiry--with negative theology, which ultimately affirms God's being after a process of negation. My study asserts that contemporary poets, in accord with principles of negative theology, engage in inarticulate, self-canceling and negative utterances that nevertheless affirm the possibility of belief and enlightenment. By postulating the affinity between contemporary poets and the apophatic tradition, I explain how the work of these poets, despite often being dismissed as arid exercises in poststructuralist thought, productively draws on linguistic theories and also advances beyond the "negativity" of such theories. Moreover, as it intervenes in recent debates over the absence of a spiritual dimension to contemporary poetry, my dissertation opens new perspectives through which to theorize postmodern literature. Demonstrating that experiments in language and form are driven by an ironic stance towards belief, authorship and literary tradition, Inarticulate Prayers ultimately redefines contemporary lyric and narrative poetry and asserts negation, inarticulateness, and contradiction as determining characteristics of postmodern writing.
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Petch, Melanie Jayne. "Women, cultural duality and space : themes in twentieth-century Anglo-American poetry." Thesis, De Montfort University, 2007. http://hdl.handle.net/2086/4276.
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A longstanding critical map which has perpetuated the differences between British and American poetries is currently in the process of being redrawn. In recent years, there has been a marked interest in literary criticism which seeks to explore the rich and complex interplay between the two nations and their respective poetries. Despite this being a necessary dialogue, the contextualisation of women poets in this important field of enquiry has been largely unrecognised. This thesis responds to the problem of female negation by setting up a critical and cultural context which explores the poetic tendencies of nine Anglo-American women poets whose publishing histories span 1913-2006: British-born poets, Mina Loy (1882-1966) and Denise Levertov (1923-1997), and American-born poets, H.D. (1886-1961), Laura (Riding) Jackson (1901-1991), Ruth Fainlight (1931-), Sylvia Plath (1932-1963), Anne Stevenson (1933-), Anne Rouse (1954-) and Eva Salzman (1961-) The intent of this study is to argue that the intersection of cultural duality and gender lends this poetry by Anglo-American women a particularly dynamic energy which generates a rich fretwork of spatial negotiations. This is primarily achieved through the poets' use of symbols which reflect their preoccupations with living as an outsider who oscillates in and between two places. Often, although not exclusively, metaphors of estrangement are explicitly gendered and signify the search for a female space. The theoretical work of French feminist and poststructuralist, Julia Kristeva and Marxist philosopher and sociologist, Henri Lefebvre, proposes that the condition of the social outsider can be harmonised within the imaginative space of poetry, thus offering writers the potential to 'change and appropriate' the limitations of the social space in which they find themselves. Especially appealing for expatriate women poets then, the creative writing process precipitates their empowerment, liberation and the opportunity to reimagine a parallel world to inhabit. The concept of space and how it is perceived imaginatively in this range of poetry determines the thematic structure of the thesis. Individual chapters focus upon locations, homes, journeys, bodies and landscapes, and myth. The formation reflects a progression from spaces that are grounded in material conditions, as with locations, the home, and journeys, towards spaces that are highly intimate and abstract, as with bodies and landscapes, and myth. Responding to the limitations of binary discourses that uphold the divide between American and British poetries, as well as to the lack of feminist engagement with cultural discourses, this thesis offers a number of frameworks for reading Anglo-American poetry. While rejecting prescriptive definitions, it endeavours to set up a sufficiently open narrative that can encompass poets dating before the twentieth-century, contemporary poets in the current climate, as well as poets who will continue to complicate the AmericanlBritish axis in the future.
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Mackay, Daniel. "Advertising the soul : Walt Whitman's luciferic voice in twentieth-century American poetry /." Connect to title online (ProQuest), 2008. http://proquest.umi.com/pqdweb?did=1594829931&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Bean, Heidi R. "Poetry 'n acts: the cultural politics of twentieth-century American poets' theater." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/638.
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"Poetry 'n Acts: The Cultural Politics of Twentieth-Century American Poets' Theater," focuses on the disciplinary blind spot that obscures the productive overlap between poetry and dramatic theater and prevents us from seeing the cultural work that this combination can perform. Why did 2100 people turn out in 1968 to see a play in which most of the characters speak only in such apparently nonsensical phrases as "Red hus the beat trim doing going" and "Achtung swachtung"? And why would an Obie award-winning playwright move to New Jersey to write such a play in the first place? What led to the founding in 1978 of the San Francisco Poets Theatre by L=A=N=G=U=A=G=E writers, and why have those plays and performers been virtually ignored by critics despite the admitted centrality of performance to L=A=N=G=U=A=G=E writing's textual politics? Why would the renowned Yale Repertory Theatre produce in the 1990s the poetic, plotless plays of a theater newcomer twice in as many years--even when audiences walked out? What vision for the future of theater could possibly involve episodic drama with footnotes? In each example, part of the story is missing. This dissertation begins to fill in that gap.
Attending to often overlooked aspects of theater language, this dissertation examines theatrical performances that use poetic devices to intervene in narratives of cultural oppression, often by questioning the very suitability of narrative as a primary means of social exchange. While Gertrude Stein must be seen as a forerunner to contemporary poets' theater, chapter one argues that the Living Theatre's late 1950s and early 1960s anti-authoritarian theater demonstrates key alliances between poetry and theater at mid-century. The remaining chapters closely examine particular instances of poets' theater by Amiri Baraka (known equally as poet and playwright), Carla Harryman (associated with West Coast poetry), and Suzan-Lori Parks (a critically acclaimed playwright). These productions put poetic theater on the backs of tractors in Harlem streets, in open gallery spaces, and in more conventional black box and proscenium architectures, and each case develops the importance of performance contexts and production histories in determining plays' cultural effects.
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Bube, June Johnson. ""No true woman" : conflicted female subjectivities in women's popular 19th-century western adventure tales /." Thesis, Connect to this title online; UW restricted, 1995. http://hdl.handle.net/1773/9508.
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Moore, Natasha Lee. "The unpoetical age : modern life and the mid-Victorian long poem." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610158.
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Richardson, Scott. "Taking the repeats: Modern American poetry in imitation of eighteenth-century musical forms." Thesis, University of Ottawa (Canada), 2001. http://hdl.handle.net/10393/20986.
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Wilkinson, Myler 1953. "The dark mirror : American literary response to Russia, 1860-1917." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=70290.
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This thesis is an intercultural and intertextual study of the ways in which an American literary identity has emerged out of an intense imaginative and political dialogue with Russian culture. Early portions of this study trace the historical connections which have drawn American writers into the orbit of Russian literature and culture during the period, 1860-1917. A theoretical chapter attempts to explain the intensity of this dialogue on several related levels: the figural relationship between two literatures which constantly transform each other; the psychic experience of an otherness between individuals and cultures which leads to provisional patterns of literary identity; and the transformation of a purely literary dialogue into the realm of social praxis. The second half of the thesis examines the careers of three major American writers--Henry James, Willa Carter, and Sherwood Anderson--as each reads the figures of Russian literature against a native American tradition, and in the process incorporates this "other" literature into that tradition. A concluding chapter initiates a discussion of the ways in which literary influence is also bound up with the dialogue of politics and power.
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Giguere, Joy M. ""The Dead Shall be Raised": The Egyptian Revival and 19th Century American Commemorative Culture." Fogler Library, University of Maine, 2009. http://www.library.umaine.edu/theses/pdf/GiguereJM2009.pdf.
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Moran, Theresa Ellen. "Bayard Taylor and American Orientalism : 19th century representations of national character and the other /." Thesis, Connect to Dissertations & Theses @ Tufts University, 2005.
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Thesis (Ph.D.)--Tufts University, 2005.Submitted to the Fletcher School of Law and Diplomacy. Includes bibliographical references (leaves 322-330). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
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Miller, Nikki L. "The American Civil War and Other 19th Century Influences on the Development of Nursing." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/194076.
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The Industrial Revolution created sweeping cultural and technological changes in 19th century American society. During this era, nursing evolved from an unskilled to a skilled form of work. Changes in manufacturing, communication, and transportation occurred differentially in America, which favored the growth of different regional economies. Sectionalism erupted into the first modern war in American history. The Civil War created the conditions in which nursing, medicine, and the hospital formed organizational structures, roles, and boundaries that would later form the template for the modern healthcare system. The purpose of this research was to study how the context and culture of mid-nineteenth century American life affected the evolution of nursing during the Civil War, and the later affect it would have on skilled nursing knowledge, roles, education, and practice. The overall goal of the work is to contribute to the body of research on parallel historic processes that had an influence over the formation of early skilled nursing practice and the evolution of the nursing role. The effect of parallel processes associated with the Industrial Revolution and the advent of modern warfare on the development of skilled nursing were the particular focus of this research. A social history methodology was utilized to examine texts and discourse from the Civil War period. It was found that advances in transportation, communication, and manufacturing were both integral to the advent of modern war and modern nursing, and that the advent of these was highly integrated. It was also found that the industrialization of the hospital in response to wartime was highly influential on the development of skilled nursing programs later in the century. The role that nurses would take in the postbellum hospital, however, reflected the mass media image of nursing generated during the war rather than actual wartime practice.
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Strecker, Geralyn. "Reading prostitution in American fiction, 1893-1917." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1213148.
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Many American novels of the late nineteenth and early twentieth centuries discuss prostitution. Some works like Reginald Wright Kauffman's The House of Bondage, (1910) exaggerate the threat of "white slavery," but others like David Graham Phillips's Susan Lenox: Her Fall and Rise (1917) more honestly depict the harsh conditions which caused many women to prostitute themselves for survival. Contemporary critical interpretations of novels addressed in this dissertation began before major shifts in women's roles in the workplace, before trends towards family planning, before women could respectably live on their own, and especially before women won the right to vote. Yet, a century of progress later, this vestigal criticism still influences our study of these texts.Relying on primary source materials such as prostitute autobiographies and vice commission reports, I compare fictional representations of prostitution to historical data, focusing on the prostitute's voice and her position in society. I examine actual prostitutes' life stories to dispel the misconception that prostitution was always a lower-class business. My chapters are ordered in regards to the prominence of the prostitute characters' voices: in Stephen Crane's Maggie: A Girl of the Streets (1893) the heroine seldom speaks for herself; in two Socialist novels--Upton Sinclair's The Jungle (1906) and Estelle Baker's The Rose Door (1911)--prostitutes debate low wages, political corruption, and organized vice; and in Phillips's Susan Lenox, the title character is almost always allowed to speak for herself, and readers can see what she is thinking as well as doing. As my chapters progress, I demonstrate how the fictions become more like the prostitutes' own autobiographies, with self-reliant women telling their stories without shame or remorse. My conclusion, "Revamping `Fallen Women' Pedagogy for Teaching American Literature," suggests how social history and textual scholarship of specific "fallen women" novels should affect our teaching of these texts.Department of English
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Tracy, Jordan Elizabeth. "Framing the Sacred in Twentieth- and Twenty-First-Century American Ekphrasis." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/556022.
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Framing the Sacred revisits the significance of ekphrasis, the verbal rendering of a visual representation, in modern and contemporary American poetics. Although a seemingly marginal strain of lyric poetry, ekphrasis is a literary crucible in which the problems of representation converge, catalyzing a unique process of enchantment and disenchantment. Through an examination of a number of twentieth- and twenty-first-century poems, I argue that this enchantment has bearing on how we envision the import of religion in twentieth- and twenty-first-century America and its literature. On account of its liminal status--a text that is "betwixt and between" the verbal and visual--ekphrasis does not need to meditate explicitly on spiritual, sacred, or religious objects to undermine and destabilize our definitions of such terms. Each chapter in Framing the Sacred examines the manifestation of a single trope of containment--the figure of the frame, the genre of still life, the genre of the self-portrait, and the acts of collection and curation--and discovers the various ways the ekphrastic work of William Carlos Williams, Wallace Stevens, Marianne Moore, Elizabeth Bishop, Charles Wright, A.E. Stallings, and Jorie Graham constructs and deconstructs such tropes. The pattern that emerges from a number of dramatically different ekphrases reveals the generative value of loosening the frames through which we consider the sacred in the study of literature and the visual arts.
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Smith, Sarah Elizabeth. "Colonial contacts and individual burials| Structure, agency, and identity in 19th century Wisconsin." Thesis, The University of Wisconsin - Milwaukee, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1571930.
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Individual burials are always representative of both individuals and collective actors. The physical remains, material culture, and represented practices in burials can be used in concert to study identities and social personas amongst individual and collective actors. These identities and social personas are the result of the interaction between agency and structure, where both individuals and groups act to change and reproduce social structures.
The three burials upon which this study is based are currently held in the collections of the Milwaukee Public Museum. They are all indigenous burials created in Wisconsin in the 19th century. Biological sex, stature, age, and pathologies were identified from skeletal analysis and the material culture of each burial was analyzed using a Use/Origin model to attempt to understand how these individuals negotiated and constructed identities within a colonial system.