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Dissertations / Theses on the topic 'American poets'

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Published: 4 June 2021
Last updated: 30 July 2024

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1

Best, Felton O. "Crossing the color line : a biography of Paul Laurence Dunbar, 1872-1906 /." Connect to resource, 1992. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1249488861.

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2

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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3

Watkin, David Watkin. "In the process of poetry : the New York School and the avant-garde." Thesis, Queen's University Belfast, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287397.

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4

Martin, Seth M. "The Poetics of Return| Five Contemporary Irish Poets and America." Thesis, The University of North Carolina at Chapel Hill, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3562770.

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A thematic study grounded in transnational and transatlantic studies of modern and postmodern literatures, this dissertation examines five contemporary Irish poets—John Montague, Padraic Fiacc, James Liddy, Seamus Heaney, and Eavan Boland—whose separation from Ireland in the United States has produced a distinct body of work that I call, "the poetics of return." As the biological heirs of the Civil War generation and the intellectual heirs of the Irish high modernists, these poets are some of the leading lights of the renaissance in Irish literary arts after midcentury.

This dissertation argues that an important aspect of this era has been its reevaluation of narratives of political and artistic exile; those created by nationalists and republicans, on the one hand, and modernists such as James Joyce and Samuel Beckett, on the other. Drawing on the criticism of Patrick Ward and Seamus Deane, I argue that the atomization of the critical vocabulary of exile has enabled modern poets greater means to consider the cultural anxieties surrounding their separation from Ireland. Accordingly they have become less interested in the meaning of leaving Ireland and more interested in the meaning of return. This project engages a range of scholarly literature devoted to the Irish poets and poetry of the last half century and reevaluates a number of standard readings and assumptions.

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5

Biedka, Kathleen G. "Life begins at fifty /." Full text available online, 2005. http://www.lib.rowan.edu/find/theses.

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6

Ustymenko, Mariya. "Genuine mess : extratextuality in the work of four American woman poets." Thesis, University of Essex, 2012. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.694752.

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7

Brown, Gregory Paul. "Language on the line : form and meaning in three American poets /." Full text available from ProQuest UM Digital Dissertations, 2009. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1798970911&SrchMode=1&sid=2&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1268339860&clientId=22256.

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Thesis (Ph.D.)--University of Mississippi, 2009.
Typescript. Vita. "May 2009." Dissertation director : Ann Fisher-Wirth Includes bibliographical references (leaves 182-190). Also available online via ProQuest to authorized users.
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8

Balanescu, Mihai S. "Metamorphoses and ritualism in Harlem Renaissance poetry." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368177.

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9

Marshall, Christine. "Elizabeth Bishop's revisionary eye /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1420938.

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10

Parmet, Harriet L. "The terror of our days : four American poets respond to the Holocaust /." Bethlehem [Pa.] : Lehigh university press, 2001. http://catalogue.bnf.fr/ark:/12148/cb38906097p.

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11

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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12

Van, Wienen Mark W. "Partisans and poets : the political work of American poetry in the Great War /." Cambridge [GB] : Cambridge university press, 1997. http://catalogue.bnf.fr/ark:/12148/cb367001011.

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13

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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14

Dowd, Ann Karen. "Elizabeth Bishop: her Nova Scotian origins and the portable culture of home." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31238427.

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15

Essert, Emily Margaret. "A modernist menagerie: representations of animals in the work of five North American Poets." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=114133.

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This dissertation considers the representation of animals in Canadian and American modernist poetry. In investigating the relationship between the proliferation of animal tropes and imagery and experimental poetics, it argues that modernism is fundamentally concerned with reconsidering human nature and humanity's place in the modern world. By employing a blend of socio-historical and formalist approaches, while also incorporating theoretical approaches from animal studies, this project shows that the modernist moment is importantly post-Darwinian, and that the species boundary was an important site of ideological struggle. This project also makes an intervention into the New Modernist Studies by proposing "North American Modernism" as a coherent area of inquiry; too few studies consider American and Canadian writers together, but doing so enables a richer understanding of modernism as a complex, global movement. Chapter one argues that animal tropes and imagery form part of a strategy through which Marianne Moore and H.D. challenge prevailing conceptions of femininity. Building upon theoretical work that considers sexism and speciesism as interlocking oppressions, it offers a sharper picture of their conceptions of gender and their feminist intentions. Chapter two considers impersonality and animality in the work of T.S. Eliot and P.K. Page. Like the concept of impersonality, Eliot's influence on Page is often taken for granted in the critical literature; it argues that impersonality (in Eliot's formulation) relies upon embodied personal experience, and on that basis offers an account of Eliot's anxieties about embodiment and Page's lapsus. Finally, chapter three investigates Marianne Moore's and Irving Layton's representation of animals to communicate indirectly their responses to global crises. Both poets felt a strong compulsion to comment on social and moral issues, but found it difficult to do so directly; images and tropes of animals enabled Moore to produce modernist allegories, and assisted Layton in depicting human ferity.
Cette thèse examine la représentation des animaux dans la poésie moderniste du Canada et des États-Unis. En étudiant la relation entre la prolifération des tropes et d'imagerie animale et la poésie expérimentale, je soutiens que le modernisme est fondamentalement préoccupé par la reconsidération de la nature de l'être humain et sa place dans le monde moderne. En utilisant un mariage d'approches socio-historiques et formaliste, tout en incorporant des avances théoriques provenant d'études animales, je démontre que le moment moderniste est post-darwinien de façon significative, et que la frontière des espèces était un champ de bataille important de la lutte idéologique. Mon projet fait également une intervention parmi les nouvelles études du modernisme en proposant le «modernisme nord-américain» comme un espace cohérent; trop peu d'études considèrent les écrivains américains et canadiens dans un ensemble, mais cela permet une compréhension plus riche du modernisme comme étant un mouvement complexe et mondial. Je soutiens que les tropes et l'imagerie animale font partie d'une stratégie à travers laquelle Marianne Moore et H.D. contestent les conceptions dominantes de la féminité. En m'appuyant sur les travaux théoriques qui considèrent le sexisme et l'espècisme comme oppressions entremêlées, j'offre une image plus nette de leurs conceptions du genre et de leurs intentions féministes. Ensuite, je considère l'impersonnalité et l'animalité dans les travaux de T.S. Eliot et P.K. Page. Comme le concept de l'impersonnalité, l'influence d'Eliot sur Page est souvent prise pour acquis dans la critique littéraire; je soutiens donc que l'impersonnalité (dans la formulation d'Eliot) s'appuie sur l'expérience personnelle incarnée, et sur cette base, je mets en évidence les inquiétudes d'Eliot et les lapsus de Page. Enfin, j'examine la représentation des animaux chez Marianne Moore et Irving Layton qui communiquent indirectement leurs répliques aux crises mondiales. Les deux poètes ont ressenti une forte compulsion pour commenter les questions sociales et morales, mais ont trouvé difficile de le faire directement; les tropes et les imageries de l'espèce animale ont permis à Moore de produire des allégories modernistes, et ont soutenues Layton pour dépeindre l'animalerie humaine.
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16

Giordano, Matthew. "Dramatic poetics and American poetic culture, 1865-1904." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1092701770.

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Thesis (Ph. D.)--Ohio State University, 2004.
Document formatted into pages. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 Aug. 18.
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17

Bell, Monita Kaye Wyss Hilary E. "Getting hair "fixed" Black Power, transvaluation, and hair politics /." Auburn, Ala, 2008. http://repo.lib.auburn.edu/EtdRoot/2008/SPRING/English/Thesis/Bell_Monita_45.pdf.

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18

McAllister, Daniel. "The Influence of American Poets on John Montague, Seamus Heaney, Derek Mahon and Paul Muldoon." Thesis, Ulster University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487661.

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[n this thesis I set out to examine American poetic influence on four leading (Northern) Irish poets: John Montague, Seamus Heaney, Derek Mahon and Paul Muldoon. The American influences overlap amongst the Irish poets, so as a group I perceive them to be Robert Frost, Robert Lowell, Wallace Stevens, Elizabeth Bishop, William Carlos Williams, Theodore Roethke, Ezra Pound and to a lesser extent, Hart Crane, Frank O'Hara, and Charles Olson. Although American poetic influence can be charted throughout the careers of these Irish poets (I suggest the presence of Pound in Mahon's 2005 collection, Harbour Lights) the core of this work focuses on the formative effect of this influence upon their earlier poetry and their first significant publications. This focus reflects the heightened receptivity of poets in general to precursors and exempla in the emerging stage of their vocation and in the effort to develop an individual voice.In the four core chapters on the Irish poets I present a detailed study of the substantive textual allusions to, invocations of, and subsequent intertextual associations with their American forerunners.
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19

Kovacik, Karen. ""Poetry should ride the bus": American women working-class poets and the rhetorics of community /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487945015616132.

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20

Ardon, Marisol Francesca. "Formation and Reflection of Identity in U.S. Born Central American and Mexican Book Artists and Poets." Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10113142.

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The difficulties to assimilate within any country when one’s parents are from another country has its own set of obstacles, especially within second-generation U.S. born Central Americans, or Mexicans. Second-generation children are constantly situated within positions to assimilate into U.S. culture, presented with stereotypical images of Latin-American figures like the Cholo, Spitfire or the unwanted illegal immigrant, have familial expectations to be a part of the “American Dream,” but still keep true to their ancestral roots. The struggle to completely assimilate into U.S. American society without losing one's cultural identity is a strong influence for the works of poets and book artists, and is reflected within the artist’s own internal conflicts in struggling to unite their cultural heredity with their new U.S. American culture. This paper will explore the work of LatinAmerican, U.S.-born book artists and poets and argue how their artwork has been impacted by their struggles to merge their cultural heritage and their present culture. This paper will also examine and highlight how social conflicts within both cultures augment further struggles within the formation of identity.

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21

Thomas, Shannon L. "“An Obtrusive Sense of Art”: The Poetess and American Periodicals, 1850–1900." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1280934312.

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22

Craddock, Jade. "Women poets, feminism and the sonnet in the twentieth and twenty-first centuries : an American narrative." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4158/.

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Initially developed and perfected by male poets, the history of the sonnet has been characterised by androcentrism. Yet from its inception the sonnet has also been adopted by women. In recent years feminist critics have begun to redress the form’s gender imbalance, but most studies of the female-authored sonnet have excluded the twentieth and twenty-first centuries, and thus one of the most important periods in women’s history – the rise of feminism – leading to a flawed narrative of the genre. Repositioning Edna St. Vincent Millay as the starting point in a twentieth-century tradition, this study begins where most others end and examines how the emergence and development of feminism, specifically in an American context, underscores a significant female narrative of the sonnet that emerges outside of the male tradition. By reading the works of Edna St. Vincent Millay, Adrienne Rich, Marilyn Hacker, Marilyn Nelson and Moira Egan within their specific feminist contexts and within the broader trajectory of feminism, it is possible to see how women in the era took ownership of the form. Ultimately, the thesis suggests that feminism has shaped an important narrative in the history of the genre that means today the sonnet is no longer exclusively male.
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23

Vernon, Jenifer Rae. "Making community with the deep communication of popular live poetry in San Diego, California at the Millennium." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3330317.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed November 19, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 233-241).
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24

Perry, Katherine Denise. "Gender on paper gender performances in American women's poetry 1650-present /." Auburn, Ala., 2007. http://repo.lib.auburn.edu/2007%20Spring%20Dissertations/PERRY_KATHERINE_13.pdf.

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25

Ishcomer, Brandie A. "The development of urban Two-Spirit communities and the role of American Indian poets Paula Gunn Allen and Janice Gould." Thesis, The University of Arizona, 2003. http://hdl.handle.net/10150/291999.

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This thesis seeks to examine the factors that contributed to the development of Two-Spirit (lesbian, gay, bisexual, transgender, queer, and other gender/sexuality variant American Indians) communities in urban areas. Secondly, it explores how these communities are reflected in the poetry of American Indian women Paula Gunn Allen and Janice Gould. This paper investigates these questions within the context of two theories on community development and organization, one by Saul Alinsky and the other by Stephen Cornell. Next it discusses gender and sexuality variance in American Indian tribal societies as reflected in studies conducted during the 1910s through the 1950s. Thirdly, it examines the development of community and constituency of the international Two-Spirit community within the framework of Alinsky and Cornell's theories. Lastly, it will look at the role of contemporary American Indian poets, Paula Gunn Allen and Janice Gould, in the shaping and actualization of urban Two-Spirit communities.
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Summers, Stephen. "Laughter Shared or the Games Poets Play: The Ethics and Aesthetics of Irony in Postwar American Poetry." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18322.

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During and after the First World War, English-language poets employed various ironic techniques to address war's dark absurdities. These methods, I argue, have various degrees of efficacy, depending upon the ethics of the poetry's approach to its reading audience. I judge these ethical discourses according to a poem's willingness to include its readers in the process of poetic construction, through a shared ironic connection. My central ethical test is Immanuel Kant's categorical imperative and Jurgen Habermas's conception of discourse ethics. I argue that without a sense of care and duty toward the reading other (figured in open-ended ironies over dogmatic rhetorics), there can be no social responsibility or reformation, thus testing modernist assumptions about the political usefulness of poetry. I begin with the trench poets Siegfried Sassoon and Wilfred Owen, whose sarcastic and satirical ironies are constructed upon a problematic consequentialist ethos. Despite our sympathy for the poets' tragic positions as soldiers, their poems' rhetoric is ultimately coercive rather than politically progressive. It negates the social good it intends by nearly mimicking the unilateral rhetoric that gave rise to the war. The next chapter concerns Ezra Pound's Hugh Selwyn Mauberley and T. S. Eliot's The Waste Land, fundamental modernist poems defining the postwar Anglo-American era. In contrast to the trench poets, I argue these two poems at their best manage to create an irony of free play, inviting the audience's participation in meaning-making through the irony of self-parody. Traditional ethical critiques of these poets' troubling politics, I argue, do not negate the discourse ethics present in these texts. The final three chapters follow the wartime and postwar ironies of the American poets William Carlos Williams, Marianne Moore, and Wallace Stevens. Williams, a medical doctor, makes use of the ironic grotesque in his poems to offer the voice of poetry to the disenfranchised, including individuals with disabilities. Moore, a modernist and early feminist, pairs her poems to decenter poetic authority, depicting possible ethical poetic conversations. Finally, Stevens's democratic, pragmatic ethics appears within poetry that continually invites its readers to fill in gaps of meaning about the war and beyond.
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Schnier, Zachariah. ""Between the Flash and Fall of Turning": "New York" School Poets, American Pragmatism, and the Construction of Subjectivity." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31706.

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With my dissertation entitled “Between the Flash and Fall of Turning”: “New York” School Poets, American Pragmatism and the Construction of Identity, I seek to account for the depiction of the anti-foundational self which emerges time and again in the poetry of John Ashbery, Frank O’Hara, Barbara Guest, James Schuyler and Kenneth Koch. While theorizing the self as a contingent, provisional, and shifting construct is hardly new to a theoretically oriented academy transiting into the present century, scholars and critics have tended to ground such interpretations in “structural linguistics” and so-called “French philosophy.” One of the goals of this project, therefore, is to propose that the philosophical skepticism toward the self as a site of stable and enduring meaning has always been felt and articulated by American Pragmatism, specifically in the writings of Ralph Waldo Emerson, William James and John Dewey. While a handful of critics have looked to Pragmatism to account for the protean self in the work of “New York” School Poets, these commentators have tended to focus their attention largely on O’Hara’s and Ashbery’s poetry. This project seeks, on the one hand, to round out this work with close readings of all the major “New York” School Poets, and extend it, on the other, by looking beyond poetry to visual art and classroom pedagogy to examine evidence of a Pragmatist orientation across the disciplines, despite the apparent interpretive consensus that American Pragmatism “goes silent” at mid-century.
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Mackay, John. "Towards a poetics of overtakelessness : the work of contemporary elegy in the writing of five North American poets." Thesis, Birkbeck (University of London), 2015. http://bbktheses.da.ulcc.ac.uk/111/.

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This thesis addresses a condition of ‘overtakelessness’ – a word used by Emily Dickinson to refer to the irretrievability of the dead – developing it as a conceptual framework to explore contemporary elegy in the work of five North American poets: Susan Howe, Mary Jo Bang, Anne Carson, Dean Young, and Mark Doty. Overtakelessness, a term to describe that which is unavoidable but cannot be encompassed, serves to illuminate the divide between desire and fulfilment in poetic encounters with loss. In Chapter 1, I argue that Susan Howe’s ethical configuration of lost others as retrieved textual traces from the archive represents her attempt to establish a visual and material conception of overtakelessness, and places under scrutiny the role of language in the scene of elegy. I show in Chapter 2 that Mary Jo Bang’s failure to reach her son can be attributed to the fact that language, like the sought other, has an unfathomable surplus that cannot be encompassed, and that the printed word is unequal to the task of articulating grief. In Chapter 3, Anne Carson’s interaction with personal relics represents an exploration of what constitutes her brother’s absence, and an implicit recognition that material objects – and the overtakelessness that they carry into her work – have supplanted his presence. Chapter 4 demonstrates that an engagement with overtakelessness is problematised further by the poet’s preoccupation with an unassimilable self as Dean Young’s alter ego undergoes an imagined disintegration. Finally, in Chapter 5 I propose that for Mark Doty overtakelessness has personal, social and political dimensions as he responds to an actual catastrophe, the AIDS epidemic, and explores the tension between private and public loss. I show in this thesis that overtakelessness emerges in the poetic space, suggesting that the elegy’s encounter with the dead might equally be described as a negotiation with overtakelessness itself.
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29

Gilbert, Matthew. "Fir-Flower Petals on a Wet Black Bough: Constructing New Poetry through Asian Aesthetics in Early Modernist Poets." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3588.

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Critics often credit Ezra Pound and his Imagist movement for the development of American poetics. Pound’s interest in international arts and minimalist aesthetics of cross-cultural poetry gained the attention of prominent writers throughout Modernist and Post-Modern periods. From writers like Wallace Stevens and Gertrude Stein to later poets like Jack Kerouac and Gary Snyder, image and precise language has shaped American literature. Few critics have praised Eastern cultures or the Imagist poets who adopted an East-Western form of poetics: Amy Lowell and William Carlos Williams. Studying traditional Eastern painting and short-form poetry and interactions with personal connections to the East, Lowell and Williams adapt then progress aesthetic fusions Pound began and abandoned through his interpretation of Eastern art. Like Pound, Lowell and Williams illustrate a mix of form, free-verse language, and modernized poetics to not only imitate Eastern art but to create poetics of international discourse which shape American Modernism.
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Miller-Haughton, Rachel. "Re-Calling the Past: Poetry as Preservation of Black Female Histories." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1005.

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This paper discusses the poetry of Audre Lorde and Natasha Trethewey, and the ways in which they bring to attention the often-silenced histories of African American females. Through close readings of Lorde’s poems “Call” and “Coal,” and Trethewey’s “Three Photographs,” these histories are brought to the present with the framework of the words “call” and “re-call.” The paper explores the ways in which Lorde creates a new mythology for understanding her identity as “black, lesbian, mother, warrior, poet” in her innovative, intersectional feminist poetry. This is used as the framework for understanding modern poets like Trethewey, whose identity as a biracial black woman from the American South colors her lyric, more formal work. Lorde uses the vocal, oral tradition of calling as Trethewey relies on visual, gaze-focused recall. Recall is memory and re-call means bringing the hidden past into the future. The paper concludes by saying that all black female writers may participate in their own ways of calling out the truth and remembering what should be forgotten.
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31

Bonifacio, Peralta Ayendy José. "Poems in the U.S. Popular Press, 1855-1866." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu155533852650219.

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32

Bellarsi, Franca. "Confessions of a Western buddhist "Mirror-Mind": Allen Ginsberg as a Poet of the Buddhist "Void"." Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211366.

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33

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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Wheeler, Belinda. "At the center of American modernism Lola Ridge's politics, poetics, and publishing /." Connect to resource online, 2008. http://hdl.handle.net/1805/1683.

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Thesis (M.A.)--Indiana University, 2008.
Title from screen (viewed on June 2, 2009). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Jane E. Schultz, Thomas F. Marvin. Includes vita. Includes bibliographical references (leaves 57-61).
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Steeds, Will. "Herman Melville's Clarel : the supreme poem of the faith-doubt crisis. An examination of Clarel with specific reference to English and American poets of the nineteenth-century crisis of faith." Thesis, University of Essex, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328386.

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Sepúlveda, Jesús. "Toward a poetic of de-inhabitation /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3080597.

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Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 166-175). Also available for download via the World Wide Web; free to University of Oregon users.
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Sweeden, R. Renee. "Personal Archaeology: Poems." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500646/.

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A collection of poems focused primarily on rural America and the South, the creative writing thesis also includes material concerned with the history of Mexico, particularly Mexico at the time of the Spanish Conquest. The introduction combines a personal essay with critical material discussing and defining the idea of the Southern writer.
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Lewis, Staci E. ""In Death Thy Life is Found": An Examination of the Forgotten Poetry of Margaret Fuller." [Johnson City, Tenn. : East Tennessee State University], 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-0327102-153619/unrestricted/Lewis041002.pdf.

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Mackowski, Joanie. "Tails (poems) /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3137727.

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Austin, Kelly. "A poet of the Americas Neruda's translations of Whitman and North American translations of Neruda /." Diss., Restricted to subscribing institutions, 2005. http://proquest.umi.com/pqdweb?did=1003847081&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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41

Yang, Hon-Lun. "European versus American: Programmatic-formal Treatments in American Symphonic Poems." Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36746.

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Shaffer, Erin Louise. "WHAT'S MISSED: POEMS." Oxford, Ohio : Miami University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1058649471.

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Dye, Angel. "JOOK: RENT PARTY POEMS." UKnowledge, 2019. https://uknowledge.uky.edu/english_etds/93.

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Jook is a spirited collection of historical persona poems situated in the vibrant rent party scene of 1920s Harlem. The Harlem Renaissance of New York was a decade of black innovation, artistry, and cultural expansion spanning 1920-1930. During this post-Emancipation, Great Migration era, black families leaving the South moved north only to encounter new forms of oppression. They were fleeing the lynchings, racism, and segregation that they experienced back home. In Harlem, black families earned disproportionately lower wages and paid much higher rents for subpar housing conditions compared to white families. To supplement their low incomes and to make the rent for the month, tenants hosted house-rent parties, also called social whist parties, in their apartments. They offered southern food, jazz and blues music (often live), and bootlegged liquor. Party guests paid a modest cover fee of 25 or 30 cents to enjoy the amusements, thus helping the hosts to pay their rent. The resistance work of this black joy in the face of economic, environmental, and social racism fascinates me and led me to research and uplift these narratives via persona poetry. The central figure in these poems is a 20-year-old Georgia migrant named Mae Lynne King. Mae has moved north with her older sister Maddy. The daughters of a southern preacher and a seamstress, the women find their footing in New York in very different ways. Mae works as a domestic and takes in laundry and sewing on the side while 24-year-old Maddy Jane becomes a streetwalker. The two young women live together and quickly become immersed in the rent party phenomenon while working to build a life away from the strict religious upbringing they knew back home. Mae and Maddy struggle against racism, sexism, and poverty discovering their roles as lovers, friends, and members of a new black Harlem. Mae’s journey through Harlem is one of revelation and awakening, and Maddy’s is one of self-actualization, autonomy, reclamation. Both women embody the womanist attitudes and practices, blackness, and sexual fluidity that are central to my work overall and that were highly visible during the Renaissance. While swaths of literature celebrate the art, music, and culture of the Harlem Renaissance, no contemporary collections of poetry contend with the oppression that African American people who migrated from the racially segregated South to Harlem faced. Jook is an offering of history, memory, language, and research to bridge that gap. This collection draws from Langston Hughes’ poetry and autobiography The Big Sea, Zora Neale Hurston’s novels and dramas, all of Harlem’s “negro literati,” jazz and swing music, photography, and archival materials from The Schomburg Center for Research in Black Culture and Yale University. Jook traverses free verse and formal boundaries while championing persona and a unique Harlemese vernacular in order to celebrate the fierce subversion that African Americans in 1920s Harlem engaged in via their rent party gatherings. I enter these poems with music and memory at the fore of my creative process and craft employments. I call on forms such as Ruth Ellen Kocher’s Gigan, the jazz sonnet, contrapuntal, and the ghazal to illustrate the simultaneous artistry and travailing that defined the Renaissance for African American people. I also borrow from the narrative elements of fiction to explore a specific arc within the lives of a cadre of imagined personas. The aim of this project is to recover and celebrate the unexplored stories of rent parties and to acknowledge the suffering and striving that these gatherings were born out of.
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Wilson, Robert Neal. "The American poet : a role investigation /." New York : Garland, 1990. http://catalogue.bnf.fr/ark:/12148/cb355378740.

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Hand, Angela René. "Francis Hopkinson : American poet and composer /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983125.

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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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Anderson, Leslie J. "Ponies and Rocketships: Poems For America, A Collection of Selected Poems." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1307492733.

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Strittmatter, Jorge Emilio. "Tres Poetas con Heráclito: Borges, Hahn, Pacheco." Miami University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=miami1188431523.

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Hallen, Cynthia Leah. "Philology as rhetoric in Emily Dickinson's poems." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185586.

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Philology, or the love of words, is a source of power in Emily Dickinson's poems. Noah Webster's dictionary was a storehouse of philological knowledge and thus a major source of linguistic power for Dickinson. Her poems show that philology is an effective way to compose and interpret texts, and that paying attention to words is a source of rhetorical power for readers and writers today. The first six chapters of the dissertation feature aspects of Dickinson's philology from the perspective of nineteenth-century rhetoric: Definition, Music, Cohesion, Dictionary Use, and Etymology. Chapter One tells the story of Emily's "Lexicon" and "Noah's Ark." Chapter Two discusses definition as a rhetorical strategy and presents a definition of terms. Chapter Three explores music as rhetorical power in the themes, prosody, and sound patterns, syntax, and lexis of Dickinson's poems. The cohesion of Dickinson's lexical choices is the focus of Chapter Four. Chapter Five focuses more intently the role of the Lexicon in Dickinson's composing processes. The role of etymology in Webster's lexicography and in Dickinson's poetry is the subject of Chapter Six. Chapter Seven uses A. L. Becker's definitions of a new philology to discuss the function of philology in contemporary English studies.
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Swaney, Patrick R. "The Public." Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1458640191.

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