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Brown, Raymond David. "Apo koinou in Old English poetry /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487684245465626.
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Cavill, Paul. "Maxims in Old English poetry." Thesis, University of Nottingham, 1996. http://eprints.nottingham.ac.uk/11063/.
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The focus of the thesis is on maxims and gnomes in Old English poetry, but the occasional occurrence of these forms of expression in Old English prose and in other Old Germanic literature is also given attention, particularly in the earlier chapters. Chapters 1 to 3 are general, investigating a wide range of material to see how and why maxims were used, then to define the forms, and distinguish them from proverbs. The conclusions of these chapters are that maxims are ‘nomic’, they organise experience in a conventional, authoritative fashion. They are also ‘proverbial’ in the sense of being recognisable and repeatable, but they do not have the fixed form of proverbs. Chapters 4 to 7 are more specific in their focus, applying techniques from formulaic theory, paroemiology and the sociology of knowledge to the material so as to better understand how maxims are used in their contexts in the poems, and to appreciate the nature and function of the Maxims collections. The conclusions reached here are that the maxims in Beowulf 183b-88 are integral to the poem, that maxims in The Battle of Maldon show how the poet manipulated the social functions of the form for his own purposes, that there is virtually no paganism in Old English maxims, and that the Maxims poems outline and illustrate an Anglo-Saxon world view. The main contribution of the thesis is that it goes beyond traditional commentary in analysing the purpose and function of maxims. It does not merely focus on individual poems, but attempts to deal with a limited aspect of the Old English oral and literary tradition. The primary aim is to understand the general procedures of the poets in using maxims and compiling compendia of them, and then to apply insights gained from theoretical approaches to the specifics of poems.
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Loxley, James William Stanislas. "Royalist poetry in the English Civil War." Thesis, Royal Holloway, University of London, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319509.
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Reynolds, Matthew Osmund Royle. "English poetry and European nationalism, 1830-1870." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364175.
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Terry, Richard Gordon. "Studies in English burlesque poetry, 1663-1785." Thesis, University of Cambridge, 1989. https://www.repository.cam.ac.uk/handle/1810/250956.
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Rybak, Charles A. "Human Rooms." Cincinnati, Ohio : University of Cincinnati, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1052328743.
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Byington, Danielle N. "“The Bedroom and the Barnyard: Zoomorphic Lust Through Territory, Procedure, and Shelter in ‘The Miller’s Tale’” & HAUNCHEBONES." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/honors/291.
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“The Bedroom and the Barnyard: Zoomorphic Lust Through Territory, Procedure, and Shelter in ‘The Miller’s Tale’” is an academic endeavor that takes Chaucer’s zoomorphic metaphors and similes and analyzes them in a sense that reveals the chaos of what is human and what is animal tendency. The academic work is expressed in the adjunct creative project, Haunchebones, a 10-minute drama that echoes the tale and its zoomorphic influences, while presenting the content in a stylized play influenced by Theatre of the Absurd and artwork from the medieval and early renaissance period.
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Welch, Mary T. "Early English religious literature : the development of the genres of poetry, narrative, and homily /." Read thesis online, 2009. http://library.uco.edu/UCOthesis/WelchMT2009.pdf.
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Williamson, Paul. "The metaphysical basis of mid eighteenth-century English poetry." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314489.
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Cairns, Daniel. "As it likes you early modern desire and vestigial impersonal constructions /." Waltham, Mass. : Brandeis University, 2009. http://dcoll.brandeis.edu/handle/10192/23236.
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DeVito, Angela Ann. "Gendered speech in Old English narrative poetry: A comprehensive word list." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280305.
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The purpose of this dissertation is to create a word list of male and female speech in those Old English narrative poems which contain dialogue, to use as a reference in determining what, if any, differences existed between the way male Anglo-Saxon poets constructed speech for their male and female characters. Using a specifically designed computer program and an on-line text of the Anglo-Saxon Poetic Records, I electronically tagged those lines assigned to male characters, and then those assigned to female speakers, to generate two separate word lists. I eliminated all immortal speech (God, angels, demons), and all proper nouns as not germane to a study of male and female speech patterns. After I created the raw word lists, I parsed each individual word, and placed it under the appropriate headword. I further classified nouns, adjectives and pronouns according to case and number, and verbs according to person, number, tense and mood. In addition to the word lists, the dissertation includes a critical introduction, and a brief analysis of differences between male and female speech patterns in selected poems.
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Cowdery, Taylor. "The Premodern Literary: Matter and Form in English Poetry 1400-1547." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493299.
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In poetry—so the story often goes—form is more important than content. After all, poets and critics since the early modern period have said so. Samuel Taylor Coleridge once wrote that content and form should be “organic” friends, with form the more important friend of the pair. Philip Sidney thought that the poet should make the “brazen” stuff of nature into better, “golden” forms of his choosing, as God himself might do. How did such an apparent preference for form over content happen? This dissertation suggests that one answer might be found in a study of pre-modern ideas of content, or what, in the literary criticism of the fourteenth and fifteenth centuries, was called matere, or “matter.”
In the later Middle Ages, matere referred at once to a writer’s source materials, her broader topic, and the parchment and ink with which she worked. A thing both physical and metaphysical, matere was seen to possess its own agency and force, and was held to be an equal partner to form in the making of poetry. During the fifteenth and sixteenth centuries, however, these ideas of matter and form shifted. Since the Scholastics, medieval English poetic theory had held to a roughly Aristotelian notion of matter and form, wherein form inhered within matter. Poets could change the appearance of matter, but not its inner essence. An influx of Humanist and Neo-Platonic thought at the end of the fifteenth century, however, led to a different view in the sixteenth. Form came to be seen as an eidos, or “idea,” that was separable from matter—partly, because Humanist theory stressed style over content, and partly because of the renewed influence of these Platonic notions of form.
My dissertation traces these different attitudes towards form, matter, and the literary over the course of four chapters, each focused on a single poet who wrote between 1400 and 1547: Thomas Hoccleve, John Lydgate, John Skelton, and Thomas Wyatt. Where Hoccleve and Lydgate are shown to prioritize matter over form in their visions of poetry, Skelton and Wyatt gradually turn away from matter and towards form in their work. A consideration of each poet’s theoretical attitudes towards matter is paired, in each chapter, with a careful study of his practical treatment of source matter and manuscript materials. My introduction focuses primarily on those broader intellectual historical shifts that may have contributed to evolving conceptions of matter and form during the late medieval and early modern period. Ultimately, the dissertation concludes that, while early modern poetry remains as concerned with matter as it is with form, there is an ideological move away from ideas of materiality in the literary arts during the sixteenth century. This, in short, is the reason that Elizabethan poets claim that their work is, in Sidney’s words, “golden” rather than “brazen.”English
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Weingarten, Jeffrey. "Lyric historiography in Canadian modernist poetry, 1962-1981." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121330.
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This dissertation focuses on five closely knit writers who, between 1962 and 1981, produced exemplary historiographic poetry that guided their contemporaries. Al Purdy, John Newlove, Barry McKinnon, Andrew Suknaski, and Margaret Atwood were the chief voices of a literary mode that I term "modernist lyric historiography": a meditative modernist lyric that is self-critical, self-consciously incapable of claiming and skeptical about any claim to authority over history, and fundamentally historiographic (in the sense that it synthesizes, discards, and/or critically evaluates fragments of history). Arguably, Purdy was the inaugurator of lyric historiography: in the early 1960s, he experimented with a modernist lyric attentive to a broad vision of Canadian history. Newlove was one of many poets who saw Purdy's lyric historiography as a mode that could be used to provide insight into neglected prairie histories. As part of their search for more intimate connections to history that could sustain longer, narrative poems, McKinnon and Suknaski adapted lyric historiography to explore the familial past. Atwood reimagined lyric historiography as the search for Canadian "foremothers," proto-feminists that could serve as models for the second-wave feminist movement.Addressing the archives, creative writing, and historical contexts of these five writers, this dissertation proposes two primary claims. First, modernism persisted well into the 1970s (and even beyond) and shared with Canadian postmodernism a sophisticated approach to the idea of "history." Second, modernist lyric historiography was a continued investigation into one's ability to claim authority over historical narratives. Many modernists found some measure of such authority by exploring the most intimate connections to the past, which tended to be literal and figurative familial ones.Cette thèse traite de cinq écrivains, qui, entre 1962 et 1981, ont créé des modèles de poésie historiographique, qui ont guidé leurs contemporains modernistes. Al Purdy, John Newlove, Barry McKinnon, Andrew Suknaski et Margaret Atwood ont été les figures principales d'un mode littéraire que nous appelons «l'historiographie lyrique moderniste». Ce terme désigne une poésie lyrique moderniste et méditative, qui est autocritique, réticente à revendiquer une quelconque autorité sur l'histoire et méfiante de cette autorité lorsqu'elle est invoquée, ainsi que fondamentalement historiographique. Au début des années 1960, Purdy expérimente avec la poésie moderniste sur l'histoire du Canada. Newlove considérait l'historiographie lyrique de Purdy comme une manière d'écrire qui pourrait offrir une nouvelle façon de voir le passé négligé des prairies. McKinnon et Suknaski ont adapté l'historiographie lyrique en examinant le passé de leur famille. Atwood a réinventé l'historiographie lyrique en tant que recherche des «aïeules» canadiennes, des proto-féministes qui pourraient servir de modèle à la deuxième génération de féministes. En tenant compte des archives, de l'écriture et des contextes historiques de ces cinq écrivains, cette thèse propose deux idées principales. Premièrement, nous affirmons que le modernisme a persisté durant l'après-guerre et qu'il partageait avec le postmodernisme canadien une approche sophistiquée et critique de l'histoire. Deuxièmement, nous soutenons que l'historiographie lyrique moderniste consistait en un questionnement persistant sur la capacité de revendiquer une certaine autorité concernant un récit historique. Plusieurs modernistes ont trouvé une certaine autorité en explorant les liens les plus intimes avec le passé, qui avaient tendance à être des liens familiaux littéraux et métaphoriques.
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Adams, Samuel John. "The poetry and short stories of Roland Mathias." Thesis, University of South Wales, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268995.
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Wise, Julie M. "The lamp and the ledger Victorian poetry and liberal thought /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3330822.
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Thesis (Ph.D.)--Indiana University, Dept. of English, 2008.Title from PDF t.p. (viewed on Jul 22, 2009). Source: Dissertation Abstracts International, Volume: 69-10, Section: A, page: 3965. Adviser: Andrew H. Miller.
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Rowan, Sarah. "The efficacy of song itself : Seamus Heaney's defence of poetry." Doctoral thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8235.
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Includes abstract.Includes bibliographical references (p. 204-224).
The defence of poetry dates back, in English literature, to Sidney's 'An Apology for Poetry' (1595), and the twentieth and twenty-first centuries have seen an increasing number of writers advancing arguments in support of an art form that seems, more than ever, to be under threat. In this thesis, Seamus Heaney's essays on the purpose of poetry are considered as they constitute a defence of the art form. While Heaney's poetry and prose have, as a result of his popularity and standing as a poet, generated an almost unprecedented body of critical work, his defence of poetry has not been recognised as such, nor has it come under sufficient critical scrutiny. Essentially a defence of a defence, this thesis redresses that omission by examining Heaney's apology as it takes shape in his essays, and in its application to a selection of his own poems.
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Goodridge, John Anthony. "Rural life in English poetry of the mid-eighteenth century." Thesis, University of Newcastle Upon Tyne, 1990. http://hdl.handle.net/10443/1052.
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This thesis examines several mid-eighteenth century poems, assessing their portrayal of rural life, its literary and historical significance, and the aesthetic and ideological issues it presents. An introductory essay on developments in rural poetry sets'the scene for two extended essays. The first essay is a comparative reading of the subject of rural labour in three poems: James Thomson's The Seasons %724-40, Stephen Duck's The Thresher's Labour (1730,1736) and Mary Collier's The Woman's Labour The viewpoints of a professional poet (Thomson), a farm labourer (Duck), and a working woman (Collier) are compared in relation to kinds of work all three address as well as to individual labouring subjects. The responses of the three poets to such related issues as folk traditions, forms of charity and other 'compensations', are also compared. Some surprising similarities as well as instructive differences are located; and an interesting picture of idealistic and realistic, male-oriented and female-oriented attitudes to labour and labour-related themes emerges. The second essay analyses the subject of agricultural prescription in John Dyer's The Fleece (1757). Drawing on interdisciplinary information, the essay makes a sequential reading of the first book of the poem, whose subject is 'the care of sheep'. It traces the historical and poetic significance of Dyer's advice on land use and environment, breeding and types of sheep, husbandry and veterinary practice. The poet's theoretical models, his use of topography and of epic and pastoral, didactic and popular styles is examined. Dyer is found to make a substantial engagement with contemporary agricultural developments, but also to draw on idealising models of agricultural history and economic development, uniting the contrasting imperatives of the 'practical' and the 'poetical'. Dyer's belief that shepherding provided an important model for society; and his intense engagement with agriculture, inform a complex pattern of mixed motivations.
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Pearn, Julie. "Poetry as a performing art in the English-speaking Caribbean." Thesis, University of Sheffield, 1985. http://etheses.whiterose.ac.uk/1796/.
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This thesis seeks to demonstrate that there is a direct relationship between the emergence of poetry as a performing art in the English speaking Caribbean and phases of nationalist agitation from the uprisings against unemployment, low pay and colonial neglect during 1937-8 to the present. Though the poetry has many variations in scope, ranging from light-hearted entertainment, its principal momentum has been one of protest, nationalism and revolutionary sentiment. The thesis seeks to relate tone, style and content both to specific periods and cultural contexts, and to the degree of engagement of the individual artist in the political struggle against oppression. Frequently theatrical, the poetry has commanded a stage and a popular audience. Though urban in style, it is rooted in older, rural traditions. Creole, the vernacular of the masses, is a vital common denominator. The poetry is aurally stimulating, and often highly rhythmic. The popular music of the day has played an integral part, and formative role in terms of composition. The fundamental historical dynamic of the English-speaking Caribbean has been one of violent imperialist imposition on the one hand, and resistance by the black masses on the other. Creole language, with its strong residuum of African grammatical constructs, concepts and vocabulary, has been a central vehicle of resistance. It is a low-status language in relation to the officially-endorsed Standard English. The thesis argues that artists' assertion of Creole, and total identification with it through their own voice, is a significant act of defiance and patriotism. Periods of heightened agitation in the recent past have each led to the emergence of a distinctive form of performance poetry. Chapter two examines the role of Louise Bennett as a mouthpiece of black pride and nationalist sentiment largely in the period preceding independence. Her principal aim is the affirmation of the black Jamaican's fundamental humanity. She uses laughter both as a curative emotional release and as an expression of mental freedom. She lays the foundations of a comic tradition which does not fundamentally challenge the contradictions of the post-independence period. Chapter three relates the emergence of the Dub Poets of Jamaica to the development of Rastafarianism into a mass post-independence nationalist revival, and to the contribution of intellectuals, most symbolically Walter Rodney, to the process of decolonization. Reggae music, the principal creative response to the dynamics of the period both in terms of lyrics and rhythmic tension, infuses the work of Michael Smith, Cku Onuora, Mutabaruka and Erian Meeks examined in this study. Chapter four illustrates the development of performed poetry in the context of periods of insurrection and revolution in the East Caribbean. It examines the Black Rower movement as a stimulus to cultural nationalism and revolutionary sentiment, and its transcendence to internationalism and socialism in the context of the Grenada Revolution. Abdul Malik straddles and exemplifies the creative dynamic which exists between urban, industrial Trinidad and its tiny, rural and poor neighbour, Grenada.
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Jarvis, Matthew Rodger. "Aspects of postmodernism in a range of contemporary English poetry." Thesis, Aberystwyth University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247413.
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Lowe, Jeremy. "Desiring truth : the process of judgment in fourteenth-century art and literature /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/9463.
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Daniels, Rosemary. "Women's place in men's poetry: The creation of a beata femina in women's poetry of the eighteenth century." Thesis, University of Ottawa (Canada), 2004. http://hdl.handle.net/10393/29093.
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This dissertation examines a group of female writers in the eighteenth century, the Countess of Winchilsea, Sarah Fyge, Mary Chudleigh, Elizabeth Singer Rowe, Mary Collier, Mary Leapor, Ann Yearsley, and Anna Barbauld, who reconfigured elements of an authoritative generic mode, the georgic. In undertaking this reconfiguration these women developed their own distinctive tradition of verse which I describe as a portrayal of a beata femina . The poetry of the beata femina acknowledges the separate sphere to which eighteenth-century mores restricted women and privileges the life of that sphere. Thus the narrative of the beatus vir is not figured as an appeal to rural retirement so much as a gendered escape from a male dominated world into a female life of the mind. The traditional affirmation of the georgic labour of the estate is transformed into a testimony of domestic labour. The country-house poem is rewritten to celebrate the women who give it life, while the topographical survey is reordered as a means for women to survey their own narratives.
However, the most significant way in which these women establish a sense of a beata femina within georgically inflected verse is through their employment of time. Women's poetry in this mode self-consciously rejects both the seasonal cycles and sense of historic progression associated with the georgic. Instead, women describe short periods of time within their quotidian lives in which they experience pleasure, connect to nature or other women, and, often, achieve transcendent experiences which seem to stand outside time.
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Khan, Nosheen. "Women's poetry of the First World War." Thesis, University of Warwick, 1986. http://wrap.warwick.ac.uk/66938/.
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This thesis seeks to study women's poetic response to the First World War a hitherto neglected area of the literature inspired by the war. It attempts to retrieve from oblivion the experience of the muted half of society as rendered in verse and document as far as possible the full range of the poetic impact the war made upon female sensibility. It is thematic in structure and concentrates upon the more recurrent of attitudes and beliefs which surface in women's war writings. The thematic structure was adopted to cover as wide a range as possible of the ways the historical experience could be met and interpreted in literature. This study takes into account the work of the established writers of the period as well as the amateur versifiers who made war their subject. The first chapter discusses verse which defines the nature of war as apprehended by the female consciousness. Chapter Two examines the poets' use of religious concept and image to lend meaning and purpose to an event entirely at variance with the ideals employed to explain it. The third chapter considers the exploitation of the perennial poetic subject of nature to interpret war by accommodating it into the language and thought of an apparently alien literary tradition. War as it impinged upon the consciousness of people on the Home Front is discussed in Chapter Four; it is partly concerned with revising the calumnious images of women in war time as set out by the soldier poets. Chapter Five looks into the writing of those women who wrote out of their experience of working in the various organisations which were an integral part of the machinery of warfare. War as an experience of suffering - suffering peculiar to the female - defines Chapter Six. The purpose of this study has been to suggest the variety of literary responses to the First World War by those who, at great cost, produce the primal munition of war - men - with which their destinies are inextricably ,linked. As part of a response to a particular historical event, the literary interpretation of which has conditioned modern war consciousness, women's war poetry is not without relevance for it adds a new dimension to the established canon of war literature and correspondingly a new vista to understanding the truth of war.
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Campbell, Alexandra. "Archipelagic poetics : ecology in modern Scottish and Irish poetry." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/9102/.
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This thesis examines a range of poets from Ireland, Northern Ireland and Scotland from the Modernist period to the present day, who take the relationship between humans, poetry and the natural world as a primary point of concern. Through precise, materially attentive engagements with the coastal, littoral, and oceanic dimensions of place, Louis MacNeice, Hugh MacDiarmid, Derek Mahon, Michael Longley, Kathleen Jamie, John Burnside, Moya Cannon, Mary O’Malley and Jen Hadfield, respectively turn towards the vibrant space of the Atlantic archipelago in order to contemplate new modes of relation that are able to contend with the ecological and political questions engendered by environmental crises. Across their works, the archipelago emerges as a physical and critical site of poetic relation through which poets consider new pluralised, devolved, and ‘entangled’ relationships with place. Derived from the geographic term for ‘[a]ny sea, or sheet of water, in which there are numerous islands’, the concept of the ‘archipelago’ has recently gained critical attention within Scottish and Irish studies due to its ability to re-orientate the critical axis away from purely Anglocentric discourses. Encompassing a range of spatial frames from bioregion to biosphere, islands to oceans, and temporal scales from deep pasts to deep futures, the poets considered here turn to the archipelago as a means of reckoning with the fundamental questions that the Anthropocene poses about the relationships between humans and the environment. Crucially, through a series of comparative readings, the project presents fresh advancements in ecocritical scholarship, with regards to the rise of material ecocriticism, postcolonial ecocriticism, and the ‘Blue Humanities’.
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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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McGrane, Paul Steven. "The genesis of Clough's poetry." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:18be6cf8-b6fd-469e-8c88-5a1ae59b56ac.
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This thesis examines the early poetry of Clough, written between 1830 and 1841, in the light of the information about his personal and intellectual life provided by published and unpublished manuscripts, essays, letters and diaries. More specifically, it sets out to determine the degree to which the seeds (thematic and formal) of Clough’s more mature work can be discerned in the earlier. Chapter One discusses the influence of Clough’s childhood reading, and particularly the heroic ideal as encouraged by his mother. It traces the way this developed, particularly under the historical ideas of Thomas Arnold and the Liberal Anglicans, and the fatalistic moral problems this created. Chapter Three considers Clough’s responses to the Oxford Movement. It teases out those elements that attracted Clough and those he came to reject, particularly in the light of Tractarian ideas about reserve, in relation to poetry, truth and personal behaviour. Chapters Two and Four provide chronological, text-by-text accounts of the Rugby and Balliol poems respectively, offering judgments about influences, dates and sources, and interpretations in the light of Chapters One and Three respectively. Chapter Two argues that much of the Rugby poetry reflects an escapist lament for the past and a failure of will to restore it. Chapter Three argues that Clough’s engagement with Tractarian ideas about reserved truth provides the key context for many of these poems. Chapter Five traces the way in which Clough’s early poetics, derived from Wordsworth via Thomas Arnold, were gradually replaced by his more mature, ambiguous approach which also emerged from his encounters with Tractarian reserve. Two appendices collect ten poems and poetic fragments omitted from Mulhauser’s standard edition; three additional variant texts for poems included by Mulhauser; and four previously unpublished letters to Clough from his friend WilliamTylden.
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Fox, Amy. "The place of madness and madness as place in British romantic poetry." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=95225.
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This thesis examines representations of the madman in British Romantic poetry through a psychogeographical lens to argue that the poet strategically constructs madness as an unreachable place in order to secure his own role in society. In an age that privileges quantifiable labour and the tenets of Reason, the Romantic poet expresses anxiety that his more abstract, imaginative work will not be valued and his social position will thus be considered irrelevant or unproductive. The poet promotes himself as an eccentric, but not an outcast, by hierarchizing types of social exclusion, implicitly privileging his own work through his representations of the madman's existence as stagnant, nonproductive and ultimately destructive. Further, in depicting the place of madness itself as a realm only the poet can navigate, and from which he returns to reveal insights about his rational culture's psychology, the poet reaffirms his unique position as an intuitive truth-tellerand even a prophetfor his age.Cette thèse examine, du point de vue psychogéographique, la représentation du fou dans la poésie romantique britannique pour soutenir que le poète édifie la folie de façon stratégique comme un endroit impossible à atteindre, sécurisant ainsi son rôle dans la société. Dans une époque qui privilégie le travail quantifiable et les principes de la raison, le poète romantique s'inquiète que ses oeuvres les plus abstraites et imaginatives ne seront pas valorisées et qu e sa position sociale sera par la même considérée dépourvue de pertinence et non productive. Le poète se fait donc valoir comme un original, sans toutefois être un paria, en hiérarchisant les types d'exclusion de sa société, en privilégiant implicitement son oeuvre par la représentation de l'existence du fou comme une existence stagnante, non productive et, à la limite, destructive. En outre, en illustrant la folie comme un endroit où seul le poète peut naviguer, et d'où il retourne pour révéler sa sagesse sur la psychologie de sa culture rationnelle, le poète réaffirme son unique position en tant que porteur de vérité et même en tant que prophète de son époque.
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Pauly, Jason. "Designing Byron's «Dasein»: the anticipation of existentialist despair in Lord Byron's poetry." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21912.
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In the broadest sense this paper exhibits an existentialist impulse in Byron's poetry. More particularly, I examine four of Byron's major works to analyze the similar ways in which his characters become alert to their being through the emotion of despair, and as a result I contend that Byron can be read anticipating the existentialist aim to explore being in terms of angst. Achieving awareness of being through despair means that Byron's characters fall back on nothing but themselves, that is to say, on the presence of their being, which suggests that an embedded ontology is at work in Byron's poetical thinking. This ontology is best understood in terms of his Dasein, which similarly conceives of being by virtue of its presence, its thereness.Au sens le plus large cette thèse expose une impulsion existentialiste dans la poésie de Lord Byron. De façon plus particulière, j'examine quatre des principales oeuvres de Lord Byron afin d'analyser les similitudes entre les manières qu'ont ses personnages de réaliser pleinement leur propre existence à travers l'émotion du désespoir. Je soutiens donc que Lord Byron peut être lu comme anticipant le désir existentialiste d'explorer l'être en termes d'angoisse. En prenant conscience de l'être à travers le désespoir, les personnages de Byron se rabbattent sur eux-mêmes, en d'autres mots, sur la présence de leur être. Cela me permet de proposer la présence d'une ontologie incrustée dans la pensée poétique de l'auteur. Cette ontologie se comprend le plus aisément par le terme Dasein, qui de façon similaire conçoit l'être simplement en vertu de sa présence.
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Strang, Emma Clare. "Habitude : ecological poetry as (Im)Possible (Inter)Connection." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4813/.
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The proposition that ecological crisis can be ameliorated or even resolved if humans were to 'reconnect to the natural world', has been steadily gaining in popularity since the publication of Rachel Carson's Silent Spring (1962). In a collection of my own poems, Habitude, I unpack this idea, asking what 'connection to nature' might mean and exploring ways in which ecological poetry can be said to enact - thematically and formally - the kind of connection it seeks to encourage. I discuss the use of the poetic 'I' and its absence, scrupulous observation (of mindscape as much as landscape) and mythopoetic narrative, as poetic 'strategies of connection'. In this way, the poems invite the reader to (re)negotiate an emotional, intellectual and spiritual relationship between the human and nonhuman. Habitude suggests that 'connection to nature' is not 'shining union' (Tim Lilburn) but interrelationship, an interdependent co-existence of diverse and disparate species. With reference to both ecocritical texts, in particular the work of Timothy Morton, and contemporary ecopoetics (John Burnside, Robin Robertson, Kathleen Jamie, Don Paterson, amongst others), I present a deliberately polyphonic thesis in an effort to formally embody the notion of interrelationship. Polyphony is represented not just in the different writing styles (academic/conversational/poetic/personal) and genres (poetry and prose), but also in the presence of three distinct voices: alongside the collection of poetry, I engage in two conversations with fellow ecological poets, Susan Richardson and David Troupes. The conversations focus on ecopoetic practice and 'strategies of connection'. In an essay which offers a personal take on 'ecopoetry' and its role in facilitating interrelationship, I explore the strengths of ecological poetry at this time of accelerating climate change and biodiversity loss. I suggest that its value lies not so much in 'saving the earth' (Jonathan Bate), but in offering a covert politics of potential – a space to renegotiate human-nonhuman interrelationship, whilst resting in uncertainty.
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Larrington, Carolyne. "Old Icelandic and Old English wisdom poetry : gnomic themes and styles." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.304642.
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Sawday, Jonathan Hugh. "Bodies by art fashioned : anatomy, anatomists, and English Poetry 1570-1680." Thesis, University College London (University of London), 1988. http://discovery.ucl.ac.uk/1317606/.
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The thesis explores the way in which anatomical discussion of the human body in the period c.1570-c.1680 informs a range of 16th and 17th century poetic texts. It begins with an account of the study of anatomy in England in the years between the publication of Vesalius' observations of the body and the appearance of Harvey's ideas on the circulation of the blood in 1628, and argues that the language, the religious significance, the practice, and the patterns of symbolism in the Renaissance anatomy lesson were all factors which were well understood by poets as diverse as Spenser, Sir John Davies, John Davies of Hereford, and, above all, Donne. The style of enquiry which was fostered by anatomists, and in particular the methodological problems associated with the dissection of the human body, are traced in anatomical text-books of the period, in theological writing, and in the work of the "Encyclopaedic" authors of the 16th century: Ambroise Paré, Phillipe de Mornay, and Pierre de la Primaudaye. The poetry of Phineas Fletcher, in particular his epic poem The Purple Island (1633), represents the climax of this conjunction between anatomical and poetic discourse. An extended discussion of this poem shows it to be an attempt at transforming the language and practice of anatomy into a means of expressing religious, political, and methodological confrontation. Fletcher's poem can be understood not as an incongruous fusion of poetry and science, but as an extended rehearsal of a well-established tradition of poetic accounts of the body discernable in the writings of Spenser and Donne, and in the poetic anatomization found in Sylvester's translation of the Divine Weekes of Du Bartas. Fletcher's poem is, however, virtually the last attempt at exploring this tradition. With the single exception of Joseph Beaumont's Psyche (1648), which is discussed in relation to The Purple Island, the history of anatomy and poetry is now one of disjunction. This theme is considered in the second half of the thesis. The replacement of intellectual systems of enquiry based on an understanding of "correspondence" by "mechanistic" accounts of the body is held to be at the root of the fracture between anatomists and poets. The language of figures such as Ross, Van Helmont, Harvey, Willis, Collins, and Charleton, together with the work of the theoreticians of language associated with the early years of The Royal Society, are compared to older styles of anatomic writing to reveal poetic accounts of the human body to be indebted to increasingly anachronistic images and ideas. After Harvey's work has become generally known in England it appears that poets such as Thomas Randolph, Margaret Cavendish, and John Collop resort to a language which is no longer the shared preserve of the scientist and the poet. This break-down of shared assumptions results in the transfer of attention, on the part of the poets, from the body itself to the scientist who explores the body. In the writings of Cowley, Dryden, and Jane Barker, the scientist emerges as a central figure. Imagined as a new Apollo, a heroic discoverer, his strangest transformation is that whereby he is imagined as the microcosmic voyager and narrator of the body. The displacement of the body from poetry is, however, challenged in the writings of Thomas Traherne. The final chapter of the thesis (which functions as a conclusion to the study as a whole) argues that, in Traherne's poetry and prose, an attempt at synthesizing the poetic and the scientific understanding of the body is discernable. Traherne's writings are discussed in the context of both the Royal Society's pronouncements on language and the work of the group with which he has been most closely'associated - the Cambridge Platonists. What is revealed is that Traherne is not (as has often been claimed) an Intellectual "conservative", but rather he asserts the view that fideism and rationalism can be harmonized under a system in which the anatomist and the poet once more share a common task.
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Jarvis, Fiona Mary Patricia Alcibiadette. "A study of the theme of exile in old English poetry." Thesis, Cardiff University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308203.
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Monks, Philip. "The importance of the poetry book in the digital age." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8128/.
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An examination through the creation and curation of a printed poetry collection, together with other practice-based and wider research, of how far digital technology has influenced contemporary poetry and the status of the poetry book. Personal practice is considered and analysed and, from this, and research leading out from this, a more general survey provided of the impact of digital technology on the poet’s persona, the creation of the poems themselves and on their dissemination. These wider issues, and the practice-based research that underlies them, inform the specific consideration of the extent to which digital technology has affected the nature and importance of the single collection poetry book in the early part of the twenty-first century. The conclusion is drawn that, for the poet, and for contemporary poetry more generally, the importance of the printed poetry book is greater than ever and that digital technology has further increased its impact, vitality and relevance.
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Jones, Philip. "Rewriting the Atlantic archipelago : modern British poetry at the coast." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/51877/.
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Despite a so-called ‘oceanic turn’, there has been relatively little attention paid to literary representations of the shoreline as a specific material and cultural site. This thesis examines how modern British poets respond to and represent the coastline in their work, with particular emphasis on notions of place and geographic scale. Whilst looking at the use of the archipelago in recent cultural and literary studies of British and Irish writing, this thesis argues for a more refined and complex sense of the archipelagic, one which responds to the needs and demands of an increasingly global and interconnected world. To better understand this relationship between text and coastal landscape, the project draws on the work of Henri Lefebvre and Doreen Massey, as well as Edward Casey’s investigations into the future of place and Philip E. Steinberg’s reconceptualisation of ocean spaces. In engaging with ideas of place in a newly intense period of globalisation, this thesis contends that a critical desire to focus on disruptions of linear spatial and temporal scales must still negotiate residual notions of bounded communities and national identities. The archipelago emerges both as a site of rupture and interconnection. In attending to these different levels of geographic experience, the thesis also demonstrates how notions of scale must respond to more than spatial distance, becoming attentive to how a variety of emotional and psychological experiences become frayed and disrupted within the shifts between the local, national and planetary. In the poetry of Peter Riley, Wendy Mulford, Robert Hampson, Matt Simpson and Robert Minhinnick, the shore emerges as an ambivalent and fluid terrain but one, nonetheless, in possession of its own social and cultural histories.
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Matlock, Wendy Alysa. "Irreconcilable differences law, gender, and judgment in Middle English debate poetry /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1059425199.
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Thesis (Ph. D.)--Ohio State University, 2003.Document formatted into pages; contains viii, 258 p. Includes bibliographical references (p. 241-258). Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2008 July 29.
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Alwazzan, Aminah. "The Strong Voices of Black Women and Men in the Selected Poetry of Langston Hughes." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2019. http://digitalcommons.auctr.edu/cauetds/161.
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This thesis discusses Langston Hughes’ poetry and details the African-American experience in a discriminatory society which was an essential theme of the Harlem Renaissance. The Harlem Renaissance was a cultural and artistic movement which enriched American life. Hughes’ body of work covers the entire range of the human experience, especially the experience of ordinary people. He believed that the role of the artist was to cover and illuminate every aspect of people’s lives. Part of this expansive philosophy towards art included giving a voice to African-American women and men who experienced both racist and patriarchal oppression.
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Dymoke, Sue. "The teaching of poetry in secondary schools." Thesis, University of Nottingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343867.
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Wagenaar, Mark. ""Southern Tongues Leave Us Shining"." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862801/.
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A collection of poems that are history- and place-infused lyrical songs that that sounds the landscapes and distances of the South, with a critical preface that explores erotic encounters with the divine.
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Garner, Lori Ann. "Oral tradition and genre in old and middle English poetry /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9974631.
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Smith, Katherine Jo. "Ovidian female-voiced complaint poetry in early modern England." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/95225/.
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This thesis explores the genre of Ovidian female-voiced complaint poetry and its tradition in early modern English literature. In looking at original poems, translations and receptions of Ovid’s Heroides, I argue that female as well as male writers throughout the early modern period engaged with the tradition of Ovidian female-voiced complaint poetry. By using case studies advancing chronologically throughout the period, I will also show how female-voiced complaint changes and develops in different historical and literary contexts. Nobody as yet has produced a study looking at a large sample of women writing female-voiced complaint. The criticism around complaint is diffuse, with only a small number of book-length studies which focus on complaint in general as a genre or discourse. There are many articles or chapters on individual complaint poems but not many which compare different female-voiced complaints of the same period, especially those written by women. When female poets write in the genre, the rhetorical trope of Ovidian female-voiced complaint (that the sex of the author is discontinuous with that of the speaker) must be renegotiated. This renegotiation by female poets is often the result of close and learned engagement with the traditions of complaint, both the classical precedents and the receptions and re-imaginations of the genre in early modern England. They are choosing a genre which has a productive potential in being female-voiced but which also has a tradition of male manipulation. However, rather than seeing women writers as existing separately from male writers, I argue that they work in parallel, drawing on the same Ovidian complaint traditions.
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Mauger, Matthew. "Prophetic legislation : William Blake and the visionary poetry of the law." Thesis, Queen Mary, University of London, 2005. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1818.
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This dissertation examines the meaning of law in Blake's work. I argue that Blake's poetry intersects with contemporaneous challenges to the traditional model of the ancient constitution, a debate which I present as a conflict between custom and code. Blake's support for the French Revolution's overthrow of the customary systems of the ancien regime is countered by his nervousness about the rights-based discourse advanced by leading radical intellectuals such as Thomas Paine, a belief that the new systems which they proposed merely re-stated those which they sought to replace within an even narrower compass. Law is also a contested ground within radical political discourse of this period; although the dominant proposals advocated the enshrinement of fundamental rights and the codification of law, there was also a tendency towards a more enthusiastic radicalism These millenarian groups, emerging from antinomian heresy, rejected the notion of life being framed within a set of moral laws. I argue that Blake cannot easily be placed in either group; his work exhibits a fidelity to the redemptive potential of law, coupled with a real concern that to define freedoms in legal terms serves to limit rather than to liberate. Blake's work thus engages with a problem of the period: how to understand the new discourses of law. The customary account of the ancient English conunon law is predicated on the idea that it is codified, yet not written down; secular, though grounded in divine principle. These ambivalences are exploited by Blake in his poetic exploration of the law in the 1790s. In his nineteenth-century epics, Blake finds increasing help in dissenting religion's reconstruction of a radicalized Jesus. Through this radical prophetic voice, Blake is able to construct a redemptive legality founded on a deinstitutio-nalized Christianity, a constitutionalism that is also recovered from the conventional customary account.
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Brown, Niamh. "Devotional cosmology : poetry, thermodynamics and popular astronomy, 1839-1889." Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8230/.
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The relationship between science and religion in nineteenth century Britain has been the focus of major recent interest from historians and critics, and was a source of anxiety for Victorians. This thesis uses a modified version of the ‘two-way traffic’ model used in literature and science studies, to consider a three-way exchange of ideas between science, literature and religion in the mid- and later nineteenth century. I use popular scientific treatises and religious poetry published between 1839 and 1889 to consider some of the ways in which some Victorian writers attempted to unite religious and scientific cosmologies to create an inclusive, coherent scheme in which God co-exists with scientific laws without contradiction. I argue that poetry, and particularly epic, played an important part in enabling some Victorians who were concerned about a potential incompatibility between science and religion, to explore and propose solutions to perceived conflicts. In addition to this intermediary role, poetry acts in its own right to exchange ideas, in the form of images, tropes and figurative devices, with both science and religion. I examine the poetry of Gerard Manley Hopkins and James Clerk Maxwell in relation to their attitudes to thermodynamics. In terms of epic poetry, I focus upon Philip James Bailey’s Festus and Edward Henry Bickersteth’s Yesterday, Today and Forever. I also consider the popular scientific treatise and use literary analytical methods, such as close reading, to trace instances of poetic and religious allusion, and I note affinities between epic poetry and popular scientific treatises. I make case studies of The Unseen Universe by Balfour Stewart and Peter Guthrie Tait, and the very public debate between William Whewell and David Brewster on the possibility of extraterrestrial life. Nearly all of the poems and treatises on which I focus in this thesis have been understudied, especially in the field of literature and science. I aim to reposition these texts as important routes for further study in this field. In order to investigate patterns of exchange between science, religion and poetry, I focus in my thesis upon three chief cosmological questions: the future of the universe in light of Victorian understandings of the laws of thermodynamics; the presence, or not, of a divide between the spiritual and earthly realms; and the existence or otherwise of extraterrestrial life. The project considers each of these questions as they are dealt with in poetry and in scientific treatises, and examines how answers to each question are developed, with each genre contributing to the development of ideas in the other.
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Schubert, Layla A. Olin 1975. "Material literature in Anglo-Saxon poetry." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10909.
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x, 208 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.The scattered instances depicting material literature in Anglo-Saxon poetry should be regarded as a group. This phenomenon occurs in Beowulf, The Dream of the Rood, and The Husband's Message. Comparative examples of material literature can be found on the Ruthwell Cross and the Franks Casket. This study examines material literature in these three poems, comparing their depictions of material literature to actual examples. Poems depicting material literature bring the relationship between man and object into dramatic play, using the object's point of view to bear witness to the truth of distant or intensely personal events. Material literature is depicted in a love poem, The Husband's Message, when a prosopopoeic runestick vouches for the sincerity of its master, in the heroic epic Beowulf when an ancient, inscribed sword is the impetus to give an account of the biblical flood, and is also implied in the devotional poem The Dream of the Rood, as two crosses both pre-and-post dating the poem bear texts similar to portions of the poem. The study concludes by examining the relationship between material anxiety and the character of Weland in Beowulf, Deor, Alfred's Consolation of Philosophy, and Waldere A & B. Concern with materiality in Anglo-Saxon poetry manifests in myriad ways: prosopopoeic riddles, both heroic and devotional passages directly assailing the value of the material, personification of objects, and in depictions of material literature. This concern manifests as a material anxiety. Weland tames the material and twists and shapes it, re-affirming the supremacy of mankind in a material world.
Committee in charge: Martha Bayless, Chairperson, English; James Earl, Member, English; Daniel Wojcik, Member, English; Aletta Biersack, Outside Member, Anthropology
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Lavoie, Chantel. "The province of the poetess: Chastity and the poetry of Pilkington, Barber and Grierson." Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/6890.
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This dissertation explores the poetry of three women included in Jonathan Swift's circle of friends in Dublin. The demands of chastity and related tensions for eighteenth-century women provide a context for the poems and reputations of Constantia Grierson, Laetitia Pilkington and Mary Barber. Chapter 1 provides personal histories and an overview of their relationships to Swift. Chapter 2 explores familial and gender issues alongside the problematic implications of appearing in print. The final chapter deals with the persona each poet created in order to realize her ambitions, and the dubious success with which publication was accomplished. Images of near-saint, coquette and righteous matron have informed speculation about Grierson, Pilkington, and Barber respectively, originating in Grierson's apparent lack of ambition. Pilkington's divorce and audacity in printing her memoirs, and Barber's emphasis that she wrote "to improve the minds of (her) children". Simplified versions of the lives of writing, women are a produce not only of (frequently misogynistic) misunderstandings; they also result from taking these poets at their word, believing the re-creations on the page.
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Groom, Nicholas Michael. "Thomas Percy's Reliques of Ancient English Poetry : its context, presentation and reception." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359575.
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Matthews, Samantha. "Representations of the grave in nineteenth century English poetry : a selected commentary." Thesis, University College London (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300631.
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Dandoulakis, G. "The struggle for Greek liberation : The contributions of Greek and English poetry." Thesis, Loughborough University, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.354293.
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Alderson, Simon James. "Iconic forms in English poetry of the time of Dryden and Pope." Thesis, University of Cambridge, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283900.
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Quipp, Edward. "W.H. Auden and the meaning of lyric poetry." Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/2119.
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My thesis proceeds from recent critical discussion about the status of the aesthetic object after the decline of high theory of the 1980s and 1990s. The term “singularity”, articulated by critics working with the ideas of Martin Heidegger, has been variously applied to the artwork in the attempt to describe the generative power of art as separable from any historical or political determinants that may shape it. What makes the experience of art “singular”, that is, an experience governed by the artwork itself, without the scaffolding of theory or context? Such a question, I argue, actually demands a return to the first principles of close textual criticism, along with a rigorous approach to genre. The lyric poetry of W. H. Auden provides the ideal material for “singular” criticism. Unpacking the term lyric and redefining it according to Auden’s particular poetics, I consider how Auden inaugurated a new manner of experiencing modern poetry based on the notion, implicit to the conventional understanding of lyric, of vocality. After an account of Heidegger’s influence on contemporary ideas on aesthetics, I consult the work of Theodor Adorno, and later Hannah Arendt, in order to situate Auden’s early work in a European context, opposing the Atlanticism which has governed the vast majority of Auden criticism. Working to restore the power of the first encounter with the poem to historically and philosophically nuanced textual analysis, I present the key works of Auden’s early corpus in a new light.
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Vardy, Alan Douglas. "Romantic ethics /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/9362.
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Mercado, Leticia. ""Habla, bulto animado": El problema del silencio en la poesía ecfrástica de la España barroca." Thesis, Boston College, 2015. http://hdl.handle.net/2345/bc-ir:104156.
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Thesis advisor: Elizabeth RhodesThis dissertation studies the uses of silence in a corpus of Baroque poems about portraits and funerary monuments. I explore silence as a dynamic, dialogic space where poetic voice, implicit reader and work of art interact. Within these poetic texts --written between 1599 and 1650 by poets from Francisco de Rioja to Quevedo or Góngora-- I focus on the question of representation: how, in ekphrastic texts, silence--whether the silence of the poet or that if the object he is describing--reveals certain anxieties about representation. Using enargeia --lifelike vividness--the Baroque poet searches for a new poetic art in which the `speech' of the portrayed breaks the ultimate silence of death. My critical discussion is rooted in an extensive corpus of seventeenth-century poems, an awareness of the moral implications of silence in Spanish Baroque philosophy, and in recent theoretical discussion of intermediality and ekphrasis, such as Mitchell's theory of ekphrasis and otherness (1994), and Foucault's concept of heterotopy (1986). My dissertation also examines the role of silence in its relation to the ideas of presence and absence in funerary ekphrasis, which includes the poetical description of tombs, as well as in the genre of laudatory ekphrasis and the poetical epitaph. I analyze the relationship between these instances of ekphrasis and the visual representations of silence in several books of emblems by Alciato, Kircher, and Vaenius, published in Europe between the sixteenth and seventeenth centuries. My dissertation demonstrates how silence is a central concept of Baroque aesthetics that identifies fictional representation with a "teacher of truth," and functions as a vehicle for the acquisition of moral knowledge in the context of the Baroque idea of desengaño, thus siding with the objectives of the Spanish Counter-Reformation
Thesis (PhD) — Boston College, 2015
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Romance Languages and Literatures