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Dissertations / Theses on the topic 'Caribbean poetry (English) Poets'
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1
Quint, Arlo. "Nine New Poets: An Anthology by Arlo Quint." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/QuintA2004.pdf.
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Updegraff, Derek Kramer Johanna Ingrid. ""Fore ðære mærðe mod astige" two new perspectives on the Old English Gifts of men /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2008. http://hdl.handle.net/10355/5623.
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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on October 6, 2009). Thesis advisor: Dr. Johanna Kramer. Vita. Includes bibliographical references.
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Emara, Mohamed Hamed Hafez. "Modernist Arabic poetry and the English modernists : a comparative linguistic study." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326926.
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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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Holmgren, Michele J. "Native muses and national poetry, nineteenth-century Irish-Canadian poets." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq28493.pdf.
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McCaffery, Richard. "Poets as legislators : self, nation and possibility in World War Two Scottish poetry." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/7049/.
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This thesis is the first sustained critical and sociological reappraisal of the poetry produced by Scottish poets who came of age during World War Two and a selection of those who were old enough to have experienced the previous conflict whilst still responding in their art to World War Two. This thesis carves out a critical space for World War Two poetry beyond the poetry of pity and loss espoused by poets of World War One. It also takes into account the conditions and circumstances that mark out Scottish poetry of this conflict from English poetry of the same era, for programmatic, political, poetic and linguistic reasons as well as re-configuring the definition of World War Two poetry to encompass the experience of women poets. At the core of this thesis lies the idea that the Scottish poetry of World War Two was committed to something more than anti-fascism. These poets did not simply oppose a tyrannical, fascist force in their work, they were also developing ways in which their work and art could contribute to a better post-war Scottish society and in many ways espousing both internationalism and proto-transnationalism as well as anti-imperialism. All of these poets contributed in both practical and intellectual ways to post-war Scottish society. In this, this thesis takes its lead from Alice Templeton’s literary theory of a war poetry of ‘possibility’ that transcends both the trauma, witness and outrage of reactions to war. The cumulative effect of the work of these poets is a legislative and educational impact made on society, that poets could have a say in their work on how post-war society could be reconstructed in fairer and more equitable ways. This poetry is both modernist and romantic in the sense that it desires a change and sees life and potential that is being denied by imperial super-powers and structures while it invests the poet with an empowered voice. From the home-front to the front-line, diverse avenues of experience are treated as being of vital importance. The first chapter of this thesis explores the Elegies for the Dead in Cyrenaica and a number of folk songs by Hamish Henderson, to show his unique commitment to post-war Scotland in his folk-song work. Chapter two compares and contrasts the work of Alexander and Tom Scott, showing their range of reaction from the epic to the highly personal elegy. The thesis then moves into an analysis both of George Campbell Hay’s war poetry, which sympathised with the native Arab populations during the desert war, and the work of Sorley MacLean, who found his political certainties shaken. From this point the thesis explores the anti-heroic work of Edwin Morgan and Robert Garioch as well as the political and personal reasons for refusal of conscription expounded by Douglas Young and Norman MacCaig. The thesis closes with a discussion of women’s experience and poetry of World War Two, and an in-depth a look at the major influential figures on the poets of this time, Hugh MacDiarmid and Edwin Muir. Between these figures we shall see a range of experiences, but each poet is united in their struggle, dramatized in their work, for a better post-War Scotland, a drive which this thesis explores and discusses for the first time in detail.
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Karadas, Firat. "Imagination, Metaphor And Mythopoeia In The Poetry Of Three Major English Romantic Poets." Phd thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/3/12608579/index.pdf.
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This thesis studies metaphor, myth and their imaginative aspects in the poetry of William Wordsworth, Percy Bysshe Shelley and John Keats. The thesis argues that a comprehensive understanding of metaphor and myth cannot be done in the works of these poets without seeing them as faces of the same coin, and taking into consideration the role of the creating subject and its imagination in their production. Relying on Kantian, Romantic, and modern Neo-Kantian ideas of imagination, metaphor and myth, the study tries to indicate that imagination is an inherently metaphorizing and mythologizing faculty because the act of perception is an act of giving form to natural phenomena and seeing similitude in dissimilitude, which are basically metaphorical and mythological acts. In its form-giving activity the imagination of the speaking subjects of the poems studied in this thesis sees objects of nature as spiritual, animate or divine beings and thus transforms them into the alien territory of myth. This thesis analyzes myth and metaphor mainly in two regards: first, myth and metaphor are handled as inborn aspects of imagination and perception, and the interaction between nature and imagination are presented as the origin of all mythology<br>second, to show how myth is something that is re-created time and again by poetic imagination, Romantic mythography and re-creation of precursor mythologies are analyzed. In both regards, poetic imagination appears as a formative power that constructs, defamiliarizes and re-creates via mythologization and metaphorization.
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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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Williams, Todd Owen. "Poetic Renewal and Reparation in the Classroom: Poetry Therapy, Psychoanalysis, and Pedagogy with Three Victorian Poets." [Kent, Ohio] : Kent State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1194103428.
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Thesis (Ph.D.)--Kent State University, 2007.<br>Title from author submission page (viewed Sept. 14, 2009 ) Advisor: Mark Bracher. Keywords: poetry therapy, psychoanalysis, Victorian poetry, pre-Raphaelite. Includes bibliographical references (p. )
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Bean, Heidi R. "Poetry 'n acts: the cultural politics of twentieth-century American poets' theater." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/638.
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"Poetry 'n Acts: The Cultural Politics of Twentieth-Century American Poets' Theater," focuses on the disciplinary blind spot that obscures the productive overlap between poetry and dramatic theater and prevents us from seeing the cultural work that this combination can perform. Why did 2100 people turn out in 1968 to see a play in which most of the characters speak only in such apparently nonsensical phrases as "Red hus the beat trim doing going" and "Achtung swachtung"? And why would an Obie award-winning playwright move to New Jersey to write such a play in the first place? What led to the founding in 1978 of the San Francisco Poets Theatre by L=A=N=G=U=A=G=E writers, and why have those plays and performers been virtually ignored by critics despite the admitted centrality of performance to L=A=N=G=U=A=G=E writing's textual politics? Why would the renowned Yale Repertory Theatre produce in the 1990s the poetic, plotless plays of a theater newcomer twice in as many years--even when audiences walked out? What vision for the future of theater could possibly involve episodic drama with footnotes? In each example, part of the story is missing. This dissertation begins to fill in that gap.
Attending to often overlooked aspects of theater language, this dissertation examines theatrical performances that use poetic devices to intervene in narratives of cultural oppression, often by questioning the very suitability of narrative as a primary means of social exchange. While Gertrude Stein must be seen as a forerunner to contemporary poets' theater, chapter one argues that the Living Theatre's late 1950s and early 1960s anti-authoritarian theater demonstrates key alliances between poetry and theater at mid-century. The remaining chapters closely examine particular instances of poets' theater by Amiri Baraka (known equally as poet and playwright), Carla Harryman (associated with West Coast poetry), and Suzan-Lori Parks (a critically acclaimed playwright). These productions put poetic theater on the backs of tractors in Harlem streets, in open gallery spaces, and in more conventional black box and proscenium architectures, and each case develops the importance of performance contexts and production histories in determining plays' cultural effects.
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Richardson, Recarlo Angelo. "My Seoul." Miami University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=miami1533668273026016.
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Messem, Catherine. "'Angers, fantasies and ghostly fears' : nineteenth century women from Wales and English-language poetry." Thesis, Aberystwyth University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364769.
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Polcrack, Doranne G. "Poets judging poets T.S. Eliot and the canonical poet-critics of the seventeenth, eighteenth and nineteenth centuries measure John Milton /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1995. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 1995.<br>Source: Masters Abstracts International, Volume: 45-06, page: 2823. Typescript. Abstract precedes thesis as preliminary leaves [1-2]. Includes bibliographical references (leaves 180-190).
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Nott, Michael J. "Photopoetry : a critical history of collaborations between poets and photographers in the Anglophone world, 1845-2015." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/7811.
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This thesis examines the history of collaborations between poets and photographers in the Anglophone world, from 1845 to 2015, and argues for a new form of art distinct from the photobook. It identifies a new body of work, ‘photopoetry', and develops this discovery into a critical exegesis of its forms and potentials. Proceeding chronologically, this thesis explores photopoetic history from its nineteenth-century roots to modern-day collaborations between renowned poets and photographers. Chapter I examines early experiments in photopoetic form, including scrapbooks and stereographs, and identifies two thematic trends characterising photopoetic history to the present day: the picturesque and the theatrical. The second chapter focuses on the identity politics of photopoetic books in the late-nineteenth and early-twentieth centuries, exploring how the relationship between poem and photograph can both perpetuate and subvert representations of the objectified other, from British India to the American South. Chapter III theorises Imagism from a photographic perspective, examining how, in the absence of any discernibly modernist photopoetry book, the most important dialogue between poem and photograph was enacted within Imagist verse. It proceeds to examine the introduction of urban environments into early-to-mid-twentieth-century photopoetry. Chapter IV analyses the reinterpretation of photopoetic topography in mid-to-late-twentieth-century collaborations, exploring how picturesque landscapes in nineteenth-century photopoetry were reinvented as immersive environments that echoed the rise of photopoetic co-authorship and the development of more symbiotic, less literal photopoetic relationships. The fifth chapter expands upon ideas analysed in Chapter IV, arguing how, in narrowing both poetic and photographic focus to objects rather than picturesque vistas, twenty-first-century photopoetry encourages a non-linear approach to reading and viewing, abandoning the ‘journey' paradigm of earlier photopoetry. Overall, this thesis represents the first book-length history of photopoetry, and expounds both a new area of analysis for scholars of text and image, and a new critical discourse for such analyses.
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Kawalit, Alia'. "Across the walls (poetry collection) ; Home, alienation and re-homing in four migrant poets in London (dissertation)." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/49231/.
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This thesis investigates contemporary poetry of migrants and expatriates in the United Kingdom. The thesis starts with a collection of my poems that emerges as a correspondence to changing locations from Jordan, my homeland, to England, the host land. The second part is a dissertation that studies the work of four poets: Merle Collins and her Rotten Pomerack (1992); Amjad Nasser and Shepherd of Solitude (2009); Fathieh Saudi and Daughter of the Thames (2009); Sofia Buchuck and Orange Nights in Autumn (2008). The approach taken in this dissertation is through giving special attention to political context and to the ways in which Collins, Nasser, Saudi and Buchuck reflect it in their poems. In addition, the study shows how both Saudi and Buhcuck use poetry as a means of renewing identity and creating a new homeland. The study also includes personal interviews with Saudi and Buchuck that tell about the difficulties and opportunities faced by migrant poets. Both the critical and creative work offer insights into different experiences with location which result in various poetic expressions and definitions of host land, homeland, and home.
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McCarthy, Erin Ann. "“Get me the Lyricke Poets”: Poetry and Print in Early Modern England." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338379173.
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Buckner, Elisabeth. "Superior Instants: Religious Concerns in the Poetry of Emily Dickinson." TopSCHOLAR®, 1985. https://digitalcommons.wku.edu/theses/2195.
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When I decided to write a thesis on Emily Dickinson's poetry, my intention was to show that she did, indeed, implement a concrete philosophy into her poetry. However, after several months of research, I realized that this poet's philosophy was ongoing and sometimes inconsistent. Emily Dickinson never discovered the answers to all of her religious and spiritual questions although she devoted her entire life to that pursuit. What Dickinson did discover was that orthodox religion had no place in her heart or mind and she must make her own choices where God was concerned. Immortality was an intense fascination to Emily, and many of her poems are related to that subject. In fact, the majority of Dickinson's poems deal, in some way, with spirituality. Emily Dickinson is a poet who deserves to be studied on the basis of her philosophical pursuits as well as her style. Dickinson scholarship has improved in the past several decades; however, Emily Dickinson has yet to receive the attention she deserves as a philosopher and thinker.
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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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Mendoza-Kovich, Theresa Fernandez. "Representations of Scotland in Edwin Morgan's poetry." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2157.
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This thesis is an examination of the poetry of Edwin Morgan. It is a cultural analysis of Morgan's poetry as representation of the Scottish people. Morgan's poetry represents the Scottish people as determined and persistent in dealing with life's adversities while maintaining hope in a better future.
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Cook, Jessica Lauren. "Material and Textual Spaces in the Poetry of Montagu, Leapor, Barbauld, and Robinson." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5205.
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Women Poets and Place in Eighteenth-Century Poetry considers how four women poets of the long eighteenth century--Lady Mary Wortley Montagu, Mary Leapor, Anna Letitia Barbauld, and Mary Robinson--construct various places in their poetry, whether the London social milieu or provincial England. I argue that the act of place making, or investing a location with meaning, through poetry is also a way of writing a place for themselves in the literary public sphere and in literary history. Despite the fact that more women wrote poetry than in any other genre in the period, women poets remain a relatively understudied area in eighteenth-century scholarship. My research is informed by place theory as defined by the fields of Human Geography and Ecocriticism; I consider how the poem reproduces material space and the nonhuman environment, as well as how place effectively shapes the individual. These four poets represent the gamut of career choices in this era, participating in manuscript and print culture, writing for hire and for leisure, publishing by subscription and through metropolitan booksellers. Each of these textual spaces serves as an illustration of how the poet's place, both geographically and socially speaking, influences the medium of circulation for the poetic text and the authorial persona she constructs in the process. By charting how each of these four poets approaches place--whether as the subject of their poetry or the poetic space itself--I argue that they offer us a way to destabilize and diversify the literary landscape of eighteenth-century poetry.
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Chatfield, Thomas Edward Francis. "Beyond realism and postmordernism : towards a post-Christian morality in the works of Philip Larkin, Kingsley Amis and Martin Amis." Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:1db4198a-56e4-417d-b5e5-eb6586a6d7d6.
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This thesis evaluates and re-evaluates the relationship between the works of Philip Larkin, Kingsley Amis and Martin Amis through a detailed examination of their published works, and attempts to locate this relationship in the context of the central moral uncertainties of post-1945 British fiction. Most previous critical studies of these authors have tended to discuss the relationship between Kingsley Amis and Martin Amis in terms of an opposition between the father's realism and the son's postmodernism, and have debated Philip Larkin's influence upon Martin Amis only tangentially. Against this trend, this thesis argues that these three authors share a commitment to literature as a public, moral act, and, in particular, that their works share the intention of articulating a number of closely related secular 'human values' which map out a potential post-Christian morality in British society. The thesis also examines a common tension within their oeuvres inimical to such hopes - the fear that the possibilities of rational self-scrutiny and of becoming 'less deceived' have been discredited by the history of the twentieth century, and that this history instead evidences the dominance of irrational and self-destructive tendencies in the human. These fears, it is further claimed, are implicated in the works of all three authors in a tendency towards the construction of Edenic myths, deterministic simplifications, and despairing devaluations of the value of human life. Overall, this thesis makes the case for the significance of the common concerns of Martin Amis, Kingsley Amis and Philip Larkin's works in the context of contemporary literary studies: their efforts to create in art an unpretentiously 'public space' for the address of burning moral and existential issues, and their unresolved struggles with the question of what it might mean to live a good life in a society which no longer possesses religion as a common moral language.
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Olsen, Elena Brit. ""Alone I climb the craggy steep" : literary ambition and metaphysical identity in eighteenth-century women's poetry /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/9337.
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Kozain, Rustum. "Contemporary english oral poetry by black poets in Great Britain and South Africa : a comparison between Linton Kwesi Johnson and Mzwakhe Mbuli." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/20139.
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Bibliography: pages 242-266.<br>The general aims of this dissertation are: to study a form of literature traditionally disregarded by a text-bound academy; to argue that form is an important element in ideological analyses of the poetry under discussion; and, on the basis of this second aim, to argue for a comparative, rigorously critical approach to the poetry of Mzwakhe Mbuli. Previous evaluations of Mbuli's poetry are characterised by acclaim which, the author contends, is only possible because of under-researched criticism, representing a general trend in South African literary culture. Compared to Linton Kwesi Johnson's work, for instance, Mbuli's poetry does not emerge as the innovative and progressive art - in both content and form - it is claimed to be. Mbuli and his critics are thus read as a case study of a general trend. Johnson and Mbuli mainly perform their poetry with musical accompaniment and distribute it as sound-recording. This study's approach then differs from the approaches of general oral literature studies because influential writers on oral literature - specifically Walter J. Ong, Ruth Finnegan and Paul Zumthor - do not address the genre under investigation here. Nevertheless, their writings are explored in order to show why particularly Ong and Finnegan's approaches are inadequate. The author argues that using the orality of the poetry as an organising, theoretical principle is insufficient for the task at hand. On cue from Zumthor, this study suggests an approach through Cultural Studies and conceives of the subject matter as popular culture.
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Brammall, Sheldon. "Translating the Prince of Poets : the politics of the English translations of the Aeneid, 1558-1632." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283905.
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Hussein, Ronak Hassan. "Nature and death in the poetry of al-Malā'ika, al-Shābbī and Shukrī, and certain English Romantic poets : a comparative study." Thesis, University of St Andrews, 1989. http://hdl.handle.net/10023/7138.
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The first part of this thesis, divided into two chapters, deals with the early background of European Romanticism; the reasons behind its appearance and problems of definition. There follows a discussion on the question of the originality of Arabic Romanticism, with ,a brief review of the roots and main literary groups of this movement in Arabic poetry. Part two examines the influence of English poetry and thought on three Arab Romantic poets: Nāzik Sādiq al-Malā'ika, Abū al-Qāsim al-Shābbī and Abd aI-Rahmān Shukrī. This is discussed parallel with the channels of this influence. The main focus of this research is however, to show the ways in which al-Malā'ika, al-Shābbī and Shukrī perceived and reflected nature and death in their poetry. Their attitudes towards certain phenomena in nature such as the countryside, night, the sea, childhood and moral and social lessons of nature are compared with certain attitudes of Wordsworth, Coleridge, Keats and Shelley. Themes such as life and death, fear of death, fatalism, immortality and death as a welcome experience are also the concern of this thesis, with a comparison of these themes in the poetry of the Arab and English Romantic poets. However, owing to the popularity of Keats and Shelley with the three Arab Romantic poets, this thesis concentrates on their poetry. This research has selected only certain phenomena and themes from nature--and death because of the dominance of these subjects in the poetry of al-Malā'ika, al-Shābbī and Shukrī. The translations of Arabic poetry in this thesis are intended to convey the general sense of the source texts, rather than to give a precise rendering of these texts into English.
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Weyer, Christine Louise. "Confession, embodiment and ethics in the poetry of Antjie Krog and Joan Metelerkamp." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80362.
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Thesis (PhD)--Stellenbosch University, 2013.<br>ENGLISH ABSTRACT: This thesis examines the work of two contemporary South African poets, Antjie Krog
and Joan Metelerkamp. Through an analytical-discursive engagement with their work,
it explores the relationship between confession and embodiment, drawing attention to
the ethical potential located at the confluence of these theories and modes. The theory
informing this thesis is drawn from three broad fields: that of feminism, embodiment
studies and ethical philosophy. More specifically, foundational insights will come
from the work of Simone de Beauvoir, Maurice Merleau-Ponty and Emmanuel
Levinas. While much of the theory used originates from Western Europe and North
America, this will be mediated by sensitivity towards Krog and Metelerkamp’s South
African location, as is fitting for a study focused on embodied confession and the
ethical treatment of the other.
The first chapter will establish Krog and Metelerkamp as confessional poets and
explore the ethical implications of this designation. It will also explore the contextual
grounds for the establishment for a confessional culture in both the United States of
America of the 1950s that gave rise to the school of confessional poets, and in South
Africa of the 1990s. The second chapter will use embodiment theory to discuss the
relationship between poetry and the body in their work, and the ethics of this
relationship. The remaining chapters concentrate on three forms of embodiment that
frequently inhabit their poetry: the maternal body, the erotic body and the ageing
body. Throughout the analyses of their poetic depictions of, and engagements with,
these bodies, the ethical potential of these confessional engagements will be
investigated.
Through the argument presented in this thesis, Metelerkamp’s status as a minor South
African poet will be re-evaluated, as will that of Krog’s undervalued English
translations of her acclaimed Afrikaans poetry. The importance of confessional poetry
and poetry of the body, often pejorative classifications, will also be asserted.
Ultimately, through drawing the connections between confession, embodiment and
ethics in poetry, this thesis will re-evaluate the way poetry is read, when it is read, and
propose alternative reading strategies.<br>AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die werk van twee kontemporêre Suid-Afrikaanse digters,
Antjie Krog en Joan Metelerkamp. Analities-beredeneerde benadering tot hulle
werk verken die verband tussen belydenis en beliggaming. Klem word gelê op die
etiese implikasies waar hierdie teorieë en vorme bymekaarkom. Die teorie waarop
hierdie tesis berus, word vanuit drie breë velde geput: feminisme, beliggamingsteorie
en etiese filosofie. Daar word meer spesifiek op die fundamentele beskouings van
Simone de Beauvoir, Maurice Merleau-Ponty en Emmanuel Levinas gesteun.
Alhoewel die teorie grotendeels ontstaan het in Wes-Europa en Noord-Amerika, sal
dit met begrip benader word ten opsigte van Krog en Metelerkamp se Suid-Afrikaanse
agtergrond, wat meer gepas is vir studie wat fokus op beliggaamde belydenis en die
etiese hantering van die ander.
Die eerste hoofstuk vestig Krog en Metelerkamp as belydenisdigters en verken die
etiese implikasies van hierdie benaming. Die kontekstuele beweegredes vir die
vestiging van belydeniskultuur word ook ondersoek, in beide die Verenigde State
van Amerika van die 1950s (wat geboorte geskenk het aan die era van
belydenisdigters) en in Suid-Afrika van die 1990s. Die tweede hoofstuk rus op
beliggamingsteorie om die verband tussen poësie en liggaam in hul werk te bespreek,
asook die etiese implikasies binne hierdie verband. Die oorblywende hoofstukke
fokus op drie vorme van die liggaam wat dikwels in hulle digkuns neerslag vind: die
moederlike lyf, die erotiese lyf en die verouderende lyf. Die etiese implikasies van
hierdie belydende betrokkenheid word deurgaans in ag geneem in die analise van
hulle digterlike uitbeelding van en omgang tot hierdie liggame.
Die argument in hierdie tesis herevalueer Metelerkamp se status as meer geringe
Suid-Afrikaanse digter asook Krog se onderskatte Engelse vertalings van haar
bekroonde Afrikaanse gedigte. Die waarde van belydenispoësie en gedigte oor die
liggaam, dikwels pejoratiewe klassifikasies, sal ook verdedig word. Deur belydenis,
beliggaming en etiek in digkuns met mekaar te verbind, herevalueer hierdie tesis
uiteindelik die manier waarop gedigte gelees word, wanneer dit gelees word, en stel
alternatiewe leesstrategieë voor.
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Nelson, Nancy Susan. "Heroism and Failure in Anglo-Saxon Poetry: the Ideal and the Real within the Comitatus." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc332044/.
Full textAbstract:
This dissertation discusses the complicated relationship (known as the comitatus) of kings and followers as presented in the heroic poetry of the Anglo-Saxons. The anonymous poets of the age celebrated the ideals of their culture but consistently portrayed the real behavior of the characters within their works. Other studies have examined the ideals of the comitatus in general terms while referring to the poetry as a body of work, or they have discussed them in particular terms while referring to one or two poems in detail. This study is both broader and deeper in scope than are the earlier works. In a number of poems I have identified the heroic ideals and examined the poetic treatment of those ideals. In order to establish the necessary background, Chapter I reviews the historical sources, such as Tacitus, Bede, the Anglo-Saxon Chronicle, and the work of modern historians. Chapter II discusses such attributes of the king as wisdom, courage, and generosity. Chapter III examines the role of aristocratic women within the society. Chapter IV describes the proper behavior of followers, primarily their loyalty in return for treasures earlier bestowed. Chapter V discusses perversions and failures of the ideal. The dissertation concludes that, contrary to the view that Anglo-Saxon literature idealized the culture, the poets presented a reasonably realistic picture of their age. Anglo-Saxon heroic poetry celebrates ideals of behavior which, even when they can be attained, are not successful in the real world of political life.
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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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Georges, Richard William Ethan. "Charting the sea in Caribbean poetry : Kamau Brathwaite, Derek Walcott, Dionne Brand, Alphaeus Norman, Verna Penn Moll, and Richard Georges." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/66040/.
Full textAbstract:
This thesis consists of a poetry manuscript and a critical component that considers the poetics and history that inform the writing of that manuscript. Critical Component: Charting the Sea in Caribbean Poetry This thesis focuses on the influence of the sea in constructing identity in the writing of Kamau Brathwaite, Derek Walcott, and Dionne Brand. It is particularly interested in examining how these poets trace identity primarily in The Arrivants, Omeros, and No Language is Neutral through their various employments of the sea and liquidity in those works. I then read selections from two of my poetic forbearers from the British Virgin Islands - Alphaeus Norman and Verna Penn Moll - in order to examine the construction of the sea in their poetry against the canonised work of Brathwaite, Walcott, and Brand. I argue through close contextual readings of the selected works that through engagement of various approaches each poet arrives at a portrait of Caribbean identity that is constructed integrally through the fluid, mutable natures of the sea. The five poets are scrutinised in four chapters, in relation to their personal philosophies regarding national or regional identity through essay writings and interviews but more prominently in close readings of their poetry and in particular their representations of the sea. I begin by arguing that in Brathwaite's The Arrivants (1980), the importance of the sea in the various formations of West Indian identity is represented through the exercising of his tidalectic process in his reconstructions of the archetypes of Legba and Ananse, and his ritualising of cricket and calypso. In Walcott's Omeros (1990), the sea is presented as the embodiment of history itself through which all of Saint Lucia's contemporary inhabitants must access their ancestral memories. Walcott utilises the Atlantic as a creolising force in his reimagining of the Homeric archetypes of Philoctetes, Achilles, Hector, and Helen. Brand however, departs from this metaphorical interpretation of the sea and turns inward, redefining the boundaries of land, sea, and sexual desire in Trinidad through a remapping of that island that is focused on the ocean, waterways, and the bodies of women. Lastly, British Virgin Islander poets Alphaeus Osario Norman and Verna Penn Moll embrace different mythic versions of the sea. Norman's work creates a distinct sailor aesthetic that resonates with classic European naval and militaristic poetry as a way to invoke a national pride, while Penn Moll focuses on performances of cultural and communal waterside rituals to frame narratives of local history and village culture. Ultimately, I argue that the sea is presented variously as a portal through which history and tribal memory can be accessed, and as a supernaturally transformative force for the poet. Creative Component: Make Us All Islands Make Us All Islands is a poetry manuscript based in the British Virgin Islands that explores historical and personal relationships with the sea. The first section revolves around the various arrivals of liberated Africans rescued from slave ships wrecked or captured by the British Navy in the early 1800s. The liberated Africans were not enslaved, but rather forced into indentureship before ultimately being segregated from society and then disappearing from history. The second section is built around the departure of a generation of Tortolan men to work in the sugar plantations of the Dominican Republic at the turn of the following century, alongside other Anglophone Afro-Caribbean migrants. A large portion of these poems are built around accounts of the greatest boating disaster in the islands' history, the loss of a schooner christened Fancy Me which wrecked in a hurricane in 1926 off the coast of the Dominican island Saona. The final movement personalises this exercise and focuses on the poet's interactions with the sea and memory.
30
Leadingham, Norma Compton. "Propaganda and Poetry during the Great War." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etd/1966.
Full textAbstract:
During the Great War, poetry played a more significant role in the war effort than articles and pamphlets. A campaign of extraordinary language filled with abstract and spiritualized words and phrases concealed the realities of the War. Archaic language and lofty phrases hid the horrible truth of modern mechanical warfare. The majority and most recognized and admired poets, including those who served on the front and knew firsthand the horrors of trench warfare, not only supported the war effort, but also encouraged its continuation. For the majority of the poets, the rejection of the war was a postwar phenomenon. From the trenches, leading Great War poets; Owen, Sassoon, Graves, Sitwell, and others, learned that the War was neither Agincourt, nor the playing fields of ancient public schools, nor the supreme test of valor but, instead, the modern industrial world in miniature, surely, the modern world at its most horrifying.
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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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Harris, Christopher. "The function of Andrew Lang and other minor poets of the 1970's and 1880's in the appropriation of pre-classical french poetry by the English literary canon." Thesis, University of Essex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499818.
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Prothero, James. "The influence of Wordsworth on twentieth-century Anglo-Welsh poets." Thesis, University of Wales Trinity Saint David, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683327.
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Harris, Christopher. "Mediators and mimics- The function of Andrew Lang and other minor poets of the 1870s and 1880s in the appropriation of pre-classical french poetry by the English Literary canon." Thesis, University of Essex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.511036.
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Davis, Andrew Dean. "Protestants Reading Catholicism: Crashaw's Reformed Readership." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_theses/69.
Full textAbstract:
This thesis seeks to realign Richard Crashaw’s aesthetic orientation with a broadly conceptualized genre of seventeenth-century devotional, or meditative, poetry. This realignment clarifies Crashaw’s worth as a poet within the Renaissance canon and helps to dismantle historicist and New Historicist readings that characterize him as a literary anomaly. The methodology consists of an expanded definition of meditative poetry, based primarily on Louis Martz’s original interpretation, followed by a series of close readings executed to show continuity between Crashaw and his contemporaries, not discordance. The thesis concludes by expanding the genre of seventeenth-century devotional poetry to include Edward Taylor, who despite his Puritanism, also exemplifies many of the same generic attributes as Crashaw.
36
Moore, Lindsay Emory. "The Laureates’ Lens: Exposing the Development of Literary History and Literary Criticism From Beneath the Dunce Cap." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822784/.
Full textAbstract:
In this project, I examine the impact of early literary criticism, early literary history, and the history of knowledge on the perception of the laureateship as it was formulated at specific moments in the eighteenth century. Instead of accepting the assessments of Pope and Johnson, I reconstruct the contemporary impact of laureate writings and the writing that fashioned the view of the laureates we have inherited. I use an array of primary documents (from letters and journal entries to poems and non-fiction prose) to analyze the way the laureateship as a literary identity was constructed in several key moments: the debate over hack literature in the pamphlet wars surrounding Elkanah Settle’s The Empress of Morocco (1673), the defense of Colley Cibber and his subsequent attempt to use his expertise of theater in An Apology for the Life of Colley Cibber (1740), the consolidation of hack literature and state-sponsored poetry with the crowning of Colley Cibber as the King of the Dunces in Pope’s The Dunciad in Four Books (1742), the fashioning of Thomas Gray and William Mason as laureate rejecters in Mason’s Memoirs of the Life and Writings of William Whitehead (1788), Southey’s progressive work to abolish laureate task writing in his laureate odes 1813-1821, and, finally, in Wordsworth’s refusal to produce any laureate task writing during his tenure, 1843-1850. In each case, I explain how the construction of this office was central to the consolidation of literary history and to forging authorial identity in the same period. This differs from the conventional treatment of the laureates because I expose the history of the versions of literary history that have to date structured how scholars understand the laureate, and by doing so, reveal how the laureateship was used to create, legitimate and disseminate the model of literary history we still use today.
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Blackmore, Sabine. "In soft Complaints no longer ease I find." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2015. http://dx.doi.org/10.18452/17176.
Full textAbstract:
Diese Dissertation untersucht die verschiedenen Konstruktionen poetischer Selbstrepräsentationen durch Melancholie in Gedichten englischer Autorinnen des frühen 18. Jahrhunderts (ca. 1680-1750). Die vielfältigen Gedichte stammen von repräsentativen lyrischer Autorinnen dieser Epoche, z.B. Anne Wharton, Anne Finch, Elizabeth Singer Rowe, Henrietta Knight, Elizabeth Carter, Mary Leapor, Mary Chudleigh, Mehetabel Wright und Elizabeth Boyd. Vor einem ausführlichen medizinhistorischen Hintergrund, der die Ablösung der Humoralpathologie durch die Nerven und die daraus resultierende Neupositionierung von Frauen als Melancholikerinnen untersucht, rekurriert die Arbeit auf die Zusammenhänge von Medizin und Literatur im 18. Jahrhundert. Für die Gedichtanalysen werden gezielt Analysekategorien und zwei Typen poetisch-melancholischer Selbstrepräsentationen entwickelt und dann für die Close Readings der Texte eingesetzt. Die Auswahl der Gedicht umfasst sowohl Texte, die auf generisch standardisierte Marker der Melancholie verweisen, als auch Texte, die eine hauptsächlich die melancholische Erfahrung inszenieren, ohne dabei zwangsläufig explizit auf die genretypischen Marker zurück zu greifen. Die detaillierten Close Readings der Gedichte zeigen die oftmals ambivalenten Strategien der poetisch-melancholischen Selbstkonstruktionen der Sprecherinnen in den Gedichttexten und demonstrieren deutlich, dass – entgegen der vorherrschenden kritischen Meinung – auch Autorinnen dieser Epoche zum literarischen Melancholiediskurs beigetragen haben. Die Arbeit legt ein besonderes Augenmerk auf die sog. weibliche Elegie und ihrem Verhältnis zur Melancholie. Dabei wird deutlich, dass gerade Trauer, die oftmals als weiblich konnotierte Gegendiskurs zur männlich konnotierten genialischen Melancholie wahrgenommen wird, und die daraus folgende Elegie von Frauen als wichtiger literarischer Raum für melancholische Dichtung genutzt wurde und somit als Teil des literarischen Melancholiediskurses dient.<br>This thesis analyses different constructions of poetic self-representations through melancholy in poems written by early eighteenth-century women writers (ca. 1680-1750). The selection of poems includes texts written by representative poets such as Anne Wharton, Anne Finch, Elizabeth Singer Rowe, Henrietta Knight, Elizabeth Carter, Mary Leapor, Mary Chudleigh, Mehetabel Wright und Elizabeth Boyd. Against the background of a detailed analysis of the medical-historical paradigmatic change from humoral pathology to the nerves and the subsequent re-positioning of women as melancholics, the thesis refers to the close relationship of medicine and literature during the eighteenth century. Specifical categories of analysis and two different types of melancholic-poetic self-representations are developed, in order to support the close readings of the literary texts. These poems comprise both texts, which explicitly refer to generically standardized melancholy markers, as well as texts, which negotiate and aestheticize the melancholic experience without necessarily mentioning melancholy. The detailed close readings of the poems discuss the often ambivalent strategies of the poetic speakers to construct and represent their melancholic selves and clearly demonstrate that women writers of that time did – despite the common critical opinion – contribute to the literary discourse of melancholy. The thesis pays special attention to the so-called female elegy and its relationship to melancholy. It becomes clear that mourning and grief, which have often been considered a feminine counter-discourse to the discourse of melancholy as sign of the male intellectual and/or artistic genius, and the resulting female elegy offer an important literary space for women writers and their melancholy poetry, which should thus be recognized as a distinctive part of the literary discourse of melancholy.
38
Jennings, Lisa Gay Vitkus Daniel J. "Renaissance models for Caribbean poets identity, authenticity and the early modern lyric revisited /." Diss., 2005. http://etd.lib.fsu.edu/theses/available/etd-04152005-135157.
Full textAbstract:
Thesis (M.A.)--Florida State University, 2005.<br>Advisor: Dr. Daniel Vitkus, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed June 7, 2005). Document formatted into pages; contains v, 54 pages. Includes bibliographical references.
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Ngidi, Evangeline Bonisiwe. "The influence of selected English romantic poets in B.W. Vilakazi's poetry." Thesis, 2001. http://hdl.handle.net/10413/2818.
Full textAbstract:
B.W. Vilakazi is regarded by many literary critics as the best poet of his time, who had he lived longer, would have marked his living years the Vilakazi era. It is for this reason that I decided to embark on the study of his poetry, and that which influenced him, mainly the English Romantic Poets. In doing this research I also emphasised typical aspects of Romantic poets so as to clarify whether Vilakazi does fall under this category (Romantic category). In the introduction of Inkondlo kaZulu Gumede remarks thus on B.W. Vilakazi's poetry:
"UVilakazi tstqungo sokwakha izosha lezi usithole esiblgisini.
Usebenzisa isiZulu kanye nemizekeliso yaso namalutha, ekhombisa
ithuba lokuqhuba isiZulu sibe nenkinga yaso yezincwadi noma
izosha lezi zincikile esiNgisini. Ube nesibindi sokuzisukela aqambe
lolu hlobo lwezibongo zesiZulu wangagudluka endleleni endala." (l935:vi) "Vilakazi gets his poetic inspiration from English. He uses Zulu images and superstitions to show that Zulu can have its own
literature even though it is related to English. It is very brave of him to compose new genre in Zulu praises, without diverting from the original version by older poets." The scope of the study will be as follows: Chapter One is an introductory chapter which includes: the aim of the study; preamble, literature review, research methodology, biographical notes on Vilakazi, Vilakazi's literary works (novels,
anthologies of poetry, articles in journals), Vilakazi's lexicographical work (the Dictionary), Vilakazi's influences (his own personal experiences, traditional poetry, traditional prose narrative, Biblical influences and mostly the English Romantic Poets). This chapter includes the definition of Poetry and the definition of a poet, definition of a Bard 'Imbongi', it also defines Romanticism (as a movement and as a concept); and it gives various critical views on RW. Vilakazi.
Chapter Two deals with the influence of English Romantic Poets on Vilakazi, and looks at certain poems of Wordsworth, Keats and Shelley. Chapter Three deals with Vilakazi as a Romantic poet (certain Poems with Romantic aspects). Chapter Four is the Conclusion looking at the extent that the Romantic poets influenced Vilakazi's writing.<br>Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.
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Chu, Yu-Lien. "A model study in rain scavenging effects of PM10 in urban areas." 2001. http://catalog.hathitrust.org/api/volumes/oclc/50047224.html.
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Thesis (M.S.)--University of Wisconsin--Madison, 2001.<br>Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 65-66).
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Austen, Veronica J. "Inhabiting the Page: Visual Experimentation in Caribbean Poetry." Thesis, 2006. http://hdl.handle.net/10012/2622.
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This project explores visually experimental poetry as a particular trend in Caribbean poetry since the 1970's. Although visual experimentation in Caribbean poetry is immediately recognizable – for example, its play with font styles and sizes, its jagged margins, its division of the page into multiple discourse spaces, its use of images – little critical attention has been paid to the visual qualities of Caribbean poetry. Instead, definitions of Caribbean poetry have remained focussed upon oral/aural aesthetics, excluding its use of and contribution to late 20th century experimental poetic practice. By focussing on the poetry of Shake Keane, Claire Harris, Marlene Nourbese Philip, Kamau Brathwaite, and LeRoy Clarke, I bring post-colonial literary criticism into discussion with contemporary debates regarding visual poetic practice in North America. In so doing, this project values Caribbean visual poetry both for its expression of Caribbean cultural experience and for its contributions to broader experimental poetry movements. I argue that visual experimentation functions to disrupt traditional linear reading processes, which thereby allows poets to perform the flux of time and space in post-colonial contexts. Furthermore, such disruption of linear reading practices, often manifested by the positioning of multiple discourses on one page, serves to create a polyvocal discourse that resists patriarchal and colonialist power structures. Valuing the visual qualities of Caribbean poetry as signifying elements, this dissertation explores the aesthetic and social implications of inscription and visual design in Caribbean poetry.
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Bayindir, Nagehan. "Collective English translation of the works of Turkish poets Nazim Hikmet, Necip Fazil Kisakurek, Orhan Veli Kanik, Oktay Rifat, Melih Cevdet Anday." 2009. http://hdl.rutgers.edu/1782.2/rucore10005600001.ETD.000051333.
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Stevens, Jeremy. "Secularization and the British Lyric in the Twentieth Century." Thesis, 2020. https://doi.org/10.7916/d8-kw4r-wy48.
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This dissertation considers how twentieth century British lyric poets, in continuing the traditional relationship between religion and poetry, respond to changing expectations and assumptions about poetry’s role and power—changes directly related to ongoing social processes of secularization. By combining recent critical insights from secularization theory and lyric theory with close readings of poems, essays, and letters from British poets, this dissertation shows that due to social changes that cohere around World War I, poets like Wilfred Owen, Mary Borden, and David Jones confront an unsettling of traditional strategies of lyric enchantment. This unsettling both imperils the legitimacy of lyric poetics and opens new opportunities. Poets such as Ezra Pound, T.S. Eliot, and H.D. subsequently engage in strategies of deliberate re-enchantment to justify wide-ranging vocations, while the later Eliot, David Jones, and Elizabeth Jennings confront the limits of re-enchantment but still imagine the poetic vocation as connected to religion. In every case, this dissertation shows that lyric re-enchantment (as a distillation of the aesthetic itself) is fundamentally ambiguous; it is necessarily secular and immanent, yet it continues to imply a transcendence that can easily be put to religious or even supernatural ends. The lyric is thus a genre that uniquely registers the opportunities and challenges for the aesthetic in a secular age.
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Tallon, Laura. "“To Vindicate her Beauty’s Cause”: the sister arts and women poets, 1680-1790." Thesis, 2016. https://hdl.handle.net/2144/17864.
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This dissertation offers a new literary history of the tradition of the “sister arts” in England during the eighteenth and early nineteenth centuries. While previous scholarship has explored how canonical male poets conceived of their poetry in relation to painting, this project demonstrates that female poets also engaged in various forms of literary pictorialism. By attending to the work of these women writers alongside their male contemporaries, we gain a richer and more complex understanding of how poets evaluated the boundaries between verbal expression and visual composition. In line with my aim to offer a more nuanced historical account of the sister arts by including the contributions of women writers, I also examine the gendered conventions of this tradition.
In my first chapter, I contend that poetry written by Anne Killigrew and Anne Finch calls into question common critical assumptions about the power dynamics of ekphrasis (the verbal description of visual art). The second chapter explores how Anna Barbauld, Anna Seward, and Amelia Opie respond to the influential model for verse epistles on the sister arts established by John Dryden and Alexander Pope, which assumes that poets and artists are male while the muses and objects of representation are female. In the third chapter, I argue that concepts derived from visual art animate the elegiac practices of Thomas Gray and Anna Seward, as they explore how acts of gazing can manifest same-sex desire. My final chapter shows how the concept of fancy, represented either as a mental creative process contrasted with imagination or as a personified female figure, comes to be associated with both visual power and femininity. I trace this poetics of fancy from essays by John Locke and Joseph Addison to Pope’s Eloisa to Abelard, the odes of William Collins, the sonnets of Charlotte Smith, and Visions of the Daughters of Albion by William Blake. The qualities that lead some writers to denigrate fancy—its association with femininity rather than masculinity, dreams rather than reality, and temptation or liberation rather than constraint—are precisely the same qualities that lead the major pictorial poets to seek to internalize it.<br>2018-08-11T00:00:00Z
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Swidzinski, Joshua. "Poetic Numbers: Measurement and the Formation of Literary Criticism in Enlightenment England." Thesis, 2015. https://doi.org/10.7916/D8GX49QB.
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This dissertation examines the importance of the concept of measurement to poets and literary critics in eighteenth-century England. It documents attempts to measure aspects of literary form, especially prosodic phenomena such as meter and rhythm, and it explores how these empirical and pseudo-empirical experiments influenced the writing and reading of poetry. During the Enlightenment, it argues, poets and critics were particularly drawn to prosody's apparent objectivity: through the parsing of lines and counting of syllables, prosody seemed to allow one to isolate and quite literally measure the beauty and significance of verse. Inquiries into the social and historical functions of literature routinely relied on this discourse, exploring questions of style, politics, and philosophy with the help of prosodic measurement. By drawing on works and artifacts ranging from dictionaries and grammars to mnemonic schemes and notional verse-making machines, and through close readings of poet-critics such as John Dryden, Alexander Pope, Thomas Gray, and Samuel Johnson, "Poetic Numbers" contends that the eighteenth century's fascination with prosody represents a foundational moment in the history of literary criticism: a moment whose acute self-consciousness about literary critical methods, as well as about whether and how these methods can aspire to count and account for aspects of literary experience, anticipates many of the methodological questions that mark our own time.
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Azank, Natasha. "The Guerilla Tongue": The Politics of Resistance in Puerto Rican Poetry." 2012. https://scholarworks.umass.edu/dissertations/AAI3498327.
Full textAbstract:
This dissertation examines how the work of four Puerto Rican poets – Julia de Burgos, Clemente Soto Vélez, Martín Espada, and Naomi Ayala – demonstrates a poetics of resistance. While resistance takes a variety of forms in their poetic discourse, this project asserts that these poets have and continue to play an integral role in the cultural decolonization of Puerto Rico, which has been generally unacknowledged in both the critical scholarship on their work and the narrative of Puerto Rico’s anti-colonial struggle. Chapter One discuses the theoretical concepts used in defining a poetics of resistance, including Barbara Harlow’s definition of resistance literature, Edward Said’s concepts of cultural decolonization, and Jahan Ramazani’s theory of transnational poetics. Chapter Two provides an overview of Puerto Rico’s unique political status and highlights several pivotal events in the nation’s history, such as El Grito de Lares, the Ponce Massacre, and the Vieques Protest to demonstrate the continuity of the Puerto Rican people’s resistance to oppression and attempted subversion of their colonial status. Chapter Three examines Julia de Burgos’ understudied poems of resistance and argues that she employs a rhetoric of resistance through the use of repetition, personification, and war imagery in order to raise the consciousness of her fellow Puerto Ricans and to provoke her audience into action. By analyzing Clemente Soto Vélez’s use of personification, anaphora, and most importantly, juxtaposition, Chapter Four demonstrates that his poetry functions as a dialectical process and contends that the innovative form he develops throughout his poetic career reinforces his radical perspective for an egalitarian society. Chapter Five illustrates how Martín Espada utilizes rich metaphor, sensory details, and musical imagery to foreground issues of social class, racism, and economic exploitation across geographic, national, and cultural borders. Chapter six traces Naomi Ayala’s feminist discourse of resistance that denounces social injustice while simultaneously expressing a female identity that seeks liberation through her understanding of history, her reverence for memory, and her relationship with the earth. Ultimately, this dissertation argues that Burgos, Soto Vélez, Espada, and Ayala not only advocate for but also enact resistance and social justice through their art.
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Ture, Ozlem. Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/3/12608979/index.pdf.
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This thesis analyzes how Afro-Caribbean poets writing in English appropriate language and use memory as a thematic tool to articulate postcolonial identities. The present study is organized in three parts: the first part provides the necessary theoretical background regarding postcolonial theory, the politics of hybridity and resistance<br>the second part examines poets&rsquo<br>struggles over language and social forms of poetry<br>the third part deals with the site of memory as a revisionary tool in rewriting history poetically, binding pre-colonial and colonial identities, and healing the fractured psyches of postcolonial societies. The struggle over language and the use of memory enable the Afro-Caribbean poet to reconfigure individual and collective identities. For these purposes, Grace Nichols&rsquo<br>i is a long memoried woman (1983), Edward Kamau Brathwaite&rsquo<br>s X/Self (1987) and Linton Kwesi Johnson&rsquo<br>s Tings&rsquo<br>an Times (1991) will be analyzed.
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Hiebert, Luann E. "Encountering maternal silence: writing strategies for negotiating margins of mother/ing in contemporary Canadian prairie women's poetry." 2016. http://hdl.handle.net/1993/31201.
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Contemporary Canadian prairie women poets write about the mother figure to counter maternal suppression and the homogenization of maternal representations in literature. Critics, like Marianne Hirsch and Andrea O’Reilly, insist that mothers tell their own stories, yet many mothers are unable to. Daughter and mother stories, Jo Malin argues, overlap. The mother “becomes a subject, or rather an ‘intersubject’” in the text (2). Literary depictions of daughter-mother or mother-child intersubjectivities, however, are not confined to auto/biographical or fictional narratives. As a genre and potential site for representing maternal subjectivities, poetry continues to reside on the margins of motherhood studies and literary criticism.
In the following chapters, I examine the writing strategies of selected poets and their representations of mothers specific to three transformative occasions: mourning mother-loss, becoming a mother, and reclaiming a maternal lineage. Several daughter-poets adapt the elegy to remember their deceased mothers and to maintain a connection with them. In accord with Tanis MacDonald and Priscila Uppal, these poets resist closure and interrogate the past. Moreover, they counter maternal absence and preserve her subjectivity in their texts. Similarly, a number of mother-poets begin constructing their mother-child (self-other) relationship prior to childbirth. Drawing on Lisa Guenther’s notions of “birth as a gift of the feminine other” and welcoming the stranger (49), as well as Emily Jeremiah’s link between “‘maternal’ mutuality” and writing and reading practices (“Trouble” 13), I investigate poetic strategies for negotiating and engaging with the “other,” the unborn/newborn and the reader. Other poets explore and interweave bits of stories, memories, dreams and inklings into their own motherlines, an identification with their matrilineage. Poetic discourse(s) reveal the limits of language, but also attest to the benefits of extra-linguistic qualities that poetry provides. The poets I study here make room for the interplay of language and what lies beyond language, engaging the reader and augmenting perceptions of the maternal subject. They offer new ways of signifying maternal subjectivities and relationships, and therefore contribute to the ongoing research into the ever-changing relations among maternal and cultural ideologies, mothering and feminisms, and regional women’s literatures.<br>May 2016
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Keep, Carol Julia. "Insubstantial pageants fading : a critical exploration of epiphanic discourse, with special reference to three of Robert Browning's major religious poems." Diss., 1994. http://hdl.handle.net/10500/17061.
Full textAbstract:
This dissertation examines the nature of epiphanic discourse in
three of Robert Browning's religious poems, namely, 'Christmas-
Eve', 'Easter-bay' and 'La Saisiaz'.
Chapter 1 investigates epiphany from religious, historical
and theoretical perspectives, followed by a discussion of
Browning's developing Christian beliefs. Chapters 2 and 3
explore the epiphanic moment in the companion poems, 'Christmas-
Eve' and 'Easter-Day'. Chapter 4 explores how the double epiphany
initiated from Browning's personal experience recounted in 'La
Saisiaz', finds its resolution in 'The Two Poets of Croisic'.
Browning's 'good minute' or 'infinite moment' originates
in Romanticism and reverberates into the twentieth century mainly
in the writing of James Joyce, who first used the word 'epiphany'
in its literary sense.
Because Browning's faith allowed continual interrogation of
Christian doctrine, his experience and reading of epiphanic
moments avoid any attempt at closure. Thus they offer the reader
both a human image for recognition and a coded legend for
individual interpretation<br>M.A. (English Studies)<br>M.A. (English)