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Dissertations / Theses on the topic 'Christian poetry'
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FERRAGAMO, EMANUELA. "Christian Morgenstern's Parody in the Context of his Poetry." Doctoral thesis, Università degli studi di Genova, 2018. http://hdl.handle.net/11567/932956.
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Turner, Kandy M. (Kandy Morrow). "A Study of "The Rhyming Poem": Text, Interpretation, and Christian Context." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331700/.
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The purpose of the research presented here is to discover the central concept of "The Rhyming Poem," an Old English Christian work known only from a 10th-century manuscript, and to establish the poem's natural place in the body of Old English poetry. Existing critical literature shows little agreement about the poem's origin, vocabulary, plot, or first-person narrator, and no single translation has satisfactorily captured a sense of the poem's unity or of the purposeful vision behind it.
The examination of text and context here shows that the Old English poet has created a unified vision in which religious teachings are artistically related through imagery and form. He worked in response to a particular set of conditions in early Church history, employing both pagan and Christian details to convey a message of the superiority of Christianity to idol-worship and, as well, of the validity of the Augustinian position on Original Sin over that of the heretical Pelagians.
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Davey, Elizabeth Ann. "A kind of perseverance : Margaret Avison's poetry as Christian witness." Thesis, Oxford Centre for Mission Studies, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.732946.
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Kitzmiller, Ted A. "The Christian witness of Czeslaw Milosz's poetry to the twentieth century." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
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Buckner, Wilma C. "Joy song the use of poetry in ministry /." Theological Research Exchange Network (TREN), 1994. http://www.tren.com.
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Leduc, Natalie. "Dissensus and Poetry: The Poet as Activist in Experimental English-Canadian Poetry." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/38773.
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Many of us believe that poetry, specifically activist and experimental poetry, is capable of intervening in our society, as though the right words will call people to action, give the voiceless a voice, and reorder the systems that perpetuate oppression, even if there are few examples of such instances. Nevertheless, my project looks at these very moments, when poetry alters the fabric of our real, to explore the ways these poetical interventions are, in effect, instances of what I have come to call “dissensual” poetry. Using Jacques Rancière’s concept of dissensus and the distribution of the sensible, my project investigates the ways in which dissensual poetry ruptures the distribution of the sensible—“our definite configurations of what is given as our real, as the object of our perceptions and the field of our interventions”—to look at the ways poetry actually does politics (Dissensus 156). I look at three different types of dissensual poetry: concrete poetry, sound poetry, and instapoetry. I argue that these poetic practices prompt a reordering of our society, of what is countable and unaccountable, and of how bodies, capacities, and systems operate. They allow for those whom Rancière calls the anonymous, and whom we might call the oppressed or marginalized, to become known. I argue that bpNichol’s, Judith Copithorne’s, and Steve McCaffery’s concrete poems; the Four Horsemen’s, Penn Kemp’s, and Christian Bök’s sound poems; and rupi kaur’s instapoems are examples of dissensual poetry.
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Wain, Leah Elizabeth. "Christian frameworks and critical readings in mid-nineteenth-century women's poetry." Thesis, Birkbeck (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271945.
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Bradley, Arthur Humphrey. "Reading Shelley negatively : mysticism and deconstruction." Thesis, University of Liverpool, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263790.
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Smith, Gregory Brian, and res cand@acu edu au. "Images of Salvation: A study in theology, poetry and rhetoric." Australian Catholic University. School of Theology, 2007. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp144.17052007.
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Humankind yearns for reconciliation, fulfilment and salvation, and the human heart has always sought deliverance from negative forces. In particular, this yearning for salvation is most apparent when poets envisage such yearning in living situations and in recognisable life circumstances. Reading them shows how the quest for salvation is being achieved in daily steps that incarnate movements of hope and a contesting of despair. This dissertation captures some significant images of salvation expressed in selected Australian poetry. It argues that what is classically called final salvation is imaged in the trope of transcendence in poetry. Because the concept of salvation both indicates the right path and promises a way of liberation and fulfilment, gaining salvation is not an escape from the world, but rather an engagement with it, through just and humane actions. The study’s poetic selections image salvation as redressing wrongs, regenerating the land, seeking new life, and envisaging better states of affairs. This dissertation functions at the interface of theology and poetry. It shows how a reader in the Christian community may identify some key images in public poetry as foreshadowing religious salvation. This is possible because, like the poet engaging in an aesthetic experience, the believer brings a remarkable openness to reality in the exercise of the religious imagination. This analogical imagination identifies images in poetry that do touch the human spirit in deeply spiritual ways. The study employs the competence of methodical hermeneutic interpretation. It proceeds as an aesthetic-theological reading employing critical-analytical scholarship. Rather than attempt a formal explication of authorial intent, the hermeneutic reads in a careful excavation of the poems for those significant “scraps of experience” that coax the imagination towards hope in the mystery of salvation. The dissertation approaches the poetic texts using “Christian literary theory” as its hermeneutical framework. The dissertation presents readings of selected poetry and prose of three celebrated Australian voices, Judith Wright, Les A. Murray and David Malouf. The study’s primary data are their poetic images recognising and affirming the dream of transcendence embodied in human happiness, moments of rescue and relief, events of forgiveness and transformation, and insights for a better life for humans and the planet. The study shows how poetical insights image partial fulfilments in transcendent perceptions, transformed personal destinies and envisaged social reforms. This exercise in contextual theology searches for depth and perennial resonances that sustain Australians in their culture. The discussion is especially concerned with the poetic use of the trope of hope and its effects, and especially with the power of metaphor for accessing the sublime. The study distils ten virtues for salvation from the readings of the selected poems as pathways for implementing salvation in the world. The study presents poetic images of promise, rescue and transformation that refresh discourses regarding salvation.
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Sassone, Robert Louis. "Time and Beowulf : the impact on Anglo-Saxon poetry of Christian and non-Christian Germanic traditions regarding time." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312486.
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Esser, Carolin Maud. "Naming the divine : designations for the Christian God in old English poetry." Thesis, University of York, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434102.
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McCullough, Eleanor G. ""Except you ravish me" [microform] : the images of Christ as courtly knight, bridegroom, and mother of the soul as woven through the religious love lyric "In a valey of this restles mynde" /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p048-0326.
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Hirst, Anthony Miller. "The appropriation of biblical and liturgical language in the poetry of Palamas, Sikelianos and Elytis." Thesis, King's College London (University of London), 1999. https://kclpure.kcl.ac.uk/portal/en/theses/the-appropriation-of-biblical-and-liturgical-language-in-the-poetry-of-palamas-sikelianos-and-elytis(819f62bb-ac15-46c6-abc0-9552d6c90756).html.
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Brand, Prudence. "Emily Pfeiffer and Victorian women's religious poetry." Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/6766393a-e1ab-a987-0223-0460c5622c28/8/.
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As a Christian, Emily Pfeiffer (1827-1890) saw women's fight for emancipation as a crusade that transcends the earthly state. Yet, although her poetry was well-received during her life-time, Pfeiffer remains obscure. In order to challenge values that may have helped to perpetuate Pfeiffer's non-canonical status, I examine Pfeiffer's poetry against a broader definition of religious practice and worship than was traditionally applied to Victorian women's poetry. Responding to a recent re-evaluation of the criteria for what constitutes nineteenth-century religious literature, I demonstrate that Pfeiffer's poetry occupies a unique position in the canon of Victorian women's religious poetry. To determine what made Pfeiffer such an original thinker, my research considers childhood experiences from which the psychological imprint nev~r faded. In order to compensate for losses and disappointments, Pfeiffer learned to channel her frustrations into her poetry early in life. A Central Anglican, Pfeiffer belonged to a declining strand of the Established Church during a period when other branches of Christianity were expanding.
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Hussain, Nasser. "Embodiment in contemporary North American performance poetry from David Antin to Christian Bök". Thesis, University of York, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.445468.
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Fletcher, Elizabeth Read David. ""Noble virtues" and "rich chaines" patronage in the poetry of Amilia Lanyer /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6590.
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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 November 13, 2009). Thesis advisor: Dr. David Read. Includes bibliographical references.
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Richardson, Rebecca M. "A silent savior the inapproachability of Christ in the Dream of the rood /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/6679.
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Thesis (M.A.)--University of Missouri-Columbia, 2008.<br>Title from Graduate School website. The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 22, 2008) Includes bibliographical references.
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James, Lara. "Unsre Wissenschaft ist Freude,/Unsre Kunst, Geselligkeit : the emergence of the Lied in mid-eighteenth-century Berlin." Thesis, University of Bristol, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326723.
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Herbison, David Ivan Currie. "The legacy of Christian epic : a study of Old English biblical and hagiographical poetry." Thesis, Queen's University Belfast, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394463.
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BIGNOTTI, LAURA. "Convenzionalità barocca e coscienza individuale nella lirica religiosa di Johann Christian Günther." Doctoral thesis, Università Cattolica del Sacro Cuore, 2007. http://hdl.handle.net/10280/166.
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Da tempo la critica letteraria si interroga sulla possibilità di riconoscere nella lirica di Johann Christian Günther il primo esempio di lirica soggettiva dopo la grande stagione retorica seicentesca. Gli studi tesi ad indagare il valore innovativo della sua poesia sono stati sinora dedicati quasi esclusivamente ai suoi Liebeslieder o Klagelieder; il presente lavoro si concentra invece sull'analisi dei suoi canti spirituali. La ricerca qui condotta intende dimostrare come anche nella geistliche lyrik Günther proponga spesso una rilettura in chiave personale, se non talora autobiografica, di motivi tradizionali, per quanto sopravvivano in essa elementi tipici della poesia barocca. Se i canti giovanili rimangono per lo più ancorati all'imitazione, scarsamente originale, di modelli preesistenti, le composizioni attribuibili alla fase più matura della produzione del poeta testimoniano un'evoluzione nel suo approccio alla materia sacra; tale evoluzione, rispetto alla quale si ravvisa, in particolare, l'influenza del pietismo, prende forma nell'elaborazione sempre più consapevole ed originale di motivi e tematiche. Il lavoro prende in esame diversi gruppi di liriche: il ciclo di Perikopenlieder noti come Geistliche oden uber einige Sonn- und Festtage des sogenannten Christlichen Jahres des Herrn de Sacy verfertiget; la Bibeldichtung güntheriana, i Weihnachtslieder e i Bußlieder dell'autore slesiano.<br>Critical interest in the rich literary production of Johann Christian Günther has been focussing on the possibility of recognizing in his poems the first example of subjective poetry after the great rhetoric season of the 17th century. Most studies investigating the innovative value of Günther's work concentrate on his Liebeslieder or Klagelieder. The present work concentrates instead on his religious poems, and aims to demonstrate that also in his geistliche Lyrik the author is able to offer a personal, sometimes autobiographical, reading of traditional themes, despite the persistence of typical baroque elements. While his early lyrics tend to remain faithful to the scarcely original imitation of pre-existing models, his later poems show a different approach to religious material. This evolution takes the form of a personal and conscious elaboration of spiritual themes, characterized by a considerable influence of pietism. The present research examines in particular Günther's Perikopenlieder, known as Geistliche Oden uber einige Sonn- und Festtage des sogenannten Christlichen Jahres des Herrn de Sacy verfertiget, his Bibeldichtung, his Weihnachtslieder and his Bußlieder.
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BIGNOTTI, LAURA. "Convenzionalità barocca e coscienza individuale nella lirica religiosa di Johann Christian Günther." Doctoral thesis, Università Cattolica del Sacro Cuore, 2007. http://hdl.handle.net/10280/166.
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Da tempo la critica letteraria si interroga sulla possibilità di riconoscere nella lirica di Johann Christian Günther il primo esempio di lirica soggettiva dopo la grande stagione retorica seicentesca. Gli studi tesi ad indagare il valore innovativo della sua poesia sono stati sinora dedicati quasi esclusivamente ai suoi Liebeslieder o Klagelieder; il presente lavoro si concentra invece sull'analisi dei suoi canti spirituali. La ricerca qui condotta intende dimostrare come anche nella geistliche lyrik Günther proponga spesso una rilettura in chiave personale, se non talora autobiografica, di motivi tradizionali, per quanto sopravvivano in essa elementi tipici della poesia barocca. Se i canti giovanili rimangono per lo più ancorati all'imitazione, scarsamente originale, di modelli preesistenti, le composizioni attribuibili alla fase più matura della produzione del poeta testimoniano un'evoluzione nel suo approccio alla materia sacra; tale evoluzione, rispetto alla quale si ravvisa, in particolare, l'influenza del pietismo, prende forma nell'elaborazione sempre più consapevole ed originale di motivi e tematiche. Il lavoro prende in esame diversi gruppi di liriche: il ciclo di Perikopenlieder noti come Geistliche oden uber einige Sonn- und Festtage des sogenannten Christlichen Jahres des Herrn de Sacy verfertiget; la Bibeldichtung güntheriana, i Weihnachtslieder e i Bußlieder dell'autore slesiano.<br>Critical interest in the rich literary production of Johann Christian Günther has been focussing on the possibility of recognizing in his poems the first example of subjective poetry after the great rhetoric season of the 17th century. Most studies investigating the innovative value of Günther's work concentrate on his Liebeslieder or Klagelieder. The present work concentrates instead on his religious poems, and aims to demonstrate that also in his geistliche Lyrik the author is able to offer a personal, sometimes autobiographical, reading of traditional themes, despite the persistence of typical baroque elements. While his early lyrics tend to remain faithful to the scarcely original imitation of pre-existing models, his later poems show a different approach to religious material. This evolution takes the form of a personal and conscious elaboration of spiritual themes, characterized by a considerable influence of pietism. The present research examines in particular Günther's Perikopenlieder, known as Geistliche Oden uber einige Sonn- und Festtage des sogenannten Christlichen Jahres des Herrn de Sacy verfertiget, his Bibeldichtung, his Weihnachtslieder and his Bußlieder.
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Sutherland, Catherine S. "The lyric poetry of Johann Christian Gunther as a paradigm of the transition from Baroque to Englightenment." Thesis, Goldsmiths College (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307981.
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Burnett, Rebecca Lynn. "Re-examining Donne's "masculine persuasive force" submission, power, and Christian masculinity in the poetry of John Donne /." Click here for download, 2010. http://proquest.umi.com.ps2.villanova.edu/pqdweb?did=2019786951&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
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Goddard, Kevin Graham. "Defined by wine : a study of sacramentalism in George Herbertʾs poetry". Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1001828.
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This dissertation proposes that George Herbertʾs poetry may profitably be understood as a sacramental means by which the divine is made present in temporal existence. In order to support this claim, the relation between sacramental symbolism and literary symbolism, particularly Herbertʾs, is examined from a number of perspectives. The symbolic meanings suggested by Herbertʾs title (The Temple), and their relation to sacramentalism are considered in the opening chapter. This includes a consideration of some of the background to the analogical thinking prevalent in both the seventeenth-century and Herbert. It is followed in the second chapter by an examination of some of the modern theories about how literary symbolism may relate to sacramental symbolism, a discussion which is followed by a consideration of this dissertation's argument in relation to modern scholarship. The chapter ends with a reading of ʺThe Flowerʺ. The third chapter discusses the poet's attempt to imitate the divine by ʺcopyingʺ both Scripture and Nature, and this includes a consideration of the allegorical and hieroglyphic modes of thought prevalent in the poems. The concern with imitation encourages an examination of the poet's frequent invitation for God actually to assume the poet's role, and this is the subject of the fourth chapter. The argument suggests that the poet's attempt to ʺsacrificeʺ his own writing may be seen in his concern with corporate imagery and corporate (impersonal) structures. The five ʺAfflictionʺ poems are examined as examples of the first, while structures such as synecdoche and metonymy are examined as examples of the second. The final chapter considers aspects of narrative time in the poems, particularly the sense often evoked of the eternal being imminent in the present. This involves a consideration of both liturgical imagery, and what may be called liturgical structures as they can be seen to operate in the poems. Particular examples of the latter are the relation between the liturgical anamnesis and the poems, as well as certain narrative structures that may be called ʺachronisticʺ.
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McMullen, Mary Katherine. "Wrestling power George Herbert's struggle for spiritual union /." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2008. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.
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Veach, Grace. "What the Spirit Knows : Charles Williams and Kenneth Burke." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001877.
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Pelard, Emmanuelle. "La poésie graphique : Christian Dotremont, Roland Giguère, Henri Michaux et Jérôme Peignot." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040262.
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L’objet de cette thèse est de définir un type de poésie visuelle moderne (XXe-XXIe), que nous avons nommé la poésie graphique et qui attache une importance considérable à l’expérimentation plastique du signe graphique, qui manifeste une conscience aiguë des ressources visuelles de la graphie et entend réaliser la poésie dans la matérialité des formes de l’écriture. La poésie graphique désigne une pratique de la poésie à caractère spécifiquement graphique, qui recouvre tant une peinture du signe qu’un travail typographique de la lettre pour élaborer le poème. Cette pratique graphique et plastique du poème s’inscrit dans la continuité, mais également dans un certain renouveau des avant-gardes poétiques et artistiques du XXe siècle, notamment du surréalisme. Les logogrammes de Christian Dotremont, les poèmes-estampes et les livres d’artistes (Éditions Erta) de Roland Giguère, les recueils de signes inventés et d’encres d’Henri Michaux et la typoésie de Jérôme Peignot constituent des formes de poésie graphique. Notre étude porte donc sur des œuvres francophones, issues des domaines belge, français et québécois, produites entre 1950 et 2004. Trois caractéristiques définissent principalement la poésie graphique : l’ambiguïté et le nomadisme du signe du poème par rapport aux ordres sémiotiques — scriptural, iconique et plastique —, la présence d’un rythme et d’un lyrisme graphiques, comme modalités de l’expression du sujet dans la matière graphique, et une remise en cause de la ligne de partage entre les arts autographiques et allographiques, nécessitant de nouveaux modes de perception et de lecture du poème et du livre, soit une « iconolecture » et une « tactilecture »<br>The purpose of this thesis is to define a type of modern visual poetry (20th – 21st), that we called graphic poetry. The graphic poetry focuses on a plastic and visual experimentation of the graphic sign, demonstrates an important conscience of the visual potential of the written form and tries to produce poetry in the materiality of the writing shapes. The graphic poetry refers to a practice of poem which is specifically graphic and includes a painting of the sign as a typographic work of the letter in order to produce the poem. This artistic practice of poetry follows and also renews the poetic and plastic avant-gardes of the 20th century, more particularly surrealism. Christian Dotremont’s logograms, Roland Giguère’s artists’ books (Editions Erta) and prints-poems, Henri Michaux’s anthologies of invented painted signs and Jérôme Peignot’s typoems are some forms of graphic poetry. Our study focuses on francophone works, which come from Belgian, French and Quebec fields, published between 1950 and 2004. Three characteristics mainly define the graphic poetry : the ambiguity and the nomadism of the sign in relation to the semiotic systems (graphic, iconic and plastic), graphics rhythm and lyricism, as modalities of the expression of the subject in the graphic material, and a questioning of the distinction between autographic arts and allographic arts, requiring new ways of perception and reading of the poem and the book, that we called visual-reading and touch-reading
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Gaw, Cynthia. "Freedom in George Herbert's 'The Temple'." Thesis, University of Wales Trinity Saint David, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683068.
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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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Sherry, Kurt E. "Kassia the Nun a case study in the poetic expression of iconophile and feminist thought in ninth-century Byzantium /." Laramie, Wyo. : University of Wyoming, 2007. http://proquest.umi.com/pqdweb?did=1317324031&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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Fitter, Christopher John. "Landscape in poetry : descriptive approaches and cultural contexts in Christian and antecedent traditions to the period of Milton." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305298.
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Rowe, Noel. "The will of the poem religio-imaginative variations in the poetry of James McAuley, Francis Webb, and Vincent Buckley /." Connect to full text, 1988. http://hdl.handle.net/2123/404.
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Thesis (Ph. D.)--University of Sydney, 1989.<br>Title from title screen (viewed Apr. 15, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, Faculty of Arts. Degree awarded 1989; thesis submitted 1988. Includes bibliography. Also available in print form.
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Casey, James Edward. "The Paradox of the Christian Poet: George Herbert's Problematics." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2654/.
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The thesis examines the paradoxes in Herbert's poetry and attributes the many contradictions and vacillations within The Temple to Herbert's own "spiritual conflicts" as a Christian poet. The thesis explores the poems as interconnected expressions of Herbert's dual nature as Christian-Poet. The thesis discusses over sixty of Herbert's poems, concentrating on close readings and intratextual connections. Chapter One reviews critical approaches to Herbert's poetry and outlines the study. Chapter Two examines Herbert's life and the expression of his struggles in poetry. Chapter Three discusses Herbert's poetry itself and comments on the deceptively simplistic style. Chapter Four explores the conflict between the worlds of the Christian and the poet. Chapter Five concludes that, more than merely an artistic exercise or catechistic tool, Herbert's poetry accurately records the duality of the poet's spiritual journey.
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Woeber, Catherine. "A study of Christ and his saints as representatives of the values of Christian heroism in Old English poetry." Master's thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/21143.
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Bibliography: pages 71-72.<br>This dissertation investigates the concept of Christian heroism as it appears in a number of Old English poems, through a study of the figure of the miles Christi. These poems present a specific Christian heroism which, though couched in terms culled from Germanic heroism, nevertheless exists in its own right and is quite different from it. Christ and his saints are seen as heroes in themselves (Christian servants obedient to the will of God) rather than as heroic warriors as they are usually regarded (Germanic heroes fighting for a Christian cause). They are leaders and heroes in the sense of servants, and not only like kings and warriors of the Germanic code. A study of some poems from the Cynewulf canon shows that the poets understood Christian heroism to mean more than brave battling for the cause of good; in essence, it is complete submission to the will of God.
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Alger, Jean. "Aemilia Lanyer's threads in the tapestry of dialectical devotion /." Read thesis online, 2010. http://library.uco.edu/UCOthesis/AlgerJ2010.pdf.
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Wallace, Amy. "Waste Land or Promised Land: T.S. Eliot's The Idea of a Christian Society." TopSCHOLAR®, 1987. https://digitalcommons.wku.edu/theses/2945.
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In T. S. Eliot's The Idea of a Christian Society, the poet questions the nature of our society's foundations; he believes that Western culture is moving dangerously closer to the liberal and secular and that this shift could be disastrous. Instead, Eliot suggests that we return to what is at the very roots of Western tradition: Christianity. To facilitate this change in direction, Eliot stresses the importance of an educational system which takes a Christian perspective. Also important in his thinking is a Community of Christians, who would act as leaders, and the Christian community (encompassing most of the population), which would restore unity to what has become a depersonalized existence. The philosophical validity of Christianity is integral to Eliot's scheme, and is explained well by author C. S. Lewis. Historian Christopher Dawson outlines the intertwining of religion and culture and the debt Western civilization owes the Christian faith. Eliot's poem The Waste Land is a picture of a society whose barrenness is ironic in light of the promise of life which surrounds it. Both the individuals and their society are blind to their own spiritual deaths. Also echoing Eliot's ideas concerning a Christian society, The Family Reunion and The Cocktail Party are plays of rejuvenation, in which a sacrificial death--whether literal or figurative--brings new life, both to the individual characters and their broken relationships. As allegories of the family of man, Eliot uses the families in these plays to illustrate the change that could turn a waste land into a promised land.
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Mann, Rachel. "The representation of fecundity and barrenness in the poetry of Elizabeth Barrett Browning, Christina Rossetti, and the Bible : a critical and creative interrogation of a Christian-feminist poetics." Thesis, Manchester Metropolitan University, 2017. http://e-space.mmu.ac.uk/619438/.
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This thesis analyses the language of fecundity and barrenness in the poetry of Elizabeth Barrett Browning and Christina Rossetti, as well as producing original poetry in critical conversation with their poetics. Concentrating on key Barrett Browning and Rossetti texts, Aurora Leigh and Goblin Market, I shall explore how their language of fecundity and barrenness make available a poetics which is simultaneously feminist and Christian in character. This interrogation will be contextualised in Romantic and Victorian theories of women’s writing which claim that women’s poetry cannot escape conceptions of femininity as bodily fecundity; that is, theories which suggest that women’s bodies are suitable to produce children, but lack the character and strength to produce the acme of cultural production, poetry. By analysing Barrett Browning and Rossetti’s language of fecundity and barrenness in conversation with feminist literary theory and Christian feminist theology, I shall explore how these critical partners make available fresh readings of femininity as fecundity. I will interrogate how it is possible to argue for interpretations of Barrett Browning and Rossetti’s poetry which re-work fecundity as femininity in creative, liberative directions as disruptive excess. The creative aspect of this thesis, The Priest in the Kingdom of Love, is a sixty-six section poem. It attempts to create a monological, multivalent voice which investigates its relationships with imagined hearers, gender, faith, and bodily fecundity. The critical chapter which precedes it attempts to interrogate continuities and aporia with the work of Barrett Browning and Rossetti generated by my gender and religious poetic performances.
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Anthony, Patrick. ""Adam's task" the poetry of Derek Walcott and Caribbean theology (A study in the relationship between literature and Christian theology) /." Theological Research Exchange Network (TREN), 1987. http://www.tren.com.
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Bray, Robyn. "'A scholar, a gentleman, and a Christian' : John Josias Conybeare (1779-1824) and his 'Illustrations of Anglo-Saxon Poetry' (1826)." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4709/.
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This thesis contextualises the life and work of John Josias Conybeare (1779-1824), one of the first to hold the Rawlinson chair of Anglo-Saxon at the University of Oxford, and considers his contribution to the development of Old English studies as a discipline. I argue that he has been unduly marginalised as a result of posthumous criticism that has failed to acknowledge the extent of his contribution to Old English scholarship. Part I of the thesis considers this issue from the perspective of John Josias himself, setting him in the context of the period in which he lived and the longer continuum of Old English studies as a whole. It also reconstructs what is known of his associates and friends, illustrating that he occupied a central position among the literati of his day alongside figures such as Thomas Gaisford (1779-1855), Joseph Hunter (1783-1861), Robert Southey (1774-1843), and Sharon Turner (1768-1847). Part II focuses on Illustrations of Anglo-Saxon Poetry (1826), the scholar’s most well-known and significant contribution to Old English studies, which was published posthumously by John Josias’ brother, William Daniel (1787-1857), and widow, Mary (1790-1848). This section traces the composition of the book from its first conception through to its final publication and critical reception, using previously unpublished correspondence to disambiguate the contribution of the author from that of his editors. This is followed by an examination of John Josias’ ability as an early editor of Old English, which critically evaluates some of his transcriptions, translations, and interpretations as they appeared in Illustrations of Anglo-Saxon Poetry, with particular attention to his work on Widsith and the Exeter Book. Part III contains transcripts of unpublished correspondence and other documents that provide details about John Josias’ life and, in particular, about the preparation and posthumous publication of his Illustrations of Anglo-Saxon Poetry. This thesis, which brings together genealogical, scholarly, and archival materials, constitutes the first comprehensive study of his life and work. My reassessment of his scholarship concludes that John Josias in fact made a substantial and influential contribution to the discipline, deserving of greater recognition today.
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de, Warrenne Waller Christopher Scott. "Distance and dealings between the Christian and God in the poetry of George Herbert : 'wilt thou meet arms with man?'." Thesis, University of Bristol, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.687448.
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This dissertation argues that George Herbert's poetry explores the theme of the Christian's distance from God and evaluates different paths that might overcome that distance. Herbert's explorations are informed by their historical context in which emerging secular learning and the post-Reformation culture unsettled traditional ideas about sacredness and access to the divine. A range of contemporaneous theological and spiritual discourses (especially those of Calvin and Perkins) that attempt to understand the Christian's dealing with God are analysed in the first chapter, where I contextualise Herbert's writing in relation to other Protestant articulations of religious experience - notably the experience of the Holy Spirit. I show how Herbert privileges the rite of the eucharist as an experiential path to God rather than the experience of the Holy Spirit in preaching celebrated by other Protestants. Chapter 2 examines the conceptual basis of God's remoteness: the metaphysical distinction between the material and the immaterial modes of being which underlies Herbert's vision of man composed of body and soul. Herbert's exploration of human agency reveals an ontological dualism under strain in his culture which was questioning its rational basis. Herbert does not seek rational solutions to these difficulties but literary resolutions. Chapter 3 highlights the manner in which Herbert's work evinces fears that Renaissance reason was too worldly in its orientation. By way of reaction, he attempts, not without ambivalence, to affirm the primacy of Christian faith as a path to God. I examine Herbert's use of Bible typology to reach God in Chapter 4. Despite typology's fruitful spiritual potential, it does not always bring sacred meaning or solace to The Temple's speakers. This failure is explained with reference, on the one hand, to the contemporaneous critical intellectual culture (particularly regarding Renaissance intellectuals' understanding of Scripture; an understanding that could challenge basic Christian teaching) and, on the other hand, to an underlying anxiety about the loss of certain features of pre-Reformation spirituality that formerly provided a sense of the proximity of the sacred. Herbert celebrates Scripture as a quasi-mystical means of approaching God but, again, not unambiguously. Chapter 5 discusses Herbert's language of rebellious complaints "about God's distance. Here I show how this language encroaches upon controversies about the sacred symbol of the cross, highlights the naivety of the worldview of the book of Job and spills over into the speaker's vociferous blaming of God for cruelly distancing Himself from pious Christians. The idea that Herbert's technique of writing God a voice is blasphemous (as maintained by some critics) is discussed in Chapter 6. I argue that this fictional device, which effectively brings God onto the page, does not constitute an offence to orthodoxy since Herbert's skilful use of divine speech often leads the speaker towards doctrinal correction rather than doctrinal deviation. Chapter 7 argues that Herbert's idea of the Church (a motif profoundly embedded in his poetic project)holds out the firmest promise for attaining divine proximity. For the Church to fulfil such a role it must be consensual and Conformist. But Herbert's consensualism does not exclude muted attacks on radical Protestants. His evocation of divine presence in the material church building feeds into his literary Temple which celebrates sacred space, sacred rites and sacred time. Yet even that Church-related access to God is has its limits.
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Workman, Jameson Samuel. "Chaucerian metapoetics and the philosophy of poetry." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:8cf424fd-124c-4cb0-9143-e436c5e3c2da.
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This thesis places Chaucer within the tradition of philosophical poetry that begins in Plato and extends through classical and medieval Latin culture. In this Platonic tradition, poetry is a self-reflexive epistemological practice that interrogates the conditions of art in general. As such, poetry as metapoetics takes itself as its own object of inquiry in order to reinforce and generate its own definitions without regard to extrinsic considerations. It attempts to create a poetic-knowledge proper instead of one that is dependant on other modes for meaning. The particular manner in which this is expressed is according to the idea of the loss of the Golden Age. In the Augustinian context of Chaucer’s poetry, language, in its literal and historical signifying functions is an effect of the noetic fall and a deformation of an earlier symbolism. The Chaucerian poems this thesis considers concern themselves with the solution to a historical literary lament for language’s fall, a solution that suggests that the instability in language can be overcome with reference to what has been lost in language. The chapters are organized to reflect the medieval Neoplatonic ascensus. The first chapter concerns the Pardoner’s Old Man and his relationship to the literary history of Tithonus in which the renewing of youth is ironically promoted in order to perpetually delay eternity and make the current world co-eternal to the coming world. In the Miller’s Tale, more aggressive narrative strategies deploy the machinery of atheism in order to make a god-less universe the sufficient grounds for the transformation of a fallen and contingent world into the only world whatsoever. The Manciple’s Tale’s opposite strategy leaves the world intact in its current state and instead makes divine beings human. Phoebus expatriates to earth and attempts to co-mingle it with heaven in order to unify art and history into a single monistic experience. Finally, the Nun’s Priest’s Tale acts as ars poetica for the entire Chaucerian Performance and undercuts the naturalistic strategies of the first three poems by a long experiment in the philosophical conflict between art and history. By imagining art and history as epistemologically antagonistic it attempts to subdue in a definitive manner poetic strategies that would imagine human history as the necessary knowledge-condition for poetic language.
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Wooding, Jonathan. "Natural strange beatitudes : Geoffrey Hill's The Orchards of Syon, poetic oxymoron and post-secular poetics, and, An Atheist's Prayer-Book." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3223.
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Geoffrey Hill’s The Orchards of Syon (2002) occupies a contradictory position in twenty-first century poetry in being a major religious work in a post-religious age. Contemporary secular and atheistic insistence on the fundamentally crafted and flawed nature of religious faith has led Hill not to the abandoning of religious vision, but to a theologically disciplined approach to syntax, grammar and etymology. This dissertation examines Hill’s claim to a poetics of agnostic faith that mediate his alienation from a cynical and debased Anglophone contemporaneity. The oxymoronic nature of a faith co-existent with existential loss is the primary focus. The semantic distinction between paradox and poetic oxymoron is examined, and the agonistic and aporetic dimensions of the oxymoron are considered as affording theological significance. Poetic oxymoron as site of both foolish babbling and Pentecostal exuberance is made explicit, as is Hill’s relation to the oxymoronic nature of beatitudinous expression and the Kenotic Hymn. Hill’s reading of and relation to other theologically engaged poets is outlined. Thomas Hardy’s tragic-comic vision, Gerard Manley Hopkins’ restrained rapture in ‘The Windhover’, and T. S. Eliot’s expression of kenotic dissolution in ‘Marina’ are read as precursors to Hill’s revisionary God-language. William Empson’s significant difficulties with aspects of Hopkins’ and Eliot’s poetics is appraised as evidence of an oxymoronic and theological dimension within poetic ambiguity. Hill’s imperative to embody and enact theological vision and responsibility is tested in a reading of The Orchards of Syon. Paul Ricoeur’s perception of the religious significance of atheism is provocation for my own creative practice, as is the performative theology implicit in both Graham Shaw’s hermeneutic approach, and Hill’s visionary philology. Creative process draws on Simone Weil’s notion of decreation, the kenotic paradigm as exemplified in the life and writings of Dietrich Bonhoeffer, and the continuing secular vitality of the apostrophic lyric mode.
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Dubois, Matthieu. "Art de la plume et art du sabre : éprouver l'intangible. L'horizon partagé d’œuvres poétiques françaises contemporaines et d'un art martial oriental en contexte contemporain." Thesis, Cergy-Pontoise, 2015. http://www.theses.fr/2015CERG0753.
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L'objectif de la thèse est de comprendre les formes et les enjeux d'un imaginaire extrême-oriental au cœur de certaines œuvres de la poésie française d'après 1945 comme celles d'Henry Bauchau (né en 1913), Christian Dotremont (né en 1922) et Yves Bonnefoy (né en 1923). En particulier, cet imaginaire invite à considérer la création en « acte », en ce sens qu'il qualifie la dimension du faire dans la création poétique, comme il le fait par ailleurs dans les arts martiaux. L'enjeu de cette étude sera de comprendre la singularité de ces œuvres majeures de la production poétique française contemporaine, marquées par la culture extrême-orientale, en regard de la pensée de la création comme geste et comme présence, telle qu'un art martial oriental les met en œuvre en son propre lieu. À cet effet, l'approche des œuvres fera intervenir un outillage théorique pluridisciplinaire, dont la phénoménologie développée par Michel Henry, laquelle permettra de renouveler certains concepts de la critique littéraire et de valoriser ce qui demeure le plus souvent impensé sur le plan théorique : la dimension affective de l'écriture et de la lecture. En particulier, on observera les vertus guerrières et guérisseuses liées à l'écriture, la question du geste scripteur et la dimension spirituelle qui lui est attachée. Plus profondément, ces différentes approches éclaireront les enjeux de la création comme processus induisant un mieux-être du sujet tant créateur que récepteur<br>The objective of the thesis is to understand the forms and issues of a far-eastern imaginary that characterizes some works of French poets after 1945, like Henry Bauchau (born in 1913), Christian Dotremont (born in 1922) and Yves Bonnefoy (born in 1923). This imaginary allows considering creation as a “performance” and qualifies the dimension of making in poetic creation, what we can also observe in martial arts. The issue of this study is to understand how the far-eastern culture leaves its mark in these major works of contemporary French poetic production. The aim is precisely to enlighten their singularity from a perspective about creation as gesture and presence on, like an oriental martial art implements them in its own exercise. For that purpose, we will use multi-field theoretical tools, including the phenomenology developed by Michel Henry. This approach will renew some concepts of literary criticism and highlight what is often undeveloped in theory: the affective dimension of writing and reading. In particular, we shall observe warlike and healing virtues of writing, the question of the scriptwriting gesture and the spiritual dimension attached to it. More deeply, these approaches will enlighten creation as a process inducing a well-being for the creator as for the receiver
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McAlonan, Pauline. "Wrestling with angels : T. S. Eliot, W. H. Auden, and the idea of a Christian poetics." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100653.
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This thesis addresses the impact of religious conversion on the later works of Eliot and Auden, and the manner in which they responded to each other as they developed a Christian poetics. Following an introduction which discusses the nature of their relationship as well as their basic theological positions, Chapter One examines their postconversion criticism, and particularly their stance on what is typically formulated as "the problem of belief in poetry," which focuses on how ideology influences a work's creation and reception. Chapter Two considers their transitional poetry, wherein their new religious beliefs figure prominently and their anxiety over the potential conflict between artistic and spiritual values is most acute. Chapter Three looks at their major postconversion poems and specifically at how Eliot's and Auden's understanding of the Incarnation informs their views on time, history, language, and literature, as embodied by these works. Chapter Four centers on their drama, initially comparing their early plays---written when Eliot was a Christian but Auden was not---to show how they employed similar techniques to further different ends, before turning to an examination of Eliot's later verse plays and Auden's libretti. I investigate the ideological motivation behind the adoption of these different dramatic forms, as well as the specific ways in which they affect how belief is conveyed. Throughout the dissertation, the effects of Eliot's and Auden's conversion upon their reputations and the difficulties facing modern Christian artists in general are given particular consideration.
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Vickers, Roy. "The gospel of social discontent : religious language and the narrative of Christian election in the Chartist poetry of Thomas Cooper, Ernest Jones and William James Linton." Thesis, Liverpool John Moores University, 2004. http://researchonline.ljmu.ac.uk/5774/.
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Connolly, Margaret. "An edition of 'Contemplations of the dread and love of God'." Thesis, University of St Andrews, 1991. http://hdl.handle.net/10023/2786.
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This thesis presents an edition of Contemplations of the Dread and Love of God, a late Middle English devotional prose text for which no critical edition is currently available. I have transcribed and collated the text from all sixteen extant manuscripts and the 1506 printed edition. An investigation of the errors and variants according to the classical method of textual criticism has yielded little in the way of conclusive results, and it has therefore not proved possible to construct a stemma of manuscripts from the corpus of evidence as it now exists. My edition therefore uses one manuscript (Maidstone MS Museum 6) as a base; I emend the text of Maidstone where necessary, and cite variants from all the other witnesses to show all differences of substance. A full critical apparatus is provided, comprising: the text with variants, textual notes and glossary. The introduction includes a full description of all the manuscripts and the two early printed editions, an outline of the methods of textual criticism applied and their results, and an explanation of the choice of base manuscript; information about the language of the Maidstone manuscript and the date of the text are also provided, as is an outline of my editorial principles. The thesis also contains two appendices. The first of these deals briefly with the twenty-two instances where individual chapters of Contemplations appear in other manuscript compilations; the second discusses the English and Latin prayers which follow the full text in some manuscripts.
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Van, Leeuwen Nelda. "The Feast in Conscience's Court: A Dies Iudicii (Piers Plowman - Passus B:XIII/C:XV)." Thesis, The University of Sydney, 1997. https://hdl.handle.net/2123/27616.
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This thesis argues that the Feast from Piers Plowman B1XIl1 (C :XV), sometimes
called the Feast of Patience or the Banquet Scene, is a parable of the day of judgment
(dies iudicii). The argument is based on the proposition that the Feast is presented as a
quasi—judicial inquiry. In it, legal and religious faculties, figures, circumstance and
diction are worked together as a direct result of the intimate association between legal
and religious theory and practice of the time. I suggest that the form of inquiry which
subsumes the quasi-judicial structure of the Feast may be compared with that of an
appeal for redress or restitution Within this structure, the poet’s method of prosecution is
to present, as evidence of proper or improper conduct, quotations and analogies drawn
from biblical sources whose well-known exegetical interpretations had become
historically associated with antifraternal and anticlerical criticism. The act of judgment is
expressed in Conscience’s (and, in the C-Text, both Conscience’s and Reason’ 5)
departure from the Feast, which constitutes a condemnation of those remaining behind.
The authority, and therefore the “legal” precedence for Conscience’s judgment, depends
on scripture, which is here represented in part by Scripture, and in part by scriptural
allusion, and together these constitute the expression of the law of God which was
considered to be the foundation of all earthly law. Finally, the inquiry directs attention to
two specific dilemmas facing the contemporary Church. The first is the socio—religious
dilemma, significant throughout Piers Plowman, which is created when the covetous
accumulate wealth and ignore their responsibilities under charity. The second is the
consequent, and therefore associated, politico-religious question of restitution.
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Hullah, Paul. "The poetry of Christina Rossetti." Thesis, University of Edinburgh, 1992. http://hdl.handle.net/1842/19858.
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Twentieth century critical work on Christina Georgina Rossetti (1830-94) is sparse. Short discussions of her poetry have appeared intermittently in journals such as <i>Victorian Poetry</i>, or as chapters or parts of chapters in books such as Sir Maurice Bowra's <i>The Romantic Imagination</i> (1949) and Professor W.W. Robson's <i>Critical Essays</i> (1966). Only with the recent publication of David A. Kent's edition <i>The Achievement of Christina Rossetti</i> (1987) and Antony H. Harrison's <i>Christina Rossetti in Context</i> (1988), has sustained, critical (as opposed to biographically determined) study of this poet's work been offered. This thesis seeks to isolate thematic elements in the works of Christina Rossetti by offering close, detailed textual readings of the poems. Past commentators have rightly recognised and applauded the rhythmic and metrical craftsmanship displayed in her lyric verse, but this monopoly of attention afforded to the formal felicities of the poetry has been at the expense of adequate interpretation of its content. This study aims to show that Rossetti's rigorously controlled use of language and symbolism indicates that there are important levels of meaning implicit in the poetry other than that produced by the biographical decoding which many critics have hitherto favoured. This thesis proposes that, from her earliest 'secular' lyrics - which, in fact, display a sustained interaction between inherited modes of Romantic and Tractarian thought - through longer pieces such as <i>Goblin Market</i> (1862) and <i>The Prince's Progress</i> (1866), Rossetti's verse continually resists complacency of interpretation, subtly questioning and subverting the traditions of writing - lyric, fairy tale, and quest myth - it simultaneously extends. Gradually and persuasively constructing a case for the inability of poetic tradition to cope with the expression of an active, female identity, <i>Monna Innominata</i> (1881) deconstructs the poetics of lyric tradition, casting together mediaeval, renaissance and Victorian ideologies.
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Fritz, Eva-Maria. "Die Figuraldeutung in den Théorèmes, Jean de la Ceppèdes dissertation ... /." Hamburg : Romanisches Seminar der Universität Hamburg, 1995. http://books.google.com/books?id=fc9cAAAAMAAJ.
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Bosman, Maria Elizabeth. "Op hom die groot hosannas : enkele aspekte van die modern Christelike poësie in Afrikaans." Thesis, Rhodes University, 1989. http://hdl.handle.net/10962/d1002089.
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This study is concerned with modern Christian poetry in Afrikaans. Afrikaans poetry, which initially carried the clear stamp of the Afrikaner's Calvinistic view of life, gradually assumed a new image to the extent that it could no longer be recognised as religious and specifically Calvinistic poetry. To the contrary, modern Afrikaans Christian poetry is the expression of a contemporary conceptualisation of the very same gospel. The occasional violent reaction especially of conservative institutions to so called "unchristian" modern poetry in Afrikaans during the past three decades, has prompted this study which attempts to illustrate that modern Afrikaans poetry still exhibits a strong Christian element. The essential qualities of contemporary Christian poetry in Afrikaans are illustrated in the discussion of the works of particular leading Afrikaans poets. Chapter 3 attempts to indicate a transitional stage between traditional and modern Christian poetry by means of an overview of the latest tendencies and approaches, with brief references to the recent poetry of the Louws, the poetry of Peter Blum as the initial exponent of the poetry of the Sixties, and the poetry of Ina Rousseau. The work of Sheila Cussons, eminent Roman Catholic (and thus also Christian) poet who is probably the most impressive contemporary exponent of metaphysical/mystic poetry in Afrikaans, is discussed in chapter 4. Chapter 5 illustrates the traditional Calvinistic Christian point of view and Christian experience as represented in the poetry of I.L. de Villiers. The poetification of the ministry adds new dimension to religions poetry in Afrikaans. Chapter 6 constitutes a discussion of the works of T.T . Cloete, the most significant contemporary Reformed poet in Afrikaans indicating the extent to which the many related facets embodied in his poetry consistently reflect a Christian attitude and are unified in and encompassed by the principle of Soli Deo Gloria. Chapter 7, by way of conclusion, reviews the religious poetry of Lina Spies and Petra Müller who write accessible popular poetry, nevertheless exploring interesting references. In conjunction with the poetry of Ina Rosseau, this poetry represents a contribution to modern Afrikaans religious poetry from a feminine point of view