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Dissertations / Theses on the topic 'Elizabethan poetry'
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Kessler, Samuel Robert. "Theological grace in Spenser's poetry." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365504.
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Elder, Hilary Elizabeth. "The Song of Songs in late Elizabethan, Jacobean and Caroline poetry." Thesis, Durham University, 2009. http://etheses.dur.ac.uk/2165/.
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This thesis is about reading. Working on the understanding that all texts read other texts, it aims to uncover something of how English poets from 1590-1650 read the Song of Songs, by analyzing when and how they use it in their poetry. By looking at poetic readings, rather than theological ones, it also explores the connections and distinctions between reading literature and reading Scripture. As both Scripture and lyric love poetry, the Song of Songs has participated in theological and literary discourse over a long period. The Introduction gives background on both kinds of reading, and how they have been applied to the Song of Songs. It also sets out the structure of the thesis. Chapter 2 surveys theological writing about the Song of Songs produced during the period. The material includes sermons, commentaries, household advice books, hymns and translations, including poetic translations. There is a stable core of interpretation, which reads the Song as primarily about the relationship between Christ and the Church, or the individual soul, or both. Within this stable core, however, there is a wide variety of interpretations. Chapters 3-5 are themed, and look at how poets handle the three topics of the feminine voice, beauty and desire when they read the Song of Songs. The first poet considered in each chapter is Aemilia Lanyer, who provides a plumb-line for the exposition. As a poet seeking elite patronage, Lanyer is typical of her age in many important respects; but she also challenges expectations about poets of the period. The other poets considered are Shakespeare, Southwell, Mary Sidney, Countess of Pembroke, Spenser, Donne and Crashaw. The Conclusion considers what light these poetic readings shed on the relationship between Scripture and literature.
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Smith, Rosalind. "Gender, genre and reception : sonnet sequences attributed to women, 1560-1621." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363677.
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Clucas, S. "Giodano Bruno's 'Degli Eroici Furori' and Elizabethan poets in the context of sixteenth-century Italian Petrarch-commentaries." Thesis, University of Kent, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.380613.
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Eastwood, Adrienne L. "Before the threshold : the Elizabethan epithalamium and negotiations of power /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3130410.
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Faust, Kimberly M. "A Crisis in Regal Identity: The Dichotomy Between Levinia Teerlinc’s (1520-1576) Private and Public Images of Queen Elizabeth I (1533-1603)." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116614443.
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Marshall, Christine. "Elizabeth Bishop's revisionary eye /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1420938.
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Brooks, Scott A. "To move, to please, and to teach : the new poetry and the new music, and the works of Edmund Spenser and John Milton, 1579-1674." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5034.
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By examining Renaissance criticism both literary and musical, framed in the context of the contemporaneous obsession with the works of Plato, Aristotle, and Horace, among others, this thesis identifies the parallels in poetic and musical practices of the time that coalesce to form a unified idea about the poet-as-singer, and his role in society. Edmund Spenser and John Milton, who both, in various ways, lived in periods of upheaval, identified themselves as the poet-singer, and comprehending their poetry in the context of this idea is essential to a fuller appreciation thereof. The first chapter addresses the role that the study of rhetoric and the power of oratory played in shaping attitudes about poetry, and how the importance of sound, of an innate musicality to poetry, was pivotal in the turn from quantitative to accentual-syllabic verse. In addition, the philosophical idea of music, inherited from antiquity, is explained in order elucidate the significance of “artifice” and “proportion”. With this as a backdrop, the chapters following examine first the work of Spenser, and then of Milton, demonstrating the central role that music played in the composition of their verse. Also significant, in the case of Milton, is the revolution undertaken by the Florentine Camerata around the turn of the seventeenth century, which culminated in the birth of opera. The sources employed by this group of scholars and artists are identical to those which shaped the idea of the poet-as-singer, and analysing their works in tandem yields new insights into those poems which are considered among the finest achievements in English literature.
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Munroe-Silliphant, Christine Heather. "Elizabeth Bishop's dream poetry, a nocturnal journey." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ30009.pdf.
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Baldock, Sophie. ""A correspondence is a poetry enlarged" : Robert Duncan, Elizabeth Bishop, Amy Clampitt and post-War poets' letters." Thesis, University of Sheffield, 2016. http://etheses.whiterose.ac.uk/16716/.
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This thesis explores the work of three post-war American poets—Robert Duncan, Elizabeth Bishop and Amy Clampitt—for whom the practice of letter writing was already a disappearing art. In placing these poets and their letters side-by-side, the thesis makes connections between poets who have previously been seen as inhabiting different and largely discrete poetic spheres. The thesis intervenes in the growing field of epistolary scholarship, extending and amending the findings of previous critics who have observed the close relationship between letters and poems. It challenges a recent critical emphasis on letters as sources that should be considered independent from poems, arguing instead that the two art forms are deeply interwoven. Through an examination of particular case studies and detailed close readings of published letter collections and unpublished archival material, the thesis demonstrates how Duncan, Bishop and Clampitt used letters as inspiration and material for their poems. The thesis uncovers a shared lineage with nineteenth-century and earlier letter writing conventions, showing how these poets replicated prior practices including the coterie circulation of poems in letters, an Emersonian concept of friendship, a “baroque prose style” and miniature portrait exchange. For three poets who existed on the margins of various literary movements, as well as often being geographically isolated, letters were a vital source of friendship and companionship. However, in each case, letters were not perfect models of harmonious friendship and community. In fact, the sense of connection created through letters proved to be nearly always, and necessarily, virtual and delicate.
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Dombrowski, Renee. "The Carnivalesque and the Grotesque in Elizabeth Bishop's Poetry." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1304.
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Elizabeth Bishop (1911-1979) was a Pulitzer-prize winning American poet who did not produce much published work in her career. This was partly due to her low confidence, depression, alcoholism, and difficult personal life, but it was also due to her meticulousness as a poet. Colleagues and critics praised her strong description and mastery of technique, but criticized her early work as lacking depth. While appearing simple, her early works present complex themes of dualism and isolation. Using characteristics of the carnivalesque and the grotesque, her poetry explores these concepts and the need to cover them. This study's close analysis of four works ("From the Country to the City, " "Cirque d'Hiver, " "Pink Dog, " and "The Man-Moth") reveals characteristics of the carnivalesque and the grotesque, adding a previously unnoticed depth to her early work.
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Gabrys, Malgorzata J. "Transatlantic dialogues : poetry of Elizabeth Bishop and Wislawa Szymborska /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488199501405238.
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Wynter, Jerome Samuel. "The antislavery and anti-imperialist poetry of Elizabeth Barrett Browning." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8287/.
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Elizabeth Barrett Browning (1806-1861) was a remarkably consistent advocate for the liberty of enslaved Africans and for the subjugated Italians during the first half of the nineteenth-century. She figured the oppression of the disenfranchised Europeans as an analogue of slavery and viewed antislavery in America and the Italian Risorgimento as part of the same problem stemming from imperial oppression. Despite the unresolved tensions between the emotional commitment to her slave-owing family and to abolitionism, her antislavery corpus – her juvenile abolition poems, her mature works on American slavery and her first volume of poems on the Italian independence – is always anti-imperialist. She engages with, borrows from, challenges and writes back to the mainstream abolitionist discourses of her predecessors and contemporaries to present an alternative image of the enslaved. This thesis considers how she combines the political-material conditions of individualised slave characters with real figures from the historical moment in her poetry, rendering them as actively resisting oppression and achieving their own liberation. Employing the rhetoric of incitement to violence, she encourages her readers to endorse the calls to resistance implied in the poems. My project demonstrates how Barrett Browning draws together the American antislavery movement and the Risorgimento into a single anti-imperialist cause, as part of her life-long commitment to political liberty.
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Martins, Maria Lucia Milléo. "Brazil in the poetry of Elizabeth Bishop : a "Dazzling dialectic"." reponame:Repositório Institucional da UFSC, 1992. https://repositorio.ufsc.br/xmlui/handle/123456789/157745.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina. Centro de Comunicação e ExpressãoMade available in DSpace on 2016-01-08T17:41:02Z (GMT). No. of bitstreams: 1 89595.pdf: 2880063 bytes, checksum: 5995ad849803fb03cac7240a2bc86176 (MD5) Previous issue date: 1992
A presença do Brasil na poesia de Elisabeth Bishop estende-se por um período de quase três décadas, do início dos anos 50 ao final dos anos 70. Considerando-se o significativo espaço que o Brasil ocupa na poesia de Bishop e a íntima relação entre a sua poesia e a sua própria experiência no país, essa pesquisa investiga o desenvolvimento da sua percepção de Brasil através de mudanças nas perspectivas das " personae" , expressas ao longo do curso dos respectivos poemas. Quatro principais momentos são identificados nesse processo: as primeiras impressões de Brasil da poetisa como " turista" e "viajante"; o processo de imersão no contexto brasileiro, da percepção à identificação com o "outro"; o conflito com o familiar; e a reconstrução poética do que "se perdeu". Finalmente essa dissertação conclui que, ao retratar o Brasil em seus poemas, Bishop não revela uma visão parcial e estereotipada do país, ao contrário, seus poemas demonstram uma perspectiva bem mais rica, resultante da sua experiência de viver a "dazzling dialectic" das culturas, a sua e a que encontrou no Brasil.
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LeRud, Elizabeth. "Antagonistic Cooperation: Prose in American Poetry." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22646.
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Poets and critics have long agreed that any perceived differences between poetry and prose are not essential to those modes: both are comprised of words, both may be arranged typographically in various ways—in lines, in paragraphs of sentences, or otherwise—and both draw freely from the complete range of literary styles and tools, like rhythm, sound patterning, focalization, figures, imagery, narration, or address. Yet still, in modern American literature, poetry and prose remain entrenched as a binary, one just as likely to be invoked as fact by writers and scholars as by casual readers. I argue that this binary is not only prevalent but also productive for modern notions of poetry, the root of many formal innovations of the past two centuries, like the prose poem and free verse. Further, for the poets considered in this study, the poetry/prose binary is generative precisely because it is flawed, offering an opportunity for an aesthetic critique.
“Antagonistic Cooperation: Prose in American Poetry” uncovers a history of innovative writing that traverses the divide between poetry and prose, writing that critiques the poetry/prose binary by combining conventions of each. These texts reveal how poetry and prose are similar, but they also explore why they seem different and even have different effects. When these writers’ texts examine this binary, they do so not only for aesthetic reasons but also to question the social and political binaries of modern American life—like rich/poor, white/black, male/female, gay/straight, natural/artificial, even living/dead—and these convergences of prose and poetry are a textual “space” each writer creates for representing those explorations. Ultimately, these texts neither choose between poetry and prose nor do they homogenize the two, affirming instead the complex effects that even faulty distinctions may have had historically, and still have, on literature—as on life. By confronting differences without reducing or erasing them, these texts imagine ways to negotiate and overcome modes of ignorance, invisibility, and oppression that may result from these flawed yet powerful dichotomies.
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Woodworth, Elizabeth Deloris. "Poems before Congress by Elizabeth Barrett Browning a critical edition /." Fort Worth, Tex. : Texas Christian University, 2007. http://etd.tcu.edu/etdfiles/available/etd-04272007-155039/unrestricted/woodworth.pdf.
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Rinner, Jenifer. "Midcentury American Poetry and the Identity of Place." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18524.
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This dissertation argues that the midcentury period from 1945-1967 offers a distinct historical framework in American poetry that bears further study. This position counters most other literary history of this period wherein midcentury poets are divided into schools or coteries based on literary friendships and movements: the San Francisco Beats, the New York School, the Black Mountain poets, the Confessionals, the Black Arts poets, the Deep Image poets, and the New Critics, to invoke only the most prominent designations. Critics also typically share a reluctance to cross gender or racial lines in their conceptualizations of the period. Of the few books that survey this period as a whole, most propose the defining features of midcentury poetry as formal innovation (or lack thereof) and a renunciation of the past.
By contrast, I argue that such divisions and limiting categories do not attend to some of the most important features of midcentury poetry. I suggest that midcentury poetry most often demonstrates a renewed interest in locating a particular identity in a specific place. To illustrate this point, I explore depictions of identity and place in the works of three poets who are rarely studied together, Gwendolyn Brooks, Theodore Roethke, and Elizabeth Bishop. Each chapter examines the changes in poets' careers by focusing on how the relationship between place and identity differs in their early and late work. I contend that the few generalizations we have about the trajectory of this period (that poets moved from using more traditional forms to more open forms, for example) are not entirely accurate and, even more, that the accounts that we have of the poets' individual careers could be enhanced by a comparison between their early and late depictions of identity and place. I argue that the concerted exploration of the intersection of place and identity calls for a reconsideration of midcentury poetry: not just the categories we have but the poets and poems we read.
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Neely, Elizabeth. "Elizabeth Bishop in Brasil: An Ongoing Acculturation." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700061/.
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Elizabeth Bishop (1911–1979), one of the foremost modern American poets, lived in Brasil during seventeen-odd years beginning in 1951. During this time she composed the poetry collection Questions of Travel, stand-alone poems, and fragments as well as prose pieces and translations. This study builds on the work of critics such as Brett Millier and Lorrie Goldensohn who have covered Bishop’s poetry during her Brasil years. However, most American critics have lacked expertise in both Brasilian culture and the Portuguese language that influenced Bishop’s poetry. Since 2000, in contrast, Brasilian critic Paulo Henriques Britto has explored issues of translating Bishop’s poetry into Portuguese, while Maria Lúcia Martins and Regina Przybycien have examined Bishop’s Brasil poems from a Brasilian perspective. However, American and Brasilian scholars have yet to recognize Bishop’s journey of acculturation as displayed through her poetry chronologically or the importance of her belated reception by Brasilian literary and popular culture. This study argues that Bishop’s Brasil poetry reveals her gradual transformation from a tourist outsider to a cultural insider through her encounters with Brasilian history, culture, language, and politics. It encompasses Bishop’s published and unpublished Brasil poetry, including drafts from the Elizabeth Bishop Papers at Vassar College. On a secondary level, this study examines a reverse acculturation in how Brasilian popular and literary communities have increasingly focused on Bishop since her death, culminating in the 2013 film, Flores Raras (Reaching for the Moon in English). Understanding this extremely rare and sustained intercultural junction of Bishop in Brasil, a junction that no American poet has made since, adds a crucial angle to twentieth-first century transnational literary perspectives.
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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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MacRae, Marianne. "A Rat-Shaped Tear ; and, Beyond the other : animals in the poetry of D.H. Lawrence, Elizabeth Bishop and Marianne Moore." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33081.
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The poems in A Rat-Shaped Tear consider wide-ranging ideas of otherness using character and voice. Through misdirection, understatement and unexpected imagery I confront ideas of animal and female otherness in playful ways as a means of subverting traditional impressions of both. The othering effects of grief are also examined in poems that reflect on bereavement and mortality. Human-animal interaction is used to further explore the effects of death and disappointment, though overtones of cartoonish extravagance, dark humour and the surreal temper the more serious themes of loss, disillusionment and loneliness that recur within the collection. In the accompanying thesis, I focus on the work of three poets - D.H Lawrence, Marianne Moore and Elizabeth Bishop - each of whom confront animal otherness in their work. Through close examinations of their individual works, I explore the differences in approach to human-animal interaction, and the ways in which these poets draw meaning from animal otherness. It is suggested that although they engage with the concept using varied poetic techniques, they are drawn together by the intimations of spiritual transcendence that permeate each of their animal poetics.
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Nader, Myrna. "Visual poetics : the art of perception in the poetry of Elizabeth Bishop and Sylvia Plath." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5439.
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This study of the poetry of Elizabeth Bishop and Sylvia Plath goes beyond the usual practice of labelling these writers either as reticent or Confessional. Instead, it places greater emphasis on their visual poetics which privileges the process of creativity – the different modes of seeing – over ethical and political considerations. I begin by discussing what each knew of the other and proceed to examine their common interest in perception and interpretation. Bishop and Plath seek to understand the depiction of ‘reality’ and the various forms that this takes: the concrete fact, the object or the authentic experience modulated by historical data, whether symbols, mythical forms or religious conventions. In their poetry the self objectifies the world, discovering and simultaneously defining observed phenomena. Alternatively, personal identity is determined as part of a symbolic order because the present is deemed inadequate in itself and, therefore, frames of reference need to be expanded, analogies drawn, historical parallels established, myths invoked. This historicised art is complex, stylistic and culturally established. Bishop’s poetry, for instance, distinguishes between customary ways of seeing; the symbolism of medieval painting and the untrained eye of individualism (Primitive art). Her poetic ‘transparency’, language which corresponds faithfully to actual experience, calls attention, by its very directness and apparent simplicity, to the various parts of a synthesising imagination that could, potentially, infringe upon pure vision. The analysis of Bishop’s language and its development is based upon her published and unpublished material. Bishop and Plath underscore differences between description and meditation, empirical enquiry and symbolic transformation, the tangible and the abstract. They further consider religious beliefs ephemeral and place their faith in the primacy of the material world. Bishop is especially distrusting of symbolism in Christian imagery. Plath admired Bishop‘s poetry for being ‘real’, that is intimate, but not self-obsessed, concerned with aestheticism and ‘pleasure-giving’. This was the type of poetry she aspired to write. The reading of Plath uses autobiography sparingly, while arguing that her work – including poems in Ariel – demonstrates the creative strategies of, what she termed, a ‘pseudo-reality’. This precludes the automatic designation of her poetry as fully Confessional. Visual poetics is broadly defined to include a discussion on surrealism. Bishop was fascinated by the movement‘s expression of the numinous and transcendent but recoiled from its illogical thinking. Plath was equally drawn and repelled by male surrealists’ portrayal of the woman subject. In her poetry the misogyny of this art is countered by the appropriation of more positive imagery found in female surrealists such as Leonor Fini.
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Wilson, Brandy Michelle. "A Semanalytic Approach to Modern Poetry: Examining Elizabeth Bishop Through the Theories of Julia Kristeva." Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/42107.
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In utilizing Kristeva's psychoanalytic discursive theory of identity-formation within literary symbolic structures, my thesis seeks to follow the ontological processes involved in identity and signification in “subversive” signifying practices. Specifically, I'm interested in the ways modern poetry (such as Elizabeth Bishop) defies traditional patriarchal discourse as dominant literary devices while embracing plurality and inherent virtues of the female voice. My project will trace Kristeva's semiotic/psychoanalytic evolution from linguistic models of the signifying process, to particulars of her psychoanalytic/linguistic theories, and finally, will attempt to construct a space within modern poetry, where it can be said, the subject (poet) remains on trial/in crisis, and poetic expression reveals the “jouissance” or unspoken voice of repression.
Bishop's poetry constantly questions reality, knowledge, sexuality and the self. I strive to expose how Bishop's poetry performs Kristeva's theory of the self in writing; her poetry puts at the core of the self a sense of loss in her attempts to express herself in language. I offer close readings of “The Fish,” “Questions of Travel,” and “One Art,” to show how Bishop's self exposes the unconscious process of poetic activity. Kelly Oliver articulates Kristeva's contributions to linguistics and psychoanalysis quite succinctly, “When we learn to embrace the return of the repressed/the foreigner within ourselves, then we learn to live with, and love, others” (14).Master of Arts
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Rogers, Donna. "ELIZABETH BISHOP AND HER WOMEN:COUNTERING LOSS, LOVE, AND LANGUAGE THROUGH BISHOP'S HOMOSOCIAL CONTINUUM." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2992.
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This thesis examines Elizabeth Bishop's seemingly understated and yet nuanced poetry with a specific focus on loss, love, and language through domesticity to create a poetic home. In this sense, home offers security for a displaced orphan and lesbian, moving from filial to amorous love, as well as the literary home for a poet who struggled for critical recognition. Further, juxtaposing the familiar with the strange, Bishop situates her speaker in a construction of artificial and natural boundaries that break down across her topography and represent loss through the multiple female figures that permeate her poems to convey the uncertainty one experiences with homelessness. In order to establish home, Bishop sets her female relationships on a continuum as mother, aunt, grandmother, and lovers are equitably represented with similar tropes. In essence, what draws these women together remains their collective and familiar duty as potential caretaker, which is contrasted by their unusual absence in the respective poems that figure them. Contrary to the opinion most scholars hold, Bishop's reticence was a calculated device that progressed her speaker(s) toward moments of self discovery. In an attempt to uncover her voice, her place in the literary movements, and her very identity, critics narrowly define Bishop's vision by fracturing her identity and positing reductive readings of her work. By choosing multiple dichotomies that begin with a marginalized speaker and the centered women on her continuum, the paradox of Bishop's poetry eludes some readers as they try to queer her or simply reduce her to impersonal and reticent, while a holistic approach is needed to uncover the genesis of Bishop's poetic progression. To be sure, Bishop's women conflate into the collective image of loss, absence, and abandonment on Bishop's homosocial continuum as a way to achieve catharsis. Bishop's concern with unconditional love, coupled with the continual threat of abandonment she contends with coursing through her work, gives credence to the homosocial continuum that is driven by loss and love with the perpetual need to create a language to house Bishop from the painful memories of rejection. Bishop situates her speaker(s) in the margins, since it is at the center when the pain of loss is brought into light, to allow her fluid selves release from the prison loss creates. By reading her work through the lenses of orphan, lesbian, and female poet, the progression of her homosocial continuum, as I envision it, is revealed. It is through this continuum that Bishop comes to terms with loss and abandonment, while creating a speaking subject that grows with each poem. Without her continuum of powerful female relationships, Bishop's progression as a poet would be far less revealing. Indeed, defining herself through negation, Bishop's sense of homelessness is uncovered in juxtaposition to her centered female subjects, and I delve into these contestations of space/place as well as her figurations of home/ homelessness to discern Bishop's poetic craft as she channeled the painful details of her past, thus creating her "one art."M.A.
Department of English
Arts and Humanities
English MA
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Laudien, Heidi. "Ladies of the shade the pastoral poetry of Aphra Behn, Anne Finch, and Elizabeth Singer Rowe /." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1892.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2004.Thesis research directed by: English Language and Literature. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Smith, Kendall Marie. "A postmodern poetics of witness in the poetry of Elizabeth Bishop, Adrienne Rich, and Lorna Dee Cervantes." Diss., Uc access only, 2009. http://proquest.umi.com/pqdweb?index=0&did=1790235951&SrchMode=2&sid=1&Fmt=6&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1265391152&clientId=48051.
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Thesis (Ph. D.)--University of California, Riverside, 2009.Includes abstract. Includes bibliographical references (leaves 189-195). Issued in print and online. Available via ProQuest Digital Dissertations.
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Rogers, Donna Ann. "Elizabeth Bishop and her women countering loss, love, and language through Bishop's homosocial continuum /." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002044.
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Thompson, Jacqueline. "'The thin universe' : the domestic worlds of Elizabeth Burns, Tracey Herd and Kathleen Jamie." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25739.
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As Elizabeth Burns’s paradoxical phrase ‘the thin universe’ suggests, the home is a place of both limitations and possibilities. Domestic life has been regarded by some as a spirit-sapping hindrance to creativity, recalling Cyril Connolly’s famous declaration that: ‘There is no more sombre enemy of good art than the pram in the hall.’ This thesis examines the ways in which Burns, Herd and Jamie demonstrate how domestic life, for all its restrictions, can prove to be the ally of art. The home is a repository for childhood memories – shown in my analysis of Burns’s ‘Rummers and Ladels’ and Jamie’s ‘Forget It’ – and it is during this formative period that our ambivalent relationship with the home begins. The desire for comfort and safety can be felt alongside the tug towards the outdoor world of adventure and independence, a push-pull longing found in Herd’s ‘Big Girls’. Herd carries this longing into adulthood in ‘A Letter From Anna’, as does Burns in ‘Woman Reading a Letter, 1662’, and Jamie in ‘Royal Family Doulton’. Section one is my examination of this complicated sensation. The darkness that can make the home a hell features in Burns’s ‘Poem of the Alcoholic’s Wife’, Herd’s ‘Soap Queen’ and Jamie’s ‘Wee Wifey’. Contrastingly, the blissful events that take place there are evoked in Burns’s ‘The Curtain’, Herd’s ‘Rosery’ and Jamie’s ‘Thaw’. In section two I seek to prove that such extreme events, from the abuse suffered at the hands of an unfeeling mother to the delights of new parenthood, prove that the home cannot be dismissed as sequestered or mundane. And yet, dismissed it has been. Why bother depicting one’s ‘wretched vegetable home existence’, as Wyndham Lewis wrote, when one could ‘give expression to the more energetic part of that City man’s life’? Burns bemoans this attitude in ‘Work and Art/We are building a civilization’, and the idea that ‘home crafts’ like embroidery cannot be miraculous in themselves is dispelled by Herd’s ‘The Siege’ and Jamie’s ‘St Bride’s’. The celebration of the domestic interior found in paintings by, for example, David Hockney and Gwen John is similarly seen in the poetry of Burns (‘Annunciation’), Herd (‘Memoirs’) and Jamie (‘Song of Sunday’). Section three aims to show how the Bugaboo in the hall can be the ally of art, and – ‘thin’ though it may sometimes feel – the home is a universe in which infinite poetic possibilities exist.
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Boschman, Robert Wayne. "Questions of travail, travel, culture, and nature in the poetry of Anne Bradstreet, Elizabeth Bishop, and Amy Clampitt." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0029/NQ66193.pdf.
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Lee, Elizabeth Anne. "For Better or for Worse: The Subversion of Victorian Marital Ideals in the Poetry of Elizabeth Barrett Browning." NCSU, 2006. http://www.lib.ncsu.edu/theses/available/etd-04202006-234749/.
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Elizabeth Barrett Browning is well-known for her tender poems about love, but one aspect of her poetry that has remained largely ignored is her specific depiction of marriage. In fact, from the time she was a teenager until the day she died, Barrett Browning consistently demonstrates through her poetry that she was largely skeptical, if not cynical, about the idea of marriage as it was commonly practiced in Victorian-era England. In a majority of her poems, Barrett Browning depicts wives or brides-to-be as plighted victims or doomed slaves, and harshly characterizes husbands and grooms as dull, unsympathetic philanderers. In poems such as ?A Romance of the Ganges? and ?The Romaunt of the Page,? the balance of power within marriage is consistent with Victorian ideals, since the wives are subservient to their husbands. These husbands are tyrannical figures, and the unreasonable demands they place on their wives ultimately lead to tragic consequences. When Barrett Browning does portray a ?successful marriage? in her poetry, such as that between Aurora and Romney at the end of Aurora Leigh, or between Queen Victoria and Prince Albert in ?Crowned and Wedded,? the traditional gender roles of the time have been reversed: the woman is in a position of uncontested authority over the man. This inversion of what constitutes a happy union was fairly radical for the time, but it remains a consistent theme throughout Barrett Browning?s work, challenging Victorian society to reconsider the merits of the popular marital ideal.
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Boschman, Robert. "Questions of travail : travel, culture, and nature in the poetry of Anne Bradstreet, Elizabeth Bishop, and Amy Clampitt /." *McMaster only, 1999.
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Manecke, Keith Gordon. "On location the poetics of place in modern American poetry /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1070218804.
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Thesis (Ph. D.)--Ohio State University, 2004.Document formatted into pages; contains 236 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2008 Dec. 1.
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Gressman, Melissa R. "Performing Sincerity in Elizabeth Barrett Browning’s Sonnets from the Portuguese." University of Toledo Honors Theses / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1450401175.
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Lyne, Raphael. "Studies in English translation and imitation of Ovid, 1567-1609." Thesis, University of Cambridge, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368503.
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McRae, Nicholas Jarome. "Inscrutable House." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984276/.
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Wörn, Alexandra Margret Belinda. "Woman-poet as theological : a study of Elizabeth Barrett Browning." Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.614368.
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MacDonald, Anna. "Expressions of White Ink: Victorian Women's Poetry and the Lactating Breast." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32951.
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The period spanning from the late 1850s to the mid-1860s frames a historical moment in Victorian England when lactation and breastfeeding came under intense public scrutiny in both medical and creative writing. While popular domestic author Isabella Beeton wrote on the dangers that an unwary mother’s milk represented for her child and herself in her serial publication, Mrs. Beeton’s Book of Household Management (1859-1861), prominent physicians C.H.F. Routh and William Acton launched a public dispute in medical journals contesting the physiological and moral dangers that the fallen wet nurse posed for the middle-class household (1859). Meanwhile, the medical community catalogued the bizarre long-term physical and dispositional side-effects of an infant’s consumption of “bad milk” – among them, syphilis, swearing, sexual immorality, and death (Matus 161-162). But it is not only medical writers who were latching on to the breastfeeding debate as a means of voicing social and political concerns of the day; recent literary critics have gestured towards the troubling manifestations of lactation in popular mid-century novels like Charles Dickens’s Dombey and Son (1848) and George Eliot’s Adam Bede (1859) as entry points into Victorian anxieties about classed and gendered embodiment. This project stipulates that the mid-century preoccupation with managing women’s milk represents an intersection of two overlapping cultural paradigms pertaining to female expression: a cultural devaluation of female physiological expression as unconscious if not dangerous leakage, and a deprecation of female linguistic and poetic expression as an analogously unmeditated and potentially disruptive kind of communication. Mid-century manuals, articles, and novels offered public voice to a number of existing anxieties surrounding breastfeeding which accompanied the mid-nineteenth century, a historical moment at the cusp of a waning popularity in wet nursing and at the advent and rise of patented infant formula. This project stipulates that at least three female poets of the mid-nineteenth century employ lactation imagery in their works as a means of recasting a cultural devaluation of female expression – inventing a new critical terminology of feminine poetic signifiers that uses the symbolic medium of breastmilk as its ink. Informed by the medical and cultural context of the High Victorian age, I explore how poets Elizabeth Barrett Browning (1806-1861), Christina Rossetti (1830-1894), and Augusta Webster (1837-1894) not only participate in the preoccupation with unstable bodies and fluids, but capitalize on female leakage in an elaborate rhetorical strategy that embarks on a new embodied female poetics. Barrett Browning’s Aurora Leigh, Rossetti’s “Goblin Market,” and Webster’s Mother and Daughter all enlist the lactating and feeding breast in a series of elaborate metaphors of female identity construction, literary expression, and poetic voice.
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Caball, Marc D. "A study of intellectual reaction and continuity in Irish bardic poetry composed during the reigns of Elizabeth I and James I." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314940.
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Capone, Lauren. "The Hat Lady Equation." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1856.
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The Hat Lady Equation is a collection of poems by Lauren Capone. As influences she cites Elizabeth Bishop, John Berryman, among the exquisite minutiae of day-to-day living. The poems explore works of visual art by Alberto Giacometti, James Taylor Bonds, Chris Dennis, Blaine Capone (her brother), and creatures of the natural world including fish, the rhinoceros, a lettered olive shell. . . . Lauren shows a preoccupation with disassembling through the poems whether it's her identity, art, or happenings of everyday life.
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Shakespeare, Alex Andriesse. "Robert Lowell, Lyric and Life." Thesis, Boston College, 2013. http://hdl.handle.net/2345/bc-ir:104264.
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Thesis advisor: Paul MarianiRobert Lowell, Lyric and Life investigates the meaning of autobiography as it is represented and produced by the work of art. I begin by tracing Lowell's poetics to the highly personal Romanticism of William Wordsworth and the highly impersonal Modernism of T.S. Eliot, Ezra Pound, and Allen Tate. Reading Lowell's writing in light of this dual inheritance, I am able to point out the limitations of calling Lowell's poetry "confessional" and to propose a model of the lyric self that accounts for the significant semiotic and psychological complexity that goes into the making of a lyric "I." I argue that, from a reader's point of view, Lowell's autobiographical poems are more creations of experience than they are records of experience; that, although the reader is supposed to believe he is "getting the real Robert Lowell," what he really gets is a fictive representation. Taking hold of what Robert Lowell called the "thread of autobiography" that strings together his life's work, I then trace the changing role of Lowell's autobiographical lyric self in a series of three chapters. The first of these chapters concerns the manuscript drafts and published poems of Life Studies (composed from 1953-1959) and, through attention to Lowell's revisions, demonstrates the great extent to which Lowell fictionalized his experience: for instance, by omitting some of the most personal details of the poems in favor of elegant prosodic or thematic composition. The next chapter takes up what I designate "the Notebook poems" (the sonnets published between 1967 and 1972 in the volumes Notebook 1967-68, Notebook, History, and For Lizzie & Harriet), examining the ways in which Lowell's move to New York City and his readings of Hannah Arendt, Eric Auerbach, Simone Weil, and Herbert Marcuse (among others) affected his views of the lyric self in relation to history. This chapter ends by arguing for the Dantesque contours of the Notebook poems, and again takes a close look at Lowell's drafts, including an unpublished essay on Dante. A final chapter examines two ekphrastic autobiographical poems ("Marriage" and "Epilogue"), from Lowell's final volume, Day by Day (1977), in relation to poems by Elizabeth Bishop and William Wordsworth. It concludes by showing, through a close reading of "Epilogue" and its drafts, Lowell's own retrospective concern to question and doubt the autobiographical pursuits of his poetry. A brief epilogue draws the variegated threads of these chapters together and offers a final reflection on the inextricable knot of Lowell's lyrics and his life by way of reading his final poems and the biographical record of his death
Thesis (PhD) — Boston College, 2013
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: English
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Murdock, Robert Pearson III. "Scarecrow." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1195513157.
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Dowd, Ann Karen. "Elizabeth Bishop: her Nova Scotian origins and the portable culture of home." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31238427.
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Yegenoglu, Dilara. "Elizabeth Barrett Browning: Quest for the Father." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279212/.
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This dissertation explores Elizabeth Barrett's dependency on the archetypal Victorian patriarch. Chapter I focuses on the psychological effects of this father-daughter relationship on Elizabeth Barrett. Chapter II addresses Barrett's acceptance of the conventional female role, which is suggested by the nature and the situation of the women she chooses to depict. These women are placed in situations where they can reveal their devotion to family, their capacity for passive endurance, and their wish to resist. Almost always, they choose death as an alternative to life where a powerful father figure is present. Chapter III concentrates on the highly sentimental images of women and children whom Barrett places in a divine order, where they exist untouched by the concerns of the social order of which they are a part. Chapter IV shows that the conventional ideologies of the time, society's commitment to the "angel in the house," and the small number of female role models before her increase her difficulty to find herself a place within this order. Chapter V discusses Aurora Leigh's mission to find herself an identity and to maintain the connection with her father or father substitute. Despite Elizabeth Barrett's desire to break away from her paternal ties and to establish herself as an independent woman and poet, her unconditional loyalty and love towards her father and her tremendous need for his affection, and the security he provides restrain her resistance and surface the child in her.
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Swyderski, Ann. "Emily Dickinson and Elizabeth Barrett Browning : 'the outer - from the inner/derives its magnitude'." Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323984.
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Cho, Soon Y. "The Interaction Between Poetic and Musical Caesurae in Six Settings of Elizabeth Barrett Browning's Sonnet XLIII." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1299168299.
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Mollet-François, Lhorine. "Formations du sujet lyrique dans les écrits d'Elizabeth Bishop." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030122/document.
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Ce travail présente la manière dont le regard d'Elizabeth Bishop appréhende le monde en refusant toute illusion de familiarité. Il étudie les diverses stratégies de défamiliarisation qui invitent le lecteur à redécouvrir les surprises que peuvent réserver l'ordinaire et le quotidien, ainsi que le rapport qui s'instaure entre le sujet lyrique et le monde dans ces conditions. Il s'agit d'analyser comment l'affleurement de l'étrange ou de l'informe dans le familier et l'intime permet d'accéder à une reconnaissance du soi plus ample et plus authentique. L'écriture de Bishop remet inlassablement en question la stabilité de la réalité, y compris celle du sujet, ainsi que toute notion d'acquis, ou d'acquisition dans le temps. C'est ainsi que sa voix – sa signature – se singularise et qu'elle se démarque de ses pairs, mais aussi de la société à laquelle elle appartient. Ce qui s'affirme au travers de son écriture n'est paradoxalement fait que d'incertitude et de vulnérabilité. Le sujet qui s'y forme se construit sur de l'éphémère, sur ses propres limites ; il ne peut s'appuyer que sur la découverte de l'aliénation exogène mais également endogène à laquelle il est confronté. Simultanément, cette écriture cherche des moyens de maintenir le sujet, par la résonance d'échos, par le foisonnement, la prolifération, autant de techniques qui le ramènent incessamment au manque, au vide, à la faille qu'elles sont supposées masquer. Cette thèse propose d'interroger le rapport entre perte et création dans l'œuvre de Bishop, la manière dont la création se nourrit de la perte, et dont elle entraîne le lecteur dans cette transaction, l'incluant par là-même dans le processus créatifThis study examines the way Elizabeth Bishop's writings probe the world's seeming familiarity, how through various strategies of defamiliarization they reveal to the reader the hidden surprises of the ordinary, and how the lyrical subject relates to the world. As the strange and the shapeless surface within the intimate and the familiar, the persona gains access to a better and more authentic understanding of his-her own self. Bishop's writing relentlessly questions the stability of reality, including that of the self. It seems that the only knowledge available is that of uncertainty and contingency. Her voice is therefore necessarily singular and isolated, being itself in perpetual mutation. In order to maintain itself, her subject is constrained to rely on its own ephemeral and limited nature, as well as on external and internal alienation. Echoes and techniques of proliferation are construed to achieve that aim. Yet those techniques keep ! bringing the subject back to the lack, the absence, the gaps they are meant to bridge and cover up. Finally, this analysis explores the relationship between loss and creation: how creation is fueled by loss and how the reader is drawn into Bishop's writing thus ensuring the persistence of creation
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Knickerbocker, Scott Bousquet. "Modern ecopoetics : the language of nature/the nature of language /." view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?did=1232423261&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Thesis (Ph. D.)--University of Oregon, 2006.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 238-248). Also available for download via the World Wide Web; free to University of Oregon users.
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Rogers, Samuel J. W. "The 'Movement', the 'British Poetry Revival', and located identity in twentieth-century British poetry : with a focus on the work of Donald Davie, Ian Hamilton Finlay, Allen Fisher, Roy Fisher, Lee Harwood, Elizabeth Jennings, Philip Larkin, and John Wain." Thesis, Bangor University, 2014. https://research.bangor.ac.uk/portal/en/theses/the-movement-the-british-poetry-revival-and-located-identity-in-twentiethcentury-british-poetry--with-a-focus-on-the-work-of-donald-davie-ian-hamilton-finlay-allen-fisher-roy-fisher-lee-harwood-elizabeth-jennings-philip-larkin-and-john-wain(beafc78d-6182-447b-ad77-4c42fec8ef11).html.
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This thesis will focus on the work of eight British poets established in the 1950s or ‘60s as part of either the ‘Movement’ or the ‘British Poetry Revival’. The research will proceed from the prominent role played by these two groupings in understandings of British poetry, as expressed in existing criticism and in a number of poetry anthologies. As will be demonstrated, the opposition of these groups frequently stands in place of a more fundamental binary view of twentieth-century British poetry, which might be expressed in terms of mainstream versus margins or traditionalism versus experimentalism. At the core of this thesis, the eight poets under discussion will be placed in a series of comparisons that deliberately invokes such a binary split. Reading their poetry with a focus on landscape and ‘located identity’, I will suggest that the opposition between Movement and Revival poetry may be re-examined with a geographical or spatial emphasis. After introducing the critical terrain, I will demonstrate how poetry anthologies have helped frame the two groups of poets with potentially incompatible models of literary history. These models will be shown to engage with questions of cultural identity and the relationship of literary texts to national space. This will lay the foundations for my central chapters, which will each begin with a literary method of distinguishing Movement and Revival practice, but will then reveal the discourses of identity, locality, and territory that are also involved. Thus, the thesis will engage with matters of realism, syntax, lyricism, and poetic structure, for instance, but will also intimately connect such considerations to its central concern with located identity. By enacting this re-phrasing of an existing binary, I aim not only to fruitfully illuminate and interlink the two bodies of poetry, but also to suggest an altered method of mapping British poetry.
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Garrard, Suz. "Manufacturing selves : the poetics of self-representation and identity in the poetry of three 'factory-girls', 1840-1882." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/11578.
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This thesis is a transatlantic examination of self-representational strategies in factory women's poetry from circa 1848-1882, highlighting in particular how the medium of the working-class periodical enabled these socially marginal poets to subjectively engage with and reconfigure dominant typologies of class and gender within nineteenth-century poetics. The first chapter explores how working-class women were depicted in middle-class social-reform literature and working-class men's poetry. It argues that factory women were circumscribed into roles of social villainy or victimage in popular bourgeois reform texts by authors such as Elizabeth Barrett Browning and Caroline Norton, and were cast as idealized domestic figures in working-class men's poetry in the mid-nineteenth century. The remaining three chapters examine the poetry of Manchester dye-worker Fanny Forrester, Scottish weaver Ellen Johnston, and Lowell mill-girl Lucy Larcom as case-studies of factory women's poetics in mid-nineteenth century writing. Chapter Two discusses the life and work of Fanny Forrester in Ben Brierley's Journal, and considers how Forrester's invocation of the pastoral genre opens new opportunities for urban, factory women to engage with ideologies of domestic femininity within a destabilized urban cityscape. Chapter Three considers the work of Ellen Johnston, “The Factory Girl” whose numerous poems in The People's Journal and the Penny Post cross genres, dialects, and themes. This chapter claims that Johnston's poetry divides class and gender identity depending on her intended audience—a division exemplified, respectively, by her nationalistic poetry and her sentimental correspondence poetry. Chapter Four explores the work of Lucy Larcom, whose contributions to The Lowell Offering and her novel-poem An Idyl of Work harness the language and philosophy of Evangelical Christianity to validate women's wage-labor as socially and religiously appropriate. Ultimately, this thesis contends that nineteenth-century factory women's poetry from Britain and America embodies the tensions surrounding the “factory girl” identity, and offers unique aesthetic and representational strategies of negotiating women's factory labor.
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White, William Nicholas. "Blood knot." Master's thesis, Mississippi State : Mississippi State University, 2009. http://library.msstate.edu/etd/show.asp?etd=etd-03272009-140720.
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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.
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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.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.