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Piper, Susan Nicole Whyte Alyson Isabel. "Poetry centers for the purpose of lowering inhibitions of English language learners in the constructivist English language arts classroom." Auburn, Ala, 2009. http://hdl.handle.net/10415/1833.
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O'Neill, Helen Josephine. "Once preferred, now peripheral : the place of poetry in the teaching of English in the New Zealand curriculum for year 9, 10 and 11 students : a thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English, The University of Canterbury, Christchurch, New Zealand /." Thesis, University of Canterbury. Culture, Literature and Society, 2006. http://hdl.handle.net/10092/950.
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A poet is somebody who feels, and who expresses his (or her) feeling through words. This may sound easy. It isn't ... . It's the most wonderful life on earth. Or so I feel. e. e. cummings: 'A Poet's Advice'. (1-3, 27-28) Fifty years ago poetry was a key element in the English programme in most secondary schools. Today it is marginalised, with many teachers avoiding teaching poetry as far as possible. The consequence is a cycle of disadvantage whereby many students, never having studied, let alone attempted to write a poem in school, leave without having encountered literature at its most intense and concentrated. Since the study of poetry can also be avoided almost entirely in university English departments, such students will, in their turn, when they themselves become educators of the next generation, similarly avoid teaching poetry. This thesis investigates the pedagogical and curricular contexts within which English has been taught in New Zealand since 1945, and within which poetry has become increasingly marginal. Surveys of and interviews with students past and present, teachers and teacher-educators enable me to identify a range of reasons why this has happened, and a cycle of deprivation has developed. The thesis also identifies, however, ways in which the cycle of deprivation can be broken, and the teaching of poetry made central to the teaching of written, oral and visual language in accordance with the principles of the current New Zealand curriculum for the teaching of English.
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To, On-nie Annie. "The teaching of poetry writing in a school using Chinese as a medium of instruction the learning experience of secondary one students /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38713469.
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Hung, Yat-fung Lucretia. "Introducing poetry into the junior form English classroom a case study in a Hong Kong Chinese medium-of-instruction school /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38709363.
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Gardner, Calum. "Roland Barthes and English-language avant-garde poetry, 1970-1990." Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/94082/.
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This thesis looks at the engagement of English-language poets with the writing of Roland Barthes, and considers how a reading of Barthes may help understanding of a range of challenging experimental work. The introduction to the thesis lays a groundwork of how Barthes has been read in English since the first widely available translations of his work appeared in the 1960s, and thus establishes the intellectual context in which poets have written since. Beginning in the first chapter with Veronica Forrest-Thomson, the first of these poets to have looked at Barthes in detail, it looks both at poetry and of poets’ writings in the fields of criticism and poetics. From Forrest-Thomson the thesis moves in the second chapter to North America and considers the place of Barthes, particularly his Writing Degree Zero, in the intellectual context out of which emerged what has come to be known as ‘language writing’, combining a survey of this writing with close readings of the work of Ron Silliman, Ray DiPalma, Lyn Hejinian, Bernadette Mayer, and others. In the third chapter, the investigation of this diffuse tendency in poetry is followed through various strands, focussing in particular on periodicals and archival material. Finally, the fourth chapter looks at Anne Carson, Deborah Levy, and Kristjana Gunnars, and considers Barthes’ relevance to their texts’ thinking about writing. The intersection of theory and the emotional life is explored using the theoretical lens of Chris Kraus’ experimental fiction, particularly her notion of a ‘lonely girl phenomenology’. Barthes has had a diverse range of effects on poets’ thinking about writing and their writing practices, and our understanding of Barthes as a writer, what we mean by the ‘Barthesian’, and individual notions of his such as the ‘death of the author’ and his work on the possibilities of the fragment, have changed over time. The thesis considers the potential of Barthes’ writing to help us think about literature and its future utility for poetry studies.
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Hawkins, Emma B. "Gender, Power, and Language in Anglo-Saxon Poetry." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278983/.
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Many Old English poems reflect the Anglo-Saxon writers's interest in who could exercise power and how language could be used to signal a position of power or powerlessness. In previous Old English studies, the prevailing critical attitude has been to associate the exercise of power with sex—the distinction between males and females based upon biological and physiological differences—or with sex-oriented social roles or sphere of operation. Scholarship of the last twenty years has just begun to explore the connection between power and gender-coded traits, attributes which initially were tied to the heroic code and were primarily male-oriented. By the eighth and ninth centuries, the period in which most of the extant Old English poetry was probably composed, these qualities had become disassociated from biological sex but retained their gender affiliations. A re-examination of "The Dream of the Rood," "The Wanderer," "The Husband's Message," "The Wife's Lament," "Wulf and Eadwacer" and Beowulf confirms that the poets used gender-coded language to indicate which poetic characters, female as well as male, held positions of power and powerlessness. A status of power or powerlessness was signalled by the exercise of particular gendered traits that were open for assumption by men and women. Powerful individuals were depicted with masculine-coded language affiliated with honor, mastery, aggression, victory, bravery, independence, martial prowess, assertiveness, physical strength, verbal acuteness, firmness or hardness, and respect from others. Conversely, the powerless were described with non-masculine or feminine-coded language suggesting dishonor, subservience, passivity, defeat, cowardice, dependence, defenselessness, lack of volition, softness or indecisiveness, and lack of respect from others. Once attained, neither status was permanent; women and men trafficked back and forth between the two. Depending upon the circumstances, members of both sexes could experience reversals of fortunes which would necessitate moving from one category to the other, on more than one occasion in a lifetime.
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Kuehnova, Sarka. "John Milton's Paradise Lost : language, ambiguity and the ineffable." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365537.
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Alwazzan, Aminah. "The Strong Voices of Black Women and Men in the Selected Poetry of Langston Hughes." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2019. http://digitalcommons.auctr.edu/cauetds/161.
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This thesis discusses Langston Hughes’ poetry and details the African-American experience in a discriminatory society which was an essential theme of the Harlem Renaissance. The Harlem Renaissance was a cultural and artistic movement which enriched American life. Hughes’ body of work covers the entire range of the human experience, especially the experience of ordinary people. He believed that the role of the artist was to cover and illuminate every aspect of people’s lives. Part of this expansive philosophy towards art included giving a voice to African-American women and men who experienced both racist and patriarchal oppression.
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McGrane, Paul Steven. "The genesis of Clough's poetry." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:18be6cf8-b6fd-469e-8c88-5a1ae59b56ac.
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This thesis examines the early poetry of Clough, written between 1830 and 1841, in the light of the information about his personal and intellectual life provided by published and unpublished manuscripts, essays, letters and diaries. More specifically, it sets out to determine the degree to which the seeds (thematic and formal) of Clough’s more mature work can be discerned in the earlier. Chapter One discusses the influence of Clough’s childhood reading, and particularly the heroic ideal as encouraged by his mother. It traces the way this developed, particularly under the historical ideas of Thomas Arnold and the Liberal Anglicans, and the fatalistic moral problems this created. Chapter Three considers Clough’s responses to the Oxford Movement. It teases out those elements that attracted Clough and those he came to reject, particularly in the light of Tractarian ideas about reserve, in relation to poetry, truth and personal behaviour. Chapters Two and Four provide chronological, text-by-text accounts of the Rugby and Balliol poems respectively, offering judgments about influences, dates and sources, and interpretations in the light of Chapters One and Three respectively. Chapter Two argues that much of the Rugby poetry reflects an escapist lament for the past and a failure of will to restore it. Chapter Three argues that Clough’s engagement with Tractarian ideas about reserved truth provides the key context for many of these poems. Chapter Five traces the way in which Clough’s early poetics, derived from Wordsworth via Thomas Arnold, were gradually replaced by his more mature, ambiguous approach which also emerged from his encounters with Tractarian reserve. Two appendices collect ten poems and poetic fragments omitted from Mulhauser’s standard edition; three additional variant texts for poems included by Mulhauser; and four previously unpublished letters to Clough from his friend WilliamTylden.
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Stuhr, Tracy Jill. "Re-sounding natures : voicing the non-human in Medieval English poetry." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/1911.
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This dissertation examines how the non-human (the natural, not the other-worldly) world and its creatures were voiced in several late medieval English texts: Sir Gawain and the Green Knight, Chaucer's Nun's Priest's Tale and Manciple's Tale, and the Towneley Second Shepherds' Play. The dissertation is organized into three chapters which severally allocate voicing the non-human to three different (although conceivably overlapping) modes of representation - acoustic, formal, and performative. Underpinning this project is the objective to place these texts in a historicized ecocritical context.
In the first chapter I analyze the figurative (and formative) sounds the natural world "speaks" as it advances a crescendo of insistent clamor in Sir Gawain and the Green Knight. I argue that this poem exploits the common (and serviceable) conviction of the analogous equivalency of the two categories woman and nature - in order to register the anxieties engendered by the encroachments of women and the natural world in post-plague England. The second chapter addresses how the voices of domestication and its discontents unfold in the use Chaucer makes of the protean genres of fable and exemplum, proverbs, and the deployment of similes in two of his bird tales. I rely on current theorizing of interspecies and intra-species domestication to identify and extract the discontents I have found to be inhering in its processes: savagery/violence, hybridity, uninvited and unintended transformations, and theft. The third chapter considers how human and non-human voices confoundingly yet steadily implicated and entangled in one another - performatively discover homes amid multiple ranges, including silence, volume, laughter, and music. This chapter represents the effort to subtend and complicate existing understandings of this popular late medieval pageant by thinking in terms of ranges, variations, and multivalent characterizations, rather than slots, hierarchies, stabilities, and characters who have become little more than canned effigies.
In conclusion, I argue that late medieval poetic texts show a remarkable diversity in the ways and means their authors chose to variously voice the non-human, and that the particular forms this voicing took shaped, even as it was shaped, by the non-human world around them. This diversity and variation enables a more complex understanding of the different avenues and directions this voicing afforded to succeeding generations.
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Schmid, Julie Marie. "Performance, poetics, and place: public poetry as a community art." Diss., University of Iowa, 2000. https://ir.uiowa.edu/etd/189.
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This dissertation refuses the assumption that poetry is a dying art form. In this study, I focus on poets Marc Smith, David Hernández, Patricia Smith, and Bob Holman. I place the work of these four poets within the context of the contemporary performance poetry movement and argue that from their position on stage, in the recording studio, or in front of the camera, they use the performance to forge bonds across racial, ethnic, class, and gender divides. Throughout this study, I trace the evolution of the contemporary performance poetry movement from the local to the national, the embodied to the virtual. I combine original research on public poetries such as the poetry slam, the poetry-music ensemble, and video-poetry and synthesize a variety of critical approaches, including cultural studies, postcolonial theory, and ethnomusicology. I analyze specific elements of the performance--the voice, music, the body on stage, and the dialogic relationship betwee performer and audience--and discuss how these poets use the poetry event to articulate a poetry-community-in-the-making. Throughout this study, I argue that these poetry events demand our active engagement with the performance and use emergent technologies to document and analyze this poetry community. As such, "Performance" ultimately demands that we not only rethink the relationship between these poets and their communities, but that we rethink the place of poetry in contemporary American culture.
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Thomas, Nicola. "Landscape, space and place in English- and German-language poetry, 1960-1975." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/41884/.
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This thesis examines representations of space, place and landscape in English and German-language poetry of the period 1960-1975, a key transitional phase between modernity and postmodernity. It proposes that the impact certain transnational spatial revolutions had on contemporary poetry can only be fully grasped with recourse to comparative methodologies which look across national borders. This is demonstrated by a series of paired case studies which examine the work of J. H. Prynne and Paul Celan, Sarah Kirsch and Derek Mahon, and Ernst Jandl and Edwin Morgan. Prynne and Celan’s 'Sprachskepsis' is the starting point for a post-structuralist analysis of meta-textual space in their work, including how poetry’s complex tectonics addresses multifaceted crises of representation. Mahon and Kirsch’s work is read in the context of spatial division, and it is argued that both use representations of landscape, space and place to express political engagement, and to negotiate fraught ideas of home, community and world. Jandl and Morgan’s representations of space and place, which often depend on experimental lyric subjectivity, are examined: it is argued that poetic subject(s) which speak from multiple perspectives (or none) serve as a means of reconfiguring poetry’s relationship to space at a time when social, literary and political boundaries were being redefined. The thesis thus highlights hitherto underexplored connections between a range of poets working across the two language areas, making clear that space and place is a vital critical category for understanding poetry of this period, including both experimental and non-experimental work. It reveals weaknesses in existing critical taxonomies, arguing for the use of ‘late modernist’ as category with cross-cultural relevance, and promotes methodological exchange between the Anglophone and German traditions of landscape, space and place-oriented poetry scholarship, to the benefit of both.
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Cherry, Thomas Hamilton. "Variation Within Uniformity: The English Romantic Sonnet." TopSCHOLAR®, 2014. http://digitalcommons.wku.edu/theses/1396.
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The English Romantic poets of the early nineteenth century wrote numerous poems from genres and styles all across the poetic spectrum. From the epics of ancient origin concerning kings and fanciful settings to the political odes on fallen leaders and even the anthropological histories of what it meant to live in their time, these poets stretched their stylistic legs in many ways. One of the most interesting is their use of the short and rule-bound sonnet form that enjoyed a reemergence during their time. Though stylized throughout its existence, the sonnet most often falls into a specific form with guidelines and rule. What makes the Romantic interest in this form noteworthy is that like the other forms, they found new ways to use the sonnet as a means of poetic experimentation and creative expression. Exploring the various internal and external variations, those changes that took place within the lines and phrases of the sonnet and those that form the organizing and rhyming portions of the poem, this study seeks to establish the ways the Romantics took the uniform techniques of the sonnet and stretched its bounds to find new means of creativity. Close reading of the poems of William Wordsworth, John Keats, and Percy Bysshe Shelley reveals the variant use of caesura, creative dissonance, as well as original organization and rhyme scheme to accomplish purely Romantic goals within the uniformity of the sonnet form.
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Plaisance, Patrick Lee. "John Donne's Thwarted Redemption of Poetry in "A Valediction: of the Booke"." W&M ScholarWorks, 1996. https://scholarworks.wm.edu/etd/1539626057.
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Tocheva, Polya. "The Language of Man and the Language of God in George Herbert's Religious Poetry." Fogler Library, University of Maine, 2003. http://www.library.umaine.edu/theses/pdf/TochevaP2003.pdf.
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Hay-Whitton, Alexander Mark. "Pope's portraiture : a critical examination of portraiture in the poetry of Alexander Pope." Master's thesis, University of Cape Town, 1986. http://hdl.handle.net/11427/21879.
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Bibliography: pages 202-210.This work examines and critically evaluates what the author considers to be the chief concerns of Pope's verse portraits, and particularly attempts to trace the manifestations of these concerns in the formal, rather than argumentative or polemic, qualities of Pope's writing. The works selected have accordingly been primarily those in which the density of poetic description of character was sufficient to indicate implicit qualities of psychological interest, sometimes at remarkable variance with more express argument of contemporary theories. Starting from an initial agreement with Dr Johnson concerning Pope's shortcomings as a philosopher, the author chooses works for detailed study on the basis of the various ways they present human types and characters: through a semi-dramatic narrative presentation, through brief life-histories, through descriptive character-sketches, or through implication of character by environment. The author bases much of his work on the idea of a dual interest in Pope's verse, which is partly satiric and aimed at moral.or social correction, partly humorous and aimed at examination or elucidation of human nature. The Dunciad and An Essay on Man are examples of the two interests as opposite extremes; but in most of Pope's work, the author maintains, the functions are complementary.
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Creedon-Carey, Una A. "“The Whole Vexed Question”: Seamus Heaney, Old English and Language Troubles." Oberlin College Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1432295982.
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Birkett, Thomas Eric. "Ráð Rétt Rúnar : reading the runes in Old English and Old Norse poetry." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:e7ea1359-fedc-43a5-848b-7842a943ce96.
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Responding to the common plea in medieval inscriptions to ráð rétt rúnar, to ‘interpret the runes correctly’, this thesis provides a series of contextual readings of the runic topos in Anglo-Saxon and Old Norse poetry. The first chapter looks at the use of runes in the Old English riddles, examining the connections between material riddles and certain strategies used in the Exeter Book, and suggesting that runes were associated with a self-referential and engaged form of reading. Chapter 2 seeks a rationale for the use of runic abbreviations in Old English manuscripts, and proposes a poetic association with unlocking and revealing, as represented in Bede’s story of Imma. Chapter 3 considers the use of runes for their ornamental value, using 'Solomon and Saturn I' and the rune poems as examples of texts which foreground the visual and material dimension of writing, whilst Chapter 4 compares the depiction of runes in the heroic poems of the Poetic Edda with epigraphical evidence from the Migration Age, seeking to dispel the idea that they reflect historical practice. The final chapter looks at the construction of a mythology of writing in the Edda, exploring the ways in which myth reflects the social impacts of literacy. Taken together these approaches highlight the importance of reading the runes in poetry as literary constructs, the script often functioning as a form of metawriting, used to explore the parameters of literacy, and to draw attention to the process of writing itself.
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Pullen, Christine. "Amy Levy : her life, her poetry and the era of the new woman." Thesis, Kingston University, 2000. http://eprints.kingston.ac.uk/20661/.
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This study explores the links between the life and the poetry of the late-Victorian feminist and writer Amy Levy. Despite a resurgence of interest in Levy's writing, until the present time there has been a paucity of scholarly research into her biography. Levy's life coincided with the period when the movement for female emancipation was gaining momentum, and her adult years witnessed the emergence of the late-Victorian cultural icon known as the New Woman. Previous studies have primarily focused upon the New Woman as she was represented in late nineteenth-century discourse. My study aims to redress this balance by demonstrating that the fictional New Woman of the 1890s had many real-life precursors and counterparts - of whom Levy was one. The primary objective of the thesis is to challenge received opinion about Levy's life and poetry. The previous dearth of information about her personal history has led to the construction of the image of an isolated individual pursuing an exclusively personal agenda. In reality, she was an active member of a circle of pioneering intellectuals and political activists who were at the cutting edge of 'modern' thought. Contemporary studies have identified Levy as a lesbian, and this view of her sexuality has had a profound influence upon recent critical analysis of her verse. My study argues that this judgement about her sexual orientation is fundamentally flawed, and that her approach to personal relationships was determined by social exclusion rather than sexual difference. An aspect of Levy's poetry that has generally been overlooked is its engagement with eugenic discourse. The core element of my biography is an extended analysis of Levy's relationship with Karl Pearson, the eugenic theorist and mathematician. As far as I am aware, this aspect of her life has not been recognised in any other study. My thesis argues that Levy's relationship with Pearson not only locates her at the centre of the ongoing late nineteenth-century dialectic on sex and the woman question, but also offers a radical new insight into her writing. As this synopsis suggests, my thesis invites a reappraisal of Levy as a woman and as a poet. At a time when increasing attention is being focused upon the newly recovered canon of Victorian women's poetry, I argue that the hitter personal struggle for survival which created the tension between hope and despair in Levy's verse, contributes to a deeper understanding of the real life history behind the cultural construct known as the New Women at the fin de siecle.
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Ishee, Jeanette Carol. "An Insight into the Poetry of A C Swinburne: Art and the Image of the Poisonous Flower." W&M ScholarWorks, 1988. https://scholarworks.wm.edu/etd/1539625452.
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Seffers, Tracy Prior. ""A Bowery Nook Will be Elysium": The Image of the Bower in the Poetry of John Keats." W&M ScholarWorks, 1993. https://scholarworks.wm.edu/etd/1539625827.
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Haraldsson, Kim. "The Poetic Classroom : Teaching Poetry in English Language Courses in Swedish Upper Secondary Schools." Thesis, Högskolan i Halmstad, Sektionen för lärarutbildning (LUT), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-15732.
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This study aims at shedding some light on teachers’ attitudes and views on poetry as a part of English language studies. More specifically, it intends to explore whether there is support for the generally preconceived idea that poetry’s role in today’s language studies has diminished. This essay presents previous research regarding the development of poetry teaching in classrooms and the importance of reading poetry. Thereafter it includes a smaller qualitative survey, which was sent out to teachers in Swedish upper secondary schools, on their views concerning poetry and its incorporation in their courses, as well as reasons behind their choices. Although the study did not receive enough answers to warrant general conclusions on how teachers in Halland view poetry, the results do show tendencies toward a view of poetry as being strenuous to work with due to students’ resistance and negative attitudes. Moreover, that poetry is one area of English language studies that the majority of teachers view as less important. Furthermore, the results reveal that a teacher’s personal interest in poetry, or lack of interest, affects the amount of time and focus placed on poetry in the classrooms.
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Lamson, Morgen. "Boethian Colorings in Geoffrey Chaucer's Earlier Poetry: The Book of the Duchess, The Parliament of Fowls and The House of Fame." TopSCHOLAR®, 2007. http://digitalcommons.wku.edu/theses/431.
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There has been much written on Boethius and his impact on Chaucer's greater known works, such as The Canterbury Tales and Troilus and Criseyde, yet there has not been much light shone on his other works, namely The Book of the Duchess, The Parliament of Fowls, and The House of Fame, which are a rich mix of medieval conventions and Boethian elements and themes. Such ideas have been explored through the lenses of his five, shorter "Boethian lyrics" - "The Former Age," "Fortune," "Truth," "Gentilesse," and "Lak of Stedfastnesse" - particularly because it is within these five poems that the metafictional narrative approach or framing of Chaucer's Boethiusinfluenced work, through narration and possible consolations, are fleshed out and brought into focus. However, the "Boethian lyrics" are not necessary in the study of the three earlier poems The Book of the Duchess, The Parliament of Fowls, and The House of Fame. Using the convention of the frame tale with the dream vision in these three poems allows for the narrator to be brought to an understanding in each of these texts, strongly suggesting that this approach is something that Chaucer came across in Boethius's The Consolation of Philosophy. To merely go through and catalogue all Boethian elements as lifted directly from Consolation would accomplish nothing but a catalog of similarities. In that same vein, to analyze the "Boethian poems" would also be treading over familiar scholarly ground. In examining an intermediary group of texts as a bridge between Boethius's classical philosophy and Chaucer's courtly poetry, particularly The Book of the Duchess, The Parliament of Fowls and The House of Fame, this more concretely shows the extent of Boethius's coloring injected into Chaucer's writings from early in his writing career. Through close readings and secondary outside research, I am confident that another chapter of Chaucerian scholarship, one that has rarely been explored, much less written, can be added.
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Lindberg, Jessica E. "Confluence." restricted, 2007. http://etd.gsu.edu/theses/available/etd-04192007-132555/.
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Thesis (M.F.A.)--Georgia State University, 2007.Title from file title page. Leon Stokesbury, committee chair; Wayne Erickson, Beth Gylys, committee members. Electronic text (57 p.) : digital, PDF file. Description based on contents viewed Dec. 21, 2007.
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Zonglin, Chang. "Schemata, metaphor and literary readings : a case study of Chinese EFL learners reading poems." Thesis, University of Nottingham, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391430.
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Schmittauer, Janet Elaine. "Words into bytes : an analysis of the initial-drafting behaviors of freshmen-composition students in a curriculum focusing on contemporary American poetry." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1287431183.
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Peddie, Mary Elizabeth. "A study of consolation poetry of the fourteenth century, with particular reference to The book of the Duchess, Pearl, The parlement of the thre ages and sundry minor poems on death." Master's thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/22217.
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Bibliography: pages 171-178.Fourteenth-century man saw around him constantly the immediate prospect of death. Not only the high mortality rate and the universally public death-bed scene which had always been present, but pestilence and war emphasized the proximity of the dread messenger. Around him he saw sculpture and painting, in churches chiefly but not confined to them, depicting the horrors of death and judgement and he was accustomed to hearing sermons and verse which dwelt on the subject in lurid detail. Death to fourteenth-century man was not so much fear of the unknown since the whole process was, up to a point, readily observable and thereafter authoritatively mapped out by the church. Although the departed soul may be destined for the joys of the Beatific Vision, nevertheless those left behind experience loss, uncertainty of the loved one's fate, the often traumatic physical sight of the death-bed and the unwelcome reminder that this is the fate that overtakes everyone. However joyous may be the wished-for reunion with God, one cannot help viewing reality. The cherished body becomes loathsome. In the face of this terror, some form of consolation is required, leading to resignation to the inevitable. The way fourteenth-century man looked at death is well illustrated in the enormous body of literature on the subject. From this plenty has been selected Chaucer's Book of the Duchess, a gentle work which keeps Death at a distance; Pearl, an anonymous work depicting the handling of grief at the loss of a child; The Parlement of the Thre Ages which deals harshly with its audience in order to teach its lesson and contains most of the themes which recur in the final chapter, where a small selection of didactic and homiletic poems is considered. All the writers are English but attitudes in Western Christendom show, at a cursory glance, the similarities one might expect from cultural and religious homogeneity. The selection was made to demonstrate both this unity of outlook and the various treatments of the theme of death. The conclusion is a summary of the evidence from Chapters I to IV for the fourteenth-century attitude to death and a brief comparison with a modern work on the subject.
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Messem, Catherine. "'Angers, fantasies and ghostly fears' : nineteenth century women from Wales and English-language poetry." Thesis, Aberystwyth University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364769.
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O'Malley, Elizabeth. "“They All Write About Some Woman in Their Poetry”: The Heroines of Ulysses and As I Lay Dying." ScholarWorks@UNO, 2017. https://scholarworks.uno.edu/honors_theses/98.
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Lynch, Elizabeth. "“Beauty Joined to Energy”: Gravity and Graceful Movement in Richard Wilbur’s Poetry." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2094.
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Throughout his work, Wilbur maintains a thematic and aesthetic fascination with kinetic energy, especially insofar as this graceful movement often seems to defy the world’s gravity. Wilbur’s energetic verse and imagery invites readers to delve into the philosophical and spiritual meditations of his poems, as well as to notice the physical world anew. The kinetic aspects of Wilbur’s subject matter, wordplay, wit, and figurative language elucidate the frequent tempering of gravity with levity within his work. Many critics have studied Wilbur’s philosophy, Christianity, metaphors, wordplay, and approach to language as found in his poetry, but this essay attempts to use a framework of kinetic energy potential energy, gravity, and weight to understand these various aspects of his work.
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Brown, Margaret. "Museum-Making in Women's Poetry: How Sylvia Plath and Emily Dickinson Confront the Time of History." TopSCHOLAR®, 2007. http://digitalcommons.wku.edu/theses/965.
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In The Newly Born Woman, Helene Cixous and Catherine Clement note that Michelet and Freud "both thought that the repressed past survives in woman; woman, more than anyone else, is dedicated to reminiscence" (5). Whether or not this is true of woman, that expectation of her—as keeper of the past—has perhaps subsisted in the deepest realms of the collective unconscious. From the work of Cixous and Clement, Julia Kristeva and Angela Leighton, I ultimately deduce that there are two perceptions of time: man's time has been associated with the straight, the linear, the historical, and the prosaic; woman's time has been associated with the circular, the cyclical, the monumental, and the poetic. Each time has its obstacles to overcome: man's time is stubbornly rooted in patriarchal language; woman's time is dizzyingly enigmatic. The struggles between these two times manifest themselves in the poetry of perhaps the two most canonical American women poets, Sylvia Plath and Emily Dickinson. In the corpus of each, I find a common mode of operation that attempts to reconcile man's and woman's time, to varying degrees of success. Emily Dickinson uses the language of linear history to stretch its boundaries; she experiments with the nature of time and memory as related to trauma, beginning to question and reform historical memory (men's and women's) and our experience of it in poems such as #1458, "Time's wily Chargers will not wait"; #563, "I could not prove the Years had feet"; #33, "If recollecting were forgetting"; and #312, "Her - 'last Poems'—." Sylvia Plath, on the other hand, is not as certain that the two can be so easily reconciled. Determined to establish her place in literary history and lay claim to posterity, but terrified that doing so will take away her present voice, Plath often represents woman—sometimes literally, as in "All the Dead Dears," and sometimes metaphorically, as in "The Courage of Shutting- Up"—as a potential museum, a live body always in danger of drying out and immobilizing, being admired as she is, frozen in the present moment, but denied future evolution. Through close readings of the poets' afore-mentioned works and others, in conjunction with the frequent application of critical/theoretical scholarship in feminist, psychoanalytic, deconstructionist, and postcolonial veins, I will explore the attempted reconciliation of man's and woman's time in four chapters: "The Thrust of Manliness" concerns the limitations of linear time, including entropy, atrophy, and the charge of feminine reminiscence; "Morning Glory: Cycles and Resurrection" outlines the advantages of a circular perspective, including possibilities for change and resurrection; "Secretaries of Aporia: Recording without Meaning" explores the limitations of cyclical time as encased in linear time, particularly in the literary charge to detail without explaining; and "The Time of Trauma" underlines the historical and political implications of both the burden of reminiscence without return and the study of women's poetry in linear time.
32
Gary, Barry. "Desire: An Essential Element in Wallace Stevens' Poetry." TopSCHOLAR®, 1988. https://digitalcommons.wku.edu/theses/2387.
Full textAbstract:
Man naturally pursues that which brings pleasure, and Wallace Stevens recognizes this inescapable desire, exploring it fully in his poetry, prose, and letters and depending upon it to build the foundation for many, if not most, of his major themes. For Stevens, one's world evolves through the use of poetry, and this world, complete with jubilations of fulfilled desire and frequent despair as illusions of fulfillment are destroyed, chronicles the life of every man. As a result, different kinds of desire and different attempts at satisfying these desires emerge as one reads Stevens--three of which will be advanced in this study.
The first, the desire for an ideal truth, takes an intellectual approach, searching for a clue to reality, for a "first idea." This ideal, though, in order to prove satisfactory to the intellect, needs to reconcile the apparent "war between the mind and sky." How do the realm of the imagination and the realm of reality work together? For Stevens, the attempt at an intersection often occurs in the realm of poetry, a world which provides a means of ordering the chaos of reality.
Stevens' investigation of human desire in this world is not limited to the intellect, however. At times the sensuous world itself provides the most appropriate objects for our desire. The wonders of our world, the mere experience of living, may provide needed stability in an otherwise precarious existence. Just as the jar placed in Tennessee gives order to the surrounding landscape, a life of observation and experience, established through the beautiful objects which are the focus of the lover's desire, attempts to provide an order.
The third, and perhaps the most interesting desire, occurs in the mind of the believer. Stevens recognizes the basic need for a deity; however, he also recognizes the origin of belief to be the collective creation of the myth-making force of a people, implying the ability to create new beliefs as unsatisfactory gods fade from importance. Stevens takes part in this recreation of myth through the emergence in his poetry of supreme fictions, possibilities he provides as examples of adequate beliefs.
This study, then, focuses on desire as a major thematic element in Wallace Stevens' poetry and emphasizes the role of desire in man's search for a harmonous existence with this world. In three major chapters the desire to reach an ideal truth through the blending of reality and Imagination, the desire to find pleasure in a world of objects, and the believer's creation and "decreation" of major fictions will be examined as key aspects of the essential element of desire in Wallace Stevens' poetry.
33
Buckalew, Faye Roberta. ""Thro' Sleep as Thro' a Veil": Losing the Self to Find the Self in the Poetry of Christina Rossetti." W&M ScholarWorks, 1993. https://scholarworks.wm.edu/etd/1539625824.
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Brumage, Adrienne Elizabeth. "Philip Larkin : a critical study of the poetry in relation to relevant conventions and traditions of twentieth-century writing." Master's thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/21970.
Full textAbstract:
Bibliography: pages 159-163.My approach in this thesis has been thematic rather than chronological: I attempt to treat Larkin's poetry in detail and as representatively as possible, but the discussion takes place in relation to dominant figures and movements in the poetic practice of the twentieth century. I have chosen to concentrate on Larkin's mature poetry, for the break with the method of The North Ship is so unusually distinct that the inclusion of this earlier volume would, for my purposes, be distracting rather than informative. Within the three later volumes I do see some signs of development though no major shift of emphasis.
35
Carden, Stephen. "An Exploration of Sound & Sense in Poetry." TopSCHOLAR®, 1991. http://digitalcommons.wku.edu/theses/1378.
Full textAbstract:
Various theorists have treated the problem of sound and sense in poetry. The influence of sound in poetry can be found both in the overall musical structure of a poem and in the internal sounds of rhythm and diction. Plato suggests that rhythm and harmony have a direct effect on man, and can establish either balance or disproportion within the soul. The debate whether sound determines sense or sense determines sound is rejected in favor of a third possibility: an interdependent relationship between sound and sense, an intrinsic formal structure, as the ideal governing the creation of poetry. Further, Aristotle proves to be quite close to Plato in suggesting a moral character to certain sounds. Poe, in emphasizing the distinction between poetry and prose, points to sound as the distinguishing characteristic of verse. Yeats stresses the rhythm of poetry in linking man with an ancient past. Eliot uses care in describing the function of music in poetry, but reaffirms its significance as interdependent with the meaning of the words. Stevens explores the relationship of music and poetry, and offers a rich theory that poetry is the embodiment in sound of a bridge between spirit and reality. The influence of free verse on Eliot and Stevens appears in their conversational tone, yet the sound of their poetry determines its value to a significant extent. This tracking of the ideas about sound and sense from Plato and Aristotle to Poe, Yeats, Eliot, and Stevens helps to clarify the nature and range of the problem.
36
Kramer, Emily Marie. "Wandering: Dreams, Memory, and Language in Poetry." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1525179650285217.
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Jan, Rabea. "Re-creating literature : translation in the English-language poetic tradition, with reference to Pope's Iliad and Pound's Cathay." Thesis, University of Exeter, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296232.
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Reder, John P. "Seeing tongue, tasting eye words as food in American verse /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1851880381&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Goering, Nelson. "The linguistic elements of Old Germanic metre : phonology, metrical theory, and the development of alliterative verse." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:d49ea9d5-da3f-4796-8af8-a08a1716d191.
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I examine those linguistic features of Old English and Old Norse which serve as the basic elements for the metrical systems of those languages. I begin with a critical survey of recent work on Old English metrical theory in chapter 1, which suggests that the four-position and word-foot theories of metre are the most viable current frameworks. A further conclusion of this chapter is that stress is not, as is often claimed, a core element of the metre. In chapter 2, I reassess the phonological-metrical phenomenon of Kaluza's law, which I find to be much more regular and widely applicable within Bēowulf than has previously been recognized. I further argue that the law provides evidence that Old English phonological foot structure is based on a preference for precise bimoraism. In chapter 3, I examine the role of syllables in the Norse Eddic metre fornyrðislag, which supports a view of resolution and phonological feet similar to that found in Old English, though Norse prosody is much more tolerant of degenerate, light feet. I reconsider the other major Eddic metre, ljóðaháttr, in chapter 4, integrating the insights of Andreas Heusler and Geoffrey Russom to propose a new system of scansion for this notoriously recalcitrant verse form. This scansion provides important support for the word-foot theory, and suggests that linguistic elements larger than syllables or phonological feet play a crucial role in early Germanic verse. In the final chapter, I give a diachronic account of Germanic metre and relevant linguistic structures, arguing that the word-foot theory provides the best metrical framework for understanding the development of Germanic alliterative verse. This metrical system is linguistically supported by Germanic word structures and compounding rules, and interacts with bimoraic phonological feet, all of which have a long history in Proto- and pre-Germanic.
40
Ingram, Catherine. "Word and Song: The Paradox of Romanticism." TopSCHOLAR®, 1996. http://digitalcommons.wku.edu/theses/805.
Full textAbstract:
Among the various outcomes of the Romantic period, an interest in the relationship of the arts remains a widely recognized yet rarely examined field of study. Music and literature seemed to develop a particular kinship, yet to identify the exact relationship is as difficult as defining Romanticism itself. In this study, I attempt to do both. In exploring the concept of Romanticism, its paradoxical development from Classicism is examined through the comparison of six great composers and poets of the period. By tracing the similarities and differences in style of Beethoven/Wordsworth, Schumann/Keats, and Brahms/Tennyson, hopefully a clearer understanding of the evolution of Romanticism is achieved. These artists, although creating through different mediums, address the apparent rejection of Neoclassicism, the apex of Romanticism, and the realization of its limitations. The result is the revelation of the paradox of Romanticism. For each artist, the realization of the Romantic spirit presents contrasts. Ultimately, the rejection of Neoclassic thought becomes as important to Romanticism as its dependence on Neoclassic form. These six artists achieved success not only because of their talents but also because of their acknowledgement of this fact. In this study, I trace their development through the rise and fall of Romanticism as more than instances of shared techniques or borrowed texts; the similarities in thought, poetic vision, and style shared by these artists are explored as well. The paradox of Romanticism is revealed through the interrelationship of poetry and music.
41
Buckner, Elisabeth. "Superior Instants: Religious Concerns in the Poetry of Emily Dickinson." TopSCHOLAR®, 1985. https://digitalcommons.wku.edu/theses/2195.
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When I decided to write a thesis on Emily Dickinson's poetry, my intention was to show that she did, indeed, implement a concrete philosophy into her poetry. However, after several months of research, I realized that this poet's philosophy was ongoing and sometimes inconsistent. Emily Dickinson never discovered the answers to all of her religious and spiritual questions although she devoted her entire life to that pursuit. What Dickinson did discover was that orthodox religion had no place in her heart or mind and she must make her own choices where God was concerned. Immortality was an intense fascination to Emily, and many of her poems are related to that subject. In fact, the majority of Dickinson's poems deal, in some way, with spirituality. Emily Dickinson is a poet who deserves to be studied on the basis of her philosophical pursuits as well as her style. Dickinson scholarship has improved in the past several decades; however, Emily Dickinson has yet to receive the attention she deserves as a philosopher and thinker.
42
Hall, Jessica. "Escapism, Oblivion, and Process in the Poetry of Charlotte Smith and John Keats." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/62.
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A thematic comparison of the work of British Romantic poets Charlotte Smith and John Keats, examining their meditations on the use of poetry and the poet's role, shared ambivalence toward the visionary imagination and escapism, and similar approaches to seasonal process and progression.
43
Kroska, Aaron. "In Some Asbestos World." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2131.
Full textAbstract:
This thesis consists of a collection of poems which explore the relationship between the imagination and that mysterious thing we call reality. They engage with the Emmanuel Kant's notion of the dichotomy between subject and object; thus, one of the central concerns of the project is whether the object can ever be understood by a subject, whose mind imposes its categories and other forms of mediation upon whatever it perceives. The poems also engage with Wallace Stevens' notion of a "Supreme Fiction," as the only means left to us, however imperfect it may be, with which we might approach the "original idea" that all other perceptions of reality only approximate. In the absence of the certainty of an interrogated reality, negative space, that which cannot be perceived by the senses, is explored, proposed, gestured toward. That genius behind the infinity of the world.
44
Taskesen, Bengu. "Sense Through Nonsense Reading Difficult Poetry." Master's thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/12605178/index.pdf.
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This thesis analyses the difficulties in reading modern poetry that arise out of not the references but the unconventional use of language, and presents them in a theoretical framework based on Julia Kristeva&rsquos semanalytic theory and Melanie Parsons&rsquo
s application of it to a comparison of Nonsense literature and twentieth century poetry. Then aspects of the works of G. M. Hopkins, Dylan Thomas and Edith Sitwell are discussed and poems by these poets are analysed within this framework.
45
Gaffield, Nancy Johanna. "Seeing through language : the poetry and poetics of Susan Howe, Lyn Hejinian and Rosmarie Waldrop." Thesis, University of Kent, 2014. https://kar.kent.ac.uk/47603/.
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Despite the vast amount of critical writing on the Language movement, little attention has been paid to the specific linguistic and cognitive processes involved both in the creation and comprehension of this innovative work. Motivated by the assumption that an experience with literature is an experience with language, this study investigates the poetry and poetics of three writers closely associated with Language writing and their works in the 1980s: Susan Howe and The Europe of Trusts and Articulations of Sound Forms in Time; Lyn Hejinian and My Life; and Rosmarie Waldrop and The Reproduction of Profiles. The approach taken in this dissertation is to investigate innovative writing with reference to linguistic and cognitive features through the perspective known as cognitive poetics which emphasizes the primacy of the reader in the experience of literary reading. The thesis offers insights into both the psychological and linguistic aspects of literary reading, shifting the focus from interpretation--whether that of the author or that of the critic--to the basis of these aspects in textuality. Textuality concerns both the material text as object, but also the connections the reader makes between stylistic features and felt experience. This dissertation thus addresses literary writing as discourse--as a social act of communication, incorporating other voices, viewpoints, times and cultures. It is suggested here that the complex interplay between word and grammar, world and ideology evident in these texts is connected to Language writing and contemporary verse culture more generally, and that cognitive poetics offers an explicit way to account for the effects of the syntactic experimentation and ideologies of this writing. Especially relevant to this study has been the tendency to site language in landscape to create what I call a poetics of languescape. The collection of poetry, Continental Drift, that completes this study emerges from these correspondences.
46
Yeoman, Jane A. "Critical account of English-language poetry translation in 20th century France : the case of Emily Dickinson." Thesis, University of Edinburgh, 2003. http://hdl.handle.net/1842/23274.
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Pieterse, Annel. "Language limits : the dissolution of the lyric subject in experimental print and performance poetry." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71855.
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Thesis (PhD)--Stellenbosch University, 2012.ENGLISH ABSTRACT: In this thesis, I undertake an extensive overview of a range of language activities that foreground the materiality of language, and that require an active reader oriented towards the text as a producer, rather than a consumer, of meaning. To this end, performance, as a function of both orality and print texts, forms an important focus for my argument. I am particularly interested in the effect that the disruption of language has on the position of the subject in language, especially in terms of the dialogic exchange between local and global subject positions. Poetry is a language activity that requires a particular attention to form and meaning, and that is licensed to activate and exploit the materiality of language. For this reason, I have focused on the work of a selection of North American poets, the Language poets. These poets are primarily concerned with the performative possibilities of language as it appears in print media. I juxtapose these language activities with those of a selection of contemporary South African poets whose work is marked by the influence of oral forms, and reveals telling interplays between media. All these poets are preoccupied with the ways in which the sign might be disrupted. In my discussion of the work of the Language poets, I consider how examples of their print poetics present the reader with language fragments, arranged according to non-syntactic principles. Confronted by the lack of an individuated lyric subject around whom these fragments might cohere, the reader is obliged to make his/her own connections between words, sounds and phrases. Similarly, in the work of the performance poets, I identify several aspects in the poetry that trouble a transparent transmission of expression, and instead require the poetry to be read as an interrogation of the constitution of the subject. Here, the ―I‖ fleetingly occupies multiple, shifting subject positions, and the poetic interplay between media and language tends towards a continuous destabilising of the poetic self. Poets and performers are, to some extent, licensed to experiment with language in ways that render it opaque. Because the language activities of poets and performers are generally accommodated within the order of symbolic or metaphoric language, their experimentation with non-communicative excesses can be understood as part of their framework. However, in situations where ―communicative‖ language is expected, the order of literal or forensic language cannot accommodate seemingly non-communicative excesses that appear to render the text opaque. Ultimately, I am concerned with exploring the manner in which attention to the materiality of language might open up alternative understandings of language, subjectivity and representation in South African public discourse. My conclusion therefore considers the consequences when the issues opened up by the poetry – questions of self and subject, authority and representation – are translated into forensic frameworks and testimonial discourse.
AFRIKAANSE OPSOMMING: My proefskrif bied ‘n breedvoerige oorsig van ‘n reeks taal-aktiwiteite wat die materialiteit van taal sigbaar maak. Hierdie taal-aktiwiteite skep tekste wat die leser/kyker noop om as vervaardiger, eerder as verbruiker, van betekenis in ‘n aktiewe verhouding met die teks te tree. Die performatiewe funksie van beide gesproke sowel as gedrukte taal vorm dus die hooffokus van my argument. Ek stel veral belang in die effek wat onderbrekings en versteurings in taal op die subjek van taal uitoefen, en hoe hierdie prosesse die die dialogiese verhouding tussen lokale en globale subjek-posisies beïnvloed. Poëtiese taal-aktiwiteite word gekenmerk deur ‘n fokus op vorm en die verhouding tussen vorm en inhoud. Terwyl die meeste taalpraktyke taaldeursigtigheid vereis ter wille van direkte kommunikasie, het poëtiese taal tot ‘n mate die vryheid om die materaliteit van taal te gebruik en te ontgin. Om hierdie rede fokus ek selektief op die werk van ‘n groep Noord-Amerikaanse digters, die sogenaamde ―Language poets‖. Hierdie digters is hoofsaaklik met die performatiewe moontlikhede van gedrukte taal bemoeid. Voorts word hierdie taal-aktiwiteite met ‘n seleksie kontemporêre Suid-Afrikaanse digters se werk vergelyk, wat gekenmerk word deur die invloed van gesproke taalvorms wat met ‘n verskeidenhed media in wisselwerking gestel word. Al hierdie digters is geïnteresseerd in die maniere waarop die inherente onstabiliteit van linguistiese aanduiers ontgin kan word. In my bespreking van die werk van die Language poets ondersoek ek voorbeelde van hul gedrukte digkuns wat die leser voor taalfragmente te staan bring wat nie volgens die gewone reëls van sintaks georganiseer is nie. Die gebrek aan ‘n geïndividualiseerde liriese subjek, waarom hierdie fragmente ‘n samehangendheid sou kon kry, noop die leser om haar eie verbindings tussen woorde, klanke en frases te maak. Op ‘n soortgelyke wyse identifiseer ek verskeie aspekte wat die deursigtige versending van taaluitinge in die werk van sekere Suid-Afrikanse performance poets belemmer. Hierdie gedigte kan eerder gelees word as ‘n interrogasie van die proses waardeur die samestelling van die subjek in taal geskied. In hierdie gedigte bewoon die ―ek‖ vlietend ‘n verskeidenheid verskuiwende subjek-posisies. Die wisselwerking van verskillende media dra ook by tot die vermenigvuldiging van subjek-posisies, en loop uit op ‘n performatiewe uitbeelding van die destabilisering van die digterlike ―self.‖ Digters en performers is tot ‘n mate vry om met die vertroebelingsmoontlikhede van taal te eksperimenteer. Omdat die taal-aktiwiteite van digters en performers gewoonlik binne die orde van simboliese of metaforiese taal val, kan hul eksperimentering met die nie-kommunikatiewe oormaat van taal binne hierdie raamwerk verstaan word. Hierdie oormaat kan egter nie binne die orde van letterlike of forensiese taal geakkommodeer word nie. Ten slotte voer ek aan dat ‘n fokus op die materialiteit van taal alternatiewe verstaansraamwerke moontlik maak, waardeur ons begrip van die verhouding tussen taal, subjektiwiteit en representasie in die Suid-Afrikaanse publieke diskoers verbreed kan word. In my slothoofstuk oorweeg ek wat gebeur as die kwessies wat deur die bogenoemde performatiewe taal-aktiwiteite opgeroep word – vrae rondom die self en die subjek, outoriteit en representasie – binne ‘n forensiese raamwerk na die diskoers van getuienis oorgedra word
48
Weiner, Sophie. "THE DUMB WEIGHT." UKnowledge, 2018. https://uknowledge.uky.edu/english_etds/67.
Full textAbstract:
“Poetry makes nothing happen,” W.H. Auden famously articulates in “In Memory of W.B. Yeats, “it survives / A way of happening, a mouth.” The Dumb Weight is a collection of poems that explores this tension, always trying to locate the body, how it speaks, its language. The poems take as their subject the act of making as a performance of knowingness, an assumed familiarity as that of an intimate listener, and attempts to navigate the space between utterance and its subject, it’s author and speaker, speaker and what is spoken, between poem and you—for if what John Ashbery writes in “Paradoxes and Oxymorons,” is true, “the poem is you.”
49
Clarke, Linda Colleen. "A critical analysis of the examining of poetry in the English First Language Higher Grade course at senior secondary level in Cape Education Department schools." Thesis, Rhodes University, 1993. http://hdl.handle.net/10962/d1003354.
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The study of poetry has become entrenched in most secondary school English syllabuses, including the English First Language Higher Grade syllabus of the Cape Education Department. This acceptance of poetry as a part of the formal academic programme has, however, been accompanied by a demand that could be considered contrary to the spirit of poetry: that an examination should conclude the study. The problem is exacerbated if this examination is set and controlled by an external body, since the nature and objectives of a standardised, mass examination frequently conflict sharply with the aims of studying poetry. The implications of such control over the examining of poetry go beyond this, however. These include the defining and narrowing of the course of study by means of lists of prescribed poems selected by a committee often far removed from the world of the candidates and the significant combined effect of these lists and the style of questioning adopted by the external examiners on methods of teaching. Furthermore, the influence of the external examination is not restricted to the final year of study; the approach to poetry during the entire senior secondary course (of three years) tends to conform to the pattern laid down by the final examination paper. This domination of the external examination over the study of poetry is acknowledged but not condoned. There is undoubtedly a need for further research into alternative ways of assessing a poetry course. In the face of reality, however, this study seeks to identify and analyse the many features of external control that influence the study of poetry; and to consider ways in which examinations in poetry can be devised, approached and used to the best effect in order to fulfil the aims of studying poetry. The most important of these aims are held to be the pleasure and enjoyment of personal engagement with a poem, where there is a meeting of minds, a generation and deepening of emotion and feeling, extension of awareness and stimulation of imagination.
50
Wurth-Grise, Rosemarie. "Voices I Have Heard." TopSCHOLAR®, 2007. http://digitalcommons.wku.edu/theses/389.
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The poems in this thesis are an exploration of how two worlds can exist at once. The first world is the physical world as we perceive it through our senses and experience it through living. It is a cyclical world that begins with childhood, and moves toward adulthood, parenthood and death. In this world we go about the act of living. Yet it is in the second world, a more metaphysical one, that we are most alive. We often gain our knowledge of this world through observing and experiencing the natural world. It is a place in which we discover our true selves. This world exists like the mythical ethers; its boundaries are unmarked and the journey takes us into places of light and dark, of sound and silence. It is the coexistence of these two worlds that I attempt to explore in my writing. To access this metaphysical world requires a certain sense of surrender. This can be difficult since it seems to be our species' natural tendency to try to tame or control our environment. Therefore, we must not assume the attitude of a conqueror of nature. We must assume instead the role as a student of nature. That means being truly attentive, finding stillness and quiet, and being willing to listen to the world around us. Secrets can be told in bird song or in the shadows of oaks. My love for nature and writing began at an early age. As a teen I fell in love with poetry. I discovered the poetry of the Victorians, Pre-Raphaelites and Romantics in old anthologies stored away in my grandparent's attic. In these dusty bound volumes with their frayed covers, I discovered the lyrical language of Browning, Tennyson, and Keats. Delving into them instilled in me the appreciation for the beauty of words playing upon each other. In later years, teachers and mentors, like Peggy and Frank Steele, introduced me to the poetry of William Stafford, Ted Kooser, and William Carlos Williams. I was drawn to the straightforward economical use of language by Stafford. His style explored the inner and outer world in language accessible to the average reader. Kooser also used accessible language to describe the human condition. His portraits and narratives instilled validity to my own sense of narrative found in many of my poems. Finally, my poet husband, Dorsey Grice, introduced me to the poetry of Mary Oliver. Her incredible attunement to and observations of nature left me humbled. Somewhere between those early discoveries of the traditional poetic canon and my studies of the modern/contemporary poets I have found my own voice emerge. The blending of the periods has created in me the tendency to write with an economy of language, combined with what I hope are lyrical, melodic lines that are imbued with a subtle sense of rhythm. In writing this creative thesis I have divided the poems into two sections. In general they explore how we relate within physical, social and spiritual contexts. The first section is entitled "A Woman You Might Know" and deals more with the human experience of raising children, finding and losing love, grieving for the ill and dying, and searching for wholeness. The second section is called "The Sound of Trees" and deals with observations within the natural world. It includes poems dealing with the changing of the seasons, farm life, observing wildlife, and the spiritual world. Although each is divided according to a general topic, they both hopefully convey the presence of a dual world in which we live every day and are occasionally allowed a glimpse into. It's a place where the voices of our ancestors gather round us to share their stories and teach us something of value about ourselves.