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Dissertations / Theses on the topic 'English poetry Poets'
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Updegraff, Derek Kramer Johanna Ingrid. ""Fore ðære mærðe mod astige" two new perspectives on the Old English Gifts of men /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2008. http://hdl.handle.net/10355/5623.
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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on October 6, 2009). Thesis advisor: Dr. Johanna Kramer. Vita. Includes bibliographical references.
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Quint, Arlo. "Nine New Poets: An Anthology by Arlo Quint." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/QuintA2004.pdf.
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Polcrack, Doranne G. "Poets judging poets T.S. Eliot and the canonical poet-critics of the seventeenth, eighteenth and nineteenth centuries measure John Milton /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1995. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 1995.<br>Source: Masters Abstracts International, Volume: 45-06, page: 2823. Typescript. Abstract precedes thesis as preliminary leaves [1-2]. Includes bibliographical references (leaves 180-190).
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Holmgren, Michele J. "Native muses and national poetry, nineteenth-century Irish-Canadian poets." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq28493.pdf.
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Williams, Todd Owen. "Poetic Renewal and Reparation in the Classroom: Poetry Therapy, Psychoanalysis, and Pedagogy with Three Victorian Poets." [Kent, Ohio] : Kent State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1194103428.
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Thesis (Ph.D.)--Kent State University, 2007.<br>Title from author submission page (viewed Sept. 14, 2009 ) Advisor: Mark Bracher. Keywords: poetry therapy, psychoanalysis, Victorian poetry, pre-Raphaelite. Includes bibliographical references (p. )
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Emara, Mohamed Hamed Hafez. "Modernist Arabic poetry and the English modernists : a comparative linguistic study." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326926.
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McCaffery, Richard. "Poets as legislators : self, nation and possibility in World War Two Scottish poetry." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/7049/.
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This thesis is the first sustained critical and sociological reappraisal of the poetry produced by Scottish poets who came of age during World War Two and a selection of those who were old enough to have experienced the previous conflict whilst still responding in their art to World War Two. This thesis carves out a critical space for World War Two poetry beyond the poetry of pity and loss espoused by poets of World War One. It also takes into account the conditions and circumstances that mark out Scottish poetry of this conflict from English poetry of the same era, for programmatic, political, poetic and linguistic reasons as well as re-configuring the definition of World War Two poetry to encompass the experience of women poets. At the core of this thesis lies the idea that the Scottish poetry of World War Two was committed to something more than anti-fascism. These poets did not simply oppose a tyrannical, fascist force in their work, they were also developing ways in which their work and art could contribute to a better post-war Scottish society and in many ways espousing both internationalism and proto-transnationalism as well as anti-imperialism. All of these poets contributed in both practical and intellectual ways to post-war Scottish society. In this, this thesis takes its lead from Alice Templeton’s literary theory of a war poetry of ‘possibility’ that transcends both the trauma, witness and outrage of reactions to war. The cumulative effect of the work of these poets is a legislative and educational impact made on society, that poets could have a say in their work on how post-war society could be reconstructed in fairer and more equitable ways. This poetry is both modernist and romantic in the sense that it desires a change and sees life and potential that is being denied by imperial super-powers and structures while it invests the poet with an empowered voice. From the home-front to the front-line, diverse avenues of experience are treated as being of vital importance. The first chapter of this thesis explores the Elegies for the Dead in Cyrenaica and a number of folk songs by Hamish Henderson, to show his unique commitment to post-war Scotland in his folk-song work. Chapter two compares and contrasts the work of Alexander and Tom Scott, showing their range of reaction from the epic to the highly personal elegy. The thesis then moves into an analysis both of George Campbell Hay’s war poetry, which sympathised with the native Arab populations during the desert war, and the work of Sorley MacLean, who found his political certainties shaken. From this point the thesis explores the anti-heroic work of Edwin Morgan and Robert Garioch as well as the political and personal reasons for refusal of conscription expounded by Douglas Young and Norman MacCaig. The thesis closes with a discussion of women’s experience and poetry of World War Two, and an in-depth a look at the major influential figures on the poets of this time, Hugh MacDiarmid and Edwin Muir. Between these figures we shall see a range of experiences, but each poet is united in their struggle, dramatized in their work, for a better post-War Scotland, a drive which this thesis explores and discusses for the first time in detail.
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Karadas, Firat. "Imagination, Metaphor And Mythopoeia In The Poetry Of Three Major English Romantic Poets." Phd thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/3/12608579/index.pdf.
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This thesis studies metaphor, myth and their imaginative aspects in the poetry of William Wordsworth, Percy Bysshe Shelley and John Keats. The thesis argues that a comprehensive understanding of metaphor and myth cannot be done in the works of these poets without seeing them as faces of the same coin, and taking into consideration the role of the creating subject and its imagination in their production. Relying on Kantian, Romantic, and modern Neo-Kantian ideas of imagination, metaphor and myth, the study tries to indicate that imagination is an inherently metaphorizing and mythologizing faculty because the act of perception is an act of giving form to natural phenomena and seeing similitude in dissimilitude, which are basically metaphorical and mythological acts. In its form-giving activity the imagination of the speaking subjects of the poems studied in this thesis sees objects of nature as spiritual, animate or divine beings and thus transforms them into the alien territory of myth. This thesis analyzes myth and metaphor mainly in two regards: first, myth and metaphor are handled as inborn aspects of imagination and perception, and the interaction between nature and imagination are presented as the origin of all mythology<br>second, to show how myth is something that is re-created time and again by poetic imagination, Romantic mythography and re-creation of precursor mythologies are analyzed. In both regards, poetic imagination appears as a formative power that constructs, defamiliarizes and re-creates via mythologization and metaphorization.
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Cairns, Daniel. "As it likes you early modern desire and vestigial impersonal constructions /." Waltham, Mass. : Brandeis University, 2009. http://dcoll.brandeis.edu/handle/10192/23236.
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Bean, Heidi R. "Poetry 'n acts: the cultural politics of twentieth-century American poets' theater." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/638.
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"Poetry 'n Acts: The Cultural Politics of Twentieth-Century American Poets' Theater," focuses on the disciplinary blind spot that obscures the productive overlap between poetry and dramatic theater and prevents us from seeing the cultural work that this combination can perform. Why did 2100 people turn out in 1968 to see a play in which most of the characters speak only in such apparently nonsensical phrases as "Red hus the beat trim doing going" and "Achtung swachtung"? And why would an Obie award-winning playwright move to New Jersey to write such a play in the first place? What led to the founding in 1978 of the San Francisco Poets Theatre by L=A=N=G=U=A=G=E writers, and why have those plays and performers been virtually ignored by critics despite the admitted centrality of performance to L=A=N=G=U=A=G=E writing's textual politics? Why would the renowned Yale Repertory Theatre produce in the 1990s the poetic, plotless plays of a theater newcomer twice in as many years--even when audiences walked out? What vision for the future of theater could possibly involve episodic drama with footnotes? In each example, part of the story is missing. This dissertation begins to fill in that gap.
Attending to often overlooked aspects of theater language, this dissertation examines theatrical performances that use poetic devices to intervene in narratives of cultural oppression, often by questioning the very suitability of narrative as a primary means of social exchange. While Gertrude Stein must be seen as a forerunner to contemporary poets' theater, chapter one argues that the Living Theatre's late 1950s and early 1960s anti-authoritarian theater demonstrates key alliances between poetry and theater at mid-century. The remaining chapters closely examine particular instances of poets' theater by Amiri Baraka (known equally as poet and playwright), Carla Harryman (associated with West Coast poetry), and Suzan-Lori Parks (a critically acclaimed playwright). These productions put poetic theater on the backs of tractors in Harlem streets, in open gallery spaces, and in more conventional black box and proscenium architectures, and each case develops the importance of performance contexts and production histories in determining plays' cultural effects.
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McCarthy, Erin Ann. "“Get me the Lyricke Poets”: Poetry and Print in Early Modern England." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338379173.
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Kawalit, Alia'. "Across the walls (poetry collection) ; Home, alienation and re-homing in four migrant poets in London (dissertation)." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/49231/.
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This thesis investigates contemporary poetry of migrants and expatriates in the United Kingdom. The thesis starts with a collection of my poems that emerges as a correspondence to changing locations from Jordan, my homeland, to England, the host land. The second part is a dissertation that studies the work of four poets: Merle Collins and her Rotten Pomerack (1992); Amjad Nasser and Shepherd of Solitude (2009); Fathieh Saudi and Daughter of the Thames (2009); Sofia Buchuck and Orange Nights in Autumn (2008). The approach taken in this dissertation is through giving special attention to political context and to the ways in which Collins, Nasser, Saudi and Buchuck reflect it in their poems. In addition, the study shows how both Saudi and Buhcuck use poetry as a means of renewing identity and creating a new homeland. The study also includes personal interviews with Saudi and Buchuck that tell about the difficulties and opportunities faced by migrant poets. Both the critical and creative work offer insights into different experiences with location which result in various poetic expressions and definitions of host land, homeland, and home.
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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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Chatfield, Thomas Edward Francis. "Beyond realism and postmordernism : towards a post-Christian morality in the works of Philip Larkin, Kingsley Amis and Martin Amis." Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:1db4198a-56e4-417d-b5e5-eb6586a6d7d6.
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This thesis evaluates and re-evaluates the relationship between the works of Philip Larkin, Kingsley Amis and Martin Amis through a detailed examination of their published works, and attempts to locate this relationship in the context of the central moral uncertainties of post-1945 British fiction. Most previous critical studies of these authors have tended to discuss the relationship between Kingsley Amis and Martin Amis in terms of an opposition between the father's realism and the son's postmodernism, and have debated Philip Larkin's influence upon Martin Amis only tangentially. Against this trend, this thesis argues that these three authors share a commitment to literature as a public, moral act, and, in particular, that their works share the intention of articulating a number of closely related secular 'human values' which map out a potential post-Christian morality in British society. The thesis also examines a common tension within their oeuvres inimical to such hopes - the fear that the possibilities of rational self-scrutiny and of becoming 'less deceived' have been discredited by the history of the twentieth century, and that this history instead evidences the dominance of irrational and self-destructive tendencies in the human. These fears, it is further claimed, are implicated in the works of all three authors in a tendency towards the construction of Edenic myths, deterministic simplifications, and despairing devaluations of the value of human life. Overall, this thesis makes the case for the significance of the common concerns of Martin Amis, Kingsley Amis and Philip Larkin's works in the context of contemporary literary studies: their efforts to create in art an unpretentiously 'public space' for the address of burning moral and existential issues, and their unresolved struggles with the question of what it might mean to live a good life in a society which no longer possesses religion as a common moral language.
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Nott, Michael J. "Photopoetry : a critical history of collaborations between poets and photographers in the Anglophone world, 1845-2015." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/7811.
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This thesis examines the history of collaborations between poets and photographers in the Anglophone world, from 1845 to 2015, and argues for a new form of art distinct from the photobook. It identifies a new body of work, ‘photopoetry', and develops this discovery into a critical exegesis of its forms and potentials. Proceeding chronologically, this thesis explores photopoetic history from its nineteenth-century roots to modern-day collaborations between renowned poets and photographers. Chapter I examines early experiments in photopoetic form, including scrapbooks and stereographs, and identifies two thematic trends characterising photopoetic history to the present day: the picturesque and the theatrical. The second chapter focuses on the identity politics of photopoetic books in the late-nineteenth and early-twentieth centuries, exploring how the relationship between poem and photograph can both perpetuate and subvert representations of the objectified other, from British India to the American South. Chapter III theorises Imagism from a photographic perspective, examining how, in the absence of any discernibly modernist photopoetry book, the most important dialogue between poem and photograph was enacted within Imagist verse. It proceeds to examine the introduction of urban environments into early-to-mid-twentieth-century photopoetry. Chapter IV analyses the reinterpretation of photopoetic topography in mid-to-late-twentieth-century collaborations, exploring how picturesque landscapes in nineteenth-century photopoetry were reinvented as immersive environments that echoed the rise of photopoetic co-authorship and the development of more symbiotic, less literal photopoetic relationships. The fifth chapter expands upon ideas analysed in Chapter IV, arguing how, in narrowing both poetic and photographic focus to objects rather than picturesque vistas, twenty-first-century photopoetry encourages a non-linear approach to reading and viewing, abandoning the ‘journey' paradigm of earlier photopoetry. Overall, this thesis represents the first book-length history of photopoetry, and expounds both a new area of analysis for scholars of text and image, and a new critical discourse for such analyses.
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Mendoza-Kovich, Theresa Fernandez. "Representations of Scotland in Edwin Morgan's poetry." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2157.
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This thesis is an examination of the poetry of Edwin Morgan. It is a cultural analysis of Morgan's poetry as representation of the Scottish people. Morgan's poetry represents the Scottish people as determined and persistent in dealing with life's adversities while maintaining hope in a better future.
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Kozain, Rustum. "Contemporary english oral poetry by black poets in Great Britain and South Africa : a comparison between Linton Kwesi Johnson and Mzwakhe Mbuli." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/20139.
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Bibliography: pages 242-266.<br>The general aims of this dissertation are: to study a form of literature traditionally disregarded by a text-bound academy; to argue that form is an important element in ideological analyses of the poetry under discussion; and, on the basis of this second aim, to argue for a comparative, rigorously critical approach to the poetry of Mzwakhe Mbuli. Previous evaluations of Mbuli's poetry are characterised by acclaim which, the author contends, is only possible because of under-researched criticism, representing a general trend in South African literary culture. Compared to Linton Kwesi Johnson's work, for instance, Mbuli's poetry does not emerge as the innovative and progressive art - in both content and form - it is claimed to be. Mbuli and his critics are thus read as a case study of a general trend. Johnson and Mbuli mainly perform their poetry with musical accompaniment and distribute it as sound-recording. This study's approach then differs from the approaches of general oral literature studies because influential writers on oral literature - specifically Walter J. Ong, Ruth Finnegan and Paul Zumthor - do not address the genre under investigation here. Nevertheless, their writings are explored in order to show why particularly Ong and Finnegan's approaches are inadequate. The author argues that using the orality of the poetry as an organising, theoretical principle is insufficient for the task at hand. On cue from Zumthor, this study suggests an approach through Cultural Studies and conceives of the subject matter as popular culture.
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Buckner, Elisabeth. "Superior Instants: Religious Concerns in the Poetry of Emily Dickinson." TopSCHOLAR®, 1985. https://digitalcommons.wku.edu/theses/2195.
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When I decided to write a thesis on Emily Dickinson's poetry, my intention was to show that she did, indeed, implement a concrete philosophy into her poetry. However, after several months of research, I realized that this poet's philosophy was ongoing and sometimes inconsistent. Emily Dickinson never discovered the answers to all of her religious and spiritual questions although she devoted her entire life to that pursuit. What Dickinson did discover was that orthodox religion had no place in her heart or mind and she must make her own choices where God was concerned. Immortality was an intense fascination to Emily, and many of her poems are related to that subject. In fact, the majority of Dickinson's poems deal, in some way, with spirituality. Emily Dickinson is a poet who deserves to be studied on the basis of her philosophical pursuits as well as her style. Dickinson scholarship has improved in the past several decades; however, Emily Dickinson has yet to receive the attention she deserves as a philosopher and thinker.
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Miller-Haughton, Rachel. "Re-Calling the Past: Poetry as Preservation of Black Female Histories." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1005.
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This paper discusses the poetry of Audre Lorde and Natasha Trethewey, and the ways in which they bring to attention the often-silenced histories of African American females. Through close readings of Lorde’s poems “Call” and “Coal,” and Trethewey’s “Three Photographs,” these histories are brought to the present with the framework of the words “call” and “re-call.” The paper explores the ways in which Lorde creates a new mythology for understanding her identity as “black, lesbian, mother, warrior, poet” in her innovative, intersectional feminist poetry. This is used as the framework for understanding modern poets like Trethewey, whose identity as a biracial black woman from the American South colors her lyric, more formal work. Lorde uses the vocal, oral tradition of calling as Trethewey relies on visual, gaze-focused recall. Recall is memory and re-call means bringing the hidden past into the future. The paper concludes by saying that all black female writers may participate in their own ways of calling out the truth and remembering what should be forgotten.
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Hussein, Ronak Hassan. "Nature and death in the poetry of al-Malā'ika, al-Shābbī and Shukrī, and certain English Romantic poets : a comparative study." Thesis, University of St Andrews, 1989. http://hdl.handle.net/10023/7138.
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The first part of this thesis, divided into two chapters, deals with the early background of European Romanticism; the reasons behind its appearance and problems of definition. There follows a discussion on the question of the originality of Arabic Romanticism, with ,a brief review of the roots and main literary groups of this movement in Arabic poetry. Part two examines the influence of English poetry and thought on three Arab Romantic poets: Nāzik Sādiq al-Malā'ika, Abū al-Qāsim al-Shābbī and Abd aI-Rahmān Shukrī. This is discussed parallel with the channels of this influence. The main focus of this research is however, to show the ways in which al-Malā'ika, al-Shābbī and Shukrī perceived and reflected nature and death in their poetry. Their attitudes towards certain phenomena in nature such as the countryside, night, the sea, childhood and moral and social lessons of nature are compared with certain attitudes of Wordsworth, Coleridge, Keats and Shelley. Themes such as life and death, fear of death, fatalism, immortality and death as a welcome experience are also the concern of this thesis, with a comparison of these themes in the poetry of the Arab and English Romantic poets. However, owing to the popularity of Keats and Shelley with the three Arab Romantic poets, this thesis concentrates on their poetry. This research has selected only certain phenomena and themes from nature--and death because of the dominance of these subjects in the poetry of al-Malā'ika, al-Shābbī and Shukrī. The translations of Arabic poetry in this thesis are intended to convey the general sense of the source texts, rather than to give a precise rendering of these texts into English.
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Cook, Jessica Lauren. "Material and Textual Spaces in the Poetry of Montagu, Leapor, Barbauld, and Robinson." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5205.
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Women Poets and Place in Eighteenth-Century Poetry considers how four women poets of the long eighteenth century--Lady Mary Wortley Montagu, Mary Leapor, Anna Letitia Barbauld, and Mary Robinson--construct various places in their poetry, whether the London social milieu or provincial England. I argue that the act of place making, or investing a location with meaning, through poetry is also a way of writing a place for themselves in the literary public sphere and in literary history. Despite the fact that more women wrote poetry than in any other genre in the period, women poets remain a relatively understudied area in eighteenth-century scholarship. My research is informed by place theory as defined by the fields of Human Geography and Ecocriticism; I consider how the poem reproduces material space and the nonhuman environment, as well as how place effectively shapes the individual. These four poets represent the gamut of career choices in this era, participating in manuscript and print culture, writing for hire and for leisure, publishing by subscription and through metropolitan booksellers. Each of these textual spaces serves as an illustration of how the poet's place, both geographically and socially speaking, influences the medium of circulation for the poetic text and the authorial persona she constructs in the process. By charting how each of these four poets approaches place--whether as the subject of their poetry or the poetic space itself--I argue that they offer us a way to destabilize and diversify the literary landscape of eighteenth-century poetry.
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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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Thomas, Shannon L. "“An Obtrusive Sense of Art”: The Poetess and American Periodicals, 1850–1900." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1280934312.
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Nelson, Nancy Susan. "Heroism and Failure in Anglo-Saxon Poetry: the Ideal and the Real within the Comitatus." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc332044/.
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This dissertation discusses the complicated relationship (known as the comitatus) of kings and followers as presented in the heroic poetry of the Anglo-Saxons. The anonymous poets of the age celebrated the ideals of their culture but consistently portrayed the real behavior of the characters within their works. Other studies have examined the ideals of the comitatus in general terms while referring to the poetry as a body of work, or they have discussed them in particular terms while referring to one or two poems in detail. This study is both broader and deeper in scope than are the earlier works. In a number of poems I have identified the heroic ideals and examined the poetic treatment of those ideals. In order to establish the necessary background, Chapter I reviews the historical sources, such as Tacitus, Bede, the Anglo-Saxon Chronicle, and the work of modern historians. Chapter II discusses such attributes of the king as wisdom, courage, and generosity. Chapter III examines the role of aristocratic women within the society. Chapter IV describes the proper behavior of followers, primarily their loyalty in return for treasures earlier bestowed. Chapter V discusses perversions and failures of the ideal. The dissertation concludes that, contrary to the view that Anglo-Saxon literature idealized the culture, the poets presented a reasonably realistic picture of their age. Anglo-Saxon heroic poetry celebrates ideals of behavior which, even when they can be attained, are not successful in the real world of political life.
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Brammall, Sheldon. "Translating the Prince of Poets : the politics of the English translations of the Aeneid, 1558-1632." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283905.
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Weyer, Christine Louise. "Confession, embodiment and ethics in the poetry of Antjie Krog and Joan Metelerkamp." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80362.
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Thesis (PhD)--Stellenbosch University, 2013.<br>ENGLISH ABSTRACT: This thesis examines the work of two contemporary South African poets, Antjie Krog
and Joan Metelerkamp. Through an analytical-discursive engagement with their work,
it explores the relationship between confession and embodiment, drawing attention to
the ethical potential located at the confluence of these theories and modes. The theory
informing this thesis is drawn from three broad fields: that of feminism, embodiment
studies and ethical philosophy. More specifically, foundational insights will come
from the work of Simone de Beauvoir, Maurice Merleau-Ponty and Emmanuel
Levinas. While much of the theory used originates from Western Europe and North
America, this will be mediated by sensitivity towards Krog and Metelerkamp’s South
African location, as is fitting for a study focused on embodied confession and the
ethical treatment of the other.
The first chapter will establish Krog and Metelerkamp as confessional poets and
explore the ethical implications of this designation. It will also explore the contextual
grounds for the establishment for a confessional culture in both the United States of
America of the 1950s that gave rise to the school of confessional poets, and in South
Africa of the 1990s. The second chapter will use embodiment theory to discuss the
relationship between poetry and the body in their work, and the ethics of this
relationship. The remaining chapters concentrate on three forms of embodiment that
frequently inhabit their poetry: the maternal body, the erotic body and the ageing
body. Throughout the analyses of their poetic depictions of, and engagements with,
these bodies, the ethical potential of these confessional engagements will be
investigated.
Through the argument presented in this thesis, Metelerkamp’s status as a minor South
African poet will be re-evaluated, as will that of Krog’s undervalued English
translations of her acclaimed Afrikaans poetry. The importance of confessional poetry
and poetry of the body, often pejorative classifications, will also be asserted.
Ultimately, through drawing the connections between confession, embodiment and
ethics in poetry, this thesis will re-evaluate the way poetry is read, when it is read, and
propose alternative reading strategies.<br>AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die werk van twee kontemporêre Suid-Afrikaanse digters,
Antjie Krog en Joan Metelerkamp. Analities-beredeneerde benadering tot hulle
werk verken die verband tussen belydenis en beliggaming. Klem word gelê op die
etiese implikasies waar hierdie teorieë en vorme bymekaarkom. Die teorie waarop
hierdie tesis berus, word vanuit drie breë velde geput: feminisme, beliggamingsteorie
en etiese filosofie. Daar word meer spesifiek op die fundamentele beskouings van
Simone de Beauvoir, Maurice Merleau-Ponty en Emmanuel Levinas gesteun.
Alhoewel die teorie grotendeels ontstaan het in Wes-Europa en Noord-Amerika, sal
dit met begrip benader word ten opsigte van Krog en Metelerkamp se Suid-Afrikaanse
agtergrond, wat meer gepas is vir studie wat fokus op beliggaamde belydenis en die
etiese hantering van die ander.
Die eerste hoofstuk vestig Krog en Metelerkamp as belydenisdigters en verken die
etiese implikasies van hierdie benaming. Die kontekstuele beweegredes vir die
vestiging van belydeniskultuur word ook ondersoek, in beide die Verenigde State
van Amerika van die 1950s (wat geboorte geskenk het aan die era van
belydenisdigters) en in Suid-Afrika van die 1990s. Die tweede hoofstuk rus op
beliggamingsteorie om die verband tussen poësie en liggaam in hul werk te bespreek,
asook die etiese implikasies binne hierdie verband. Die oorblywende hoofstukke
fokus op drie vorme van die liggaam wat dikwels in hulle digkuns neerslag vind: die
moederlike lyf, die erotiese lyf en die verouderende lyf. Die etiese implikasies van
hierdie belydende betrokkenheid word deurgaans in ag geneem in die analise van
hulle digterlike uitbeelding van en omgang tot hierdie liggame.
Die argument in hierdie tesis herevalueer Metelerkamp se status as meer geringe
Suid-Afrikaanse digter asook Krog se onderskatte Engelse vertalings van haar
bekroonde Afrikaanse gedigte. Die waarde van belydenispoësie en gedigte oor die
liggaam, dikwels pejoratiewe klassifikasies, sal ook verdedig word. Deur belydenis,
beliggaming en etiek in digkuns met mekaar te verbind, herevalueer hierdie tesis
uiteindelik die manier waarop gedigte gelees word, wanneer dit gelees word, en stel
alternatiewe leesstrategieë voor.
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Harris, Christopher. "The function of Andrew Lang and other minor poets of the 1970's and 1880's in the appropriation of pre-classical french poetry by the English literary canon." Thesis, University of Essex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499818.
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Harris, Christopher. "Mediators and mimics- The function of Andrew Lang and other minor poets of the 1870s and 1880s in the appropriation of pre-classical french poetry by the English Literary canon." Thesis, University of Essex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.511036.
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Leadingham, Norma Compton. "Propaganda and Poetry during the Great War." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etd/1966.
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During the Great War, poetry played a more significant role in the war effort than articles and pamphlets. A campaign of extraordinary language filled with abstract and spiritualized words and phrases concealed the realities of the War. Archaic language and lofty phrases hid the horrible truth of modern mechanical warfare. The majority and most recognized and admired poets, including those who served on the front and knew firsthand the horrors of trench warfare, not only supported the war effort, but also encouraged its continuation. For the majority of the poets, the rejection of the war was a postwar phenomenon. From the trenches, leading Great War poets; Owen, Sassoon, Graves, Sitwell, and others, learned that the War was neither Agincourt, nor the playing fields of ancient public schools, nor the supreme test of valor but, instead, the modern industrial world in miniature, surely, the modern world at its most horrifying.
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Prothero, James. "The influence of Wordsworth on twentieth-century Anglo-Welsh poets." Thesis, University of Wales Trinity Saint David, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683327.
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Lewis, Staci E. ""In Death Thy Life is Found": An Examination of the Forgotten Poetry of Margaret Fuller." [Johnson City, Tenn. : East Tennessee State University], 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-0327102-153619/unrestricted/Lewis041002.pdf.
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Davis, Andrew Dean. "Protestants Reading Catholicism: Crashaw's Reformed Readership." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_theses/69.
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This thesis seeks to realign Richard Crashaw’s aesthetic orientation with a broadly conceptualized genre of seventeenth-century devotional, or meditative, poetry. This realignment clarifies Crashaw’s worth as a poet within the Renaissance canon and helps to dismantle historicist and New Historicist readings that characterize him as a literary anomaly. The methodology consists of an expanded definition of meditative poetry, based primarily on Louis Martz’s original interpretation, followed by a series of close readings executed to show continuity between Crashaw and his contemporaries, not discordance. The thesis concludes by expanding the genre of seventeenth-century devotional poetry to include Edward Taylor, who despite his Puritanism, also exemplifies many of the same generic attributes as Crashaw.
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Moore, Lindsay Emory. "The Laureates’ Lens: Exposing the Development of Literary History and Literary Criticism From Beneath the Dunce Cap." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822784/.
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In this project, I examine the impact of early literary criticism, early literary history, and the history of knowledge on the perception of the laureateship as it was formulated at specific moments in the eighteenth century. Instead of accepting the assessments of Pope and Johnson, I reconstruct the contemporary impact of laureate writings and the writing that fashioned the view of the laureates we have inherited. I use an array of primary documents (from letters and journal entries to poems and non-fiction prose) to analyze the way the laureateship as a literary identity was constructed in several key moments: the debate over hack literature in the pamphlet wars surrounding Elkanah Settle’s The Empress of Morocco (1673), the defense of Colley Cibber and his subsequent attempt to use his expertise of theater in An Apology for the Life of Colley Cibber (1740), the consolidation of hack literature and state-sponsored poetry with the crowning of Colley Cibber as the King of the Dunces in Pope’s The Dunciad in Four Books (1742), the fashioning of Thomas Gray and William Mason as laureate rejecters in Mason’s Memoirs of the Life and Writings of William Whitehead (1788), Southey’s progressive work to abolish laureate task writing in his laureate odes 1813-1821, and, finally, in Wordsworth’s refusal to produce any laureate task writing during his tenure, 1843-1850. In each case, I explain how the construction of this office was central to the consolidation of literary history and to forging authorial identity in the same period. This differs from the conventional treatment of the laureates because I expose the history of the versions of literary history that have to date structured how scholars understand the laureate, and by doing so, reveal how the laureateship was used to create, legitimate and disseminate the model of literary history we still use today.
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Leduc, Natalie. "Dissensus and Poetry: The Poet as Activist in Experimental English-Canadian Poetry." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/38773.
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Many of us believe that poetry, specifically activist and experimental poetry, is capable of intervening in our society, as though the right words will call people to action, give the voiceless a voice, and reorder the systems that perpetuate oppression, even if there are few examples of such instances. Nevertheless, my project looks at these very moments, when poetry alters the fabric of our real, to explore the ways these poetical interventions are, in effect, instances of what I have come to call “dissensual” poetry. Using Jacques Rancière’s concept of dissensus and the distribution of the sensible, my project investigates the ways in which dissensual poetry ruptures the distribution of the sensible—“our definite configurations of what is given as our real, as the object of our perceptions and the field of our interventions”—to look at the ways poetry actually does politics (Dissensus 156). I look at three different types of dissensual poetry: concrete poetry, sound poetry, and instapoetry. I argue that these poetic practices prompt a reordering of our society, of what is countable and unaccountable, and of how bodies, capacities, and systems operate. They allow for those whom Rancière calls the anonymous, and whom we might call the oppressed or marginalized, to become known. I argue that bpNichol’s, Judith Copithorne’s, and Steve McCaffery’s concrete poems; the Four Horsemen’s, Penn Kemp’s, and Christian Bök’s sound poems; and rupi kaur’s instapoems are examples of dissensual poetry.
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Clarke, Joseph Kelly. "The Praeceptor Amoris in English Renaissance Lyric Poetry: One Aspect of the Poet's Voice." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc331007/.
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This study focuses on the praeceptor amoris, or teacher of love, as that persona appears in English poetry between 1500 and 1660. Some attention is given to the background, especially Ovid and his Art of Love. A study of the medieval praeceptor indicates that ideas of love took three main courses: a bawdy strain most evident in Goliardic verse and later in the libertine poetry of Donne and the Cavaliers; a short-lived strain of mutual affection important in England principally with Spenser; and the love known as courtly love, which is traced to England through Dante and Petrarch and which is the subject of most English love poetry. In England, the praeceptor is examined according to three functions he performs: defining love, propounding a philosophy about it, and giving advice. Through examining the praeceptor, poets are seen to define love according to the division between body and soul, with the tendency to return to older definitions in force since the troubadours. The poets as a group never agree what love is. Philosophies given by the praeceptor follow the same division and are physically or spiritually oriented. The rise and fall of Platonism in English poetry is examined through the praeceptor amoris who teaches it, as is the rise of libertinism. Shakespeare and Donne are seen to have attempted a reconciliation of the physical and spiritual. Advice, the major function of the praeceptor, is widely variegated. It includes moral suasion, advice on how to court, how to start an affair, how to maintain one, how to end one, and how to cure oneself of love. Advice also includes warnings. The study concludes that English poets stayed with older ideas of love but added new dimensions to the praeceptor amoris, such as adding definition and philosophical discussion to what Ovid had done. They also added to the use of persona as speaker, particularly with Donne's dramatic monologues.
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Xu, Xiaofan. "A poet's country : landscape and nationhood in T.S. Eliot's post-conversion poetry and politics." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/49120/.
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The thesis contributes to the knowledge on modernist national identity in the transnational context, with a primary focus on the agency of the rural landscape in the identity-making process. It engages with the post-conversion works of T. S. Eliot, investigates his ruralism in relation to the metropolitan and cosmopolitan aspects of modernism, and situates it within the context of late modernism where an idealised representation of rurality is exploited by various ideologies including fascism and imperialism. By drawing upon insights from transnational modernism and latest theoretical advances on cosmopolitanism, the thesis reveals through the case of Eliot that representations of rurality, local allegiances and rootedness can be emancipatory and coextensive with cosmopolitan projects. My investigation begins by examining the ruralist elements in Eliot’s poetry, pageant and translations during the decade of his conversion to the Anglican Church in 1927, and demonstrates how an emphasis on roots, inheritance and rural living is at once occasioned by and constitutes part of the cosmopolitan condition. The discussion of rootedness is then carried forward to its moral implications, namely its accused complicity with the fascist discourse of the 1930s. A reading of Eliot’s interwar play alongside texts from British surrealism reveals that the vocabulary of ‘Blood and Soil’ used as a fascist slogan can also feed into an alternative literary imagination, one that is devolutionary and anti-nationalist. The argument proceeds to Eliot’s wartime works and reveals how a transnational identity—again channelled through representations of rurality—intervenes into and resists the imperialist spatial ordering of the centre and the periphery. All these discussions of the transnational facets of Eliot’s modernist ruralism prompt a reconsideration of the widely-made association between land-writing and reactionary politics, which the thesis challenges by showing that seeds of modernity and resistance are nonetheless meted out by representations of rurality and local roots.
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Bertram, Vicki. "Muscling in : a study of contemporary women poets and English poetic tradition." Thesis, University of York, 1992. http://etheses.whiterose.ac.uk/2490/.
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Curdy, Averill. "From the lost correspondence : poems /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3164499.
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Allsopp, Niall. "Turncoat poets of the English Revolution." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:72c956c3-ec8b-4b07-ad91-a05b0e72fd39.
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Edmund Waller, William Davenant, Andrew Marvell, and Abraham Cowley were royalist poets who changed sides following the English Revolution, attracted to Cromwellian military power, and the reforming aims of the Independents. This thesis contributes to existing scholarship by showing that the poets engaged strongly with theories of allegiance, self-consciously returning to first principles - the natures of sovereignty and obligation - to develop a concept of allegiance that was contingent and transferrable. Their crucial influence was Hobbes. Hobbes collapsed partisan perspectives into a general theory of sovereignty constituted by a de facto protective and coercive power; this was grounded on a psychological analysis of humans' restless appetite for power. The poets' approach to Hobbes was crucially mediated by Machiavelli, who provided a less abstract account of the relationship between individual agency and collective institutions, and whose concept of virtù offered a model for how restless ambition could be harnessed to political order. An introductory chapter sketches out the intellectual background to this body of theory and reflects on the methods used to show how the poets dramatized it in their works. Chapter two considers the disintegration of Waller's courtly poetry under the pressure of civil war, and his resulting turn to rationalist theory. Chapters three and four focus on the immediate aftermath of the revolution, considering the synthesis of Hobbes' and Machiavelli's theories of military power ventured by Davenant, and the influence of Davenant's ideas on Marvell's Machiavellianism. Chapter five focuses on Cowley and his more religiously-inflected account of Hobbesian psychology and political obligations. Chapter six asks how the poets responded to the Restoration of Charles II, and in particular charts their influence on the younger poet John Dryden. With their emphasis on materialist psychology, the turncoat poets abandoned allegory in favour of a mode of dramatization which observed the contingent circumstances in which allegiances could be generated, dissolved, and transferred. They possessed a political conservatism, but a conceptual radicalism which presented a serious challenge to Anglican and constitutionalist discourses of Stuart monarchy.
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Cook, Devon S. "Burke's Poetic Metaphor and Obama as Poet." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/4437.
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At the end of Permanence and Change, Kenneth Burke calls for a new orientation toward life and social action which he refers to as “the poetic metaphor” (261). This essay connects Burke's briefly used poetic metaphor with his theories on the use of “poetic” language in the essay “Semantic and Poetic Meaning.” What results from this synthesis is a critical tool for rhetorical analysis which allows for the discussion of style as a vehicle for communication about ethics and morals in public discourse. Obama's The Audacity of Hope is used as the example of a text which uses “poetic” language in order to discuss moral and ethical issues in a national arena. Obama ultimately dramatizes his own synthesis of values, putting himself in the position of a trusted intermediary. This analysis provides clarity on Burke's thinking at the end of Permanence and Change and helps us understand his contribution to the study of rhetoric and cooperation.
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Slattery, Erin Ferretti. "The book of moonlight /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1421159.
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Seak, Hoi Hung. "Macao temple poems." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2456352.
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Cantoni, Robert J. "Mistakes Were Made." Ohio University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1212793396.
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Cannon, James P. D. "The poetry and polemic of English church worship c. 1617-1640." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368337.
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Sifakis, Eugenia Myrto. "Identity in travel : English poets in Italy in nineteenth century." Thesis, King's College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266155.
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Dickson, Lesley. ""A silence that had to be overcome" : 50 poems and a personal statement on poetics." Thesis, University of Aberdeen, 2012. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=192181.
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‘Scottish’, ‘woman’, ‘lesbian’; these words are markers of identity and a starting point in my attempt to place myself within a poetic tradition. This study towards a statement of poetics considers ideas of identity and tradition as they relate to the public and private spheres. The first chapter considers how traditions are built and the external factors which impact upon them by looking at both physical and more ideological notions of place and space as they relate to nationhood and a sense of belonging. The focus then narrows to consider the situation of female poets as marginal. There is an interrogation of whether female poets are marginalised by the predominantly patriarchal literary canon or if they seek out these liminal borders and hinterlands. This is considered in the context of Elizabeth Bishop’s ‘forced exile’ and the more voluntary travels of Kathleen Jamie. The study then turns to consider the theoretical history behind women’s writing and how this impacts upon their varied ways of ‘reading the map of tradition’. In considering the private, or personal, sphere there is a discussion of the internal impulses which the poet acts upon in order to look at the nature of poetic imperative. This section begins with the statement that ‘every poem breaks a silence which had to be overcome’, and this in turn opens up questions of how external silencing might affect the internal impulse to assert and/or disclose. With specific focus on mid-twentieth century American Confessional poetry, further questions are asked regarding the ‘worth of art’ and the poet’s decoding and self-censorship of their own work in order to both hide and break taboos surrounding sexuality and privacy. The study then becomes more specifically personal in the reflective chapter which deals thematically with a selection of my own poems from the folio. This is in order to chart not only the evolution of my work but also the evolution of my own poetic imperatives. The final chapter reflects upon my use of free verse, looking briefly at the history of the form from the early twentieth-century onwards before going on to consider how the various theories and poetics which have grown out of the broadly vernacular, ‘free verse revolution’ have impacted formally upon my own work.
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Jones, Caroline. "The Gawain-poet's use of the Beatitudes." Thesis, University of Wales Trinity Saint David, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683285.
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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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Matthews, Kirsten Alexandra. "'Lucky Poet' and the bounds of possibility : autobiography and referentiality in Hugh MacDiarmid's 'Poetic World'." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/859/.
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This thesis examines the use of collage as a form of autobiography in Hugh MacDiarmid’s Lucky Poet (1943). It traces the development of the use of autobiographical detail and the use of collage in MacDiarmid’s work from To Circumjack Cencrastus (1930) to Lucky Poet. It aims to show that though there is a clear precedent for both these elements in the earliest of MacDiarmid’s work, To Circumjack Cencrastus represented a turning point in MacDiarmid’s progression towards the use of collage as an autobiographical form, and the subsequent development of his interest in autobiography can be traced through the Clann Albann project (1931-1933) and Stony Limits and Other Poems (1934) to Lucky Poet. It examines the difference between autobiographical memory, as developed in the Clann Albann poems, and the representation of immediate experience in poems written while MacDiarmid was on Whalsay, particularly those included in Stony Limits and Other Poems (1934). Its analysis of Lucky Poet, and of the earlier works, focuses on the ideological and artistic use to which MacDiarmid puts autobiography. It includes a brief account of the place of Lucky Poet within recent critical debate regarding the autobiographical genre, but centres on a detailed analysis of MacDiarmid’s reference to Søren Kierkegaard and Lev Shestov. It shows how he developed, through reference to Shestov’s In Job’s Balances and Walter Lowrie’s biography of Kierkegaard, a concept of the suffering and self-sacrifice of the artist, and a related belief in the need to embrace – as an artist – both the danger and the freedom of Shestov’s abyss. It demonstrates how this freedom is realized in the rejection of social conventions and in the publication of unpalatable or provocative material. The thesis concludes by comparing MacDiarmid’s autobiographical writing to that of Edwin Muir and Sir Thomas Urquhart, arguing that Muir rejects the notions of self-sacrifice and rebellion developed by MacDiarmid while Urquhart, despite his distance from MacDiarmid in historical period and social class, ultimately stood for the same principles.
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Papke, Renate. "Poems at the edge of differences mothering in new English poetry by women." Göttingen Univ.-Verl. Göttingen, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=3160252&prov=M&dok_var=1&dok_ext=htm.
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