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Dissertations / Theses on the topic 'Lections of work with poetry'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

Bolleana-Clark, James. "Stubborn Work: Poems." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5813.

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Stubborn Work is a collection of poems about definition and uncertainty. The poems herein probe the concept of a continuous self in the face of an ever-shifting landscape. In this work foundations of self-identity, family identity, gender, home, place, and (at the hands of a psychological disorder) even reality itself are shaken and called into question. Over and over, in lieu of every new shift, the poet attempts to re-write themselves—to ask, continually, what it means to move forward after each new shift, and remark on how the past always follows closely behind, directing the course. Investigating the relationships between self and space, self and personal history, self and desire, Stubborn Work illuminates the ways in which a “sense of self” is always changing, moment by precarious moment, and that it is harrowing, actualizing, and inevitable that we are to be forever in search of it.

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2

Knowlton, Sarah T. "This woman's work /." [Chico, Calif. : California State University, Chico], 2009. http://csuchico-dspace.calstate.edu/xmlui/handle/10211.4/171.

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3

Smith, Aaron M. "Boneyard shifts & shadow work /." Connect to resource online, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1213193189.

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4

Golphin, Peter. "Ephemeral work? : Louis MacNeice, broadcasting and poetry." Thesis, Open University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.594844.

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This thesis is the is the first detailed study of the unpublished radio work of the poet, Louis MacNeice, who worked for BBe radio as a scriptwriter and producer from 1941 until his death in 1963. lts overall timeframe is from the early 1930s until the publication of his 1948 collection, Holes in the Sky, but its main focus is on the between his propagandising radio work and his poetry during the war and its aftermath. Historically situating scripts and poems enriches parallel readings of contemporaneous texts producing new interpretations and identifies areas cross-fertilisation between the gemes. Chapters One and Two draw on MacNeice's work of the 1930s to establish a fiitical context for explicating political aspects of his work ofthe 1940s. Tbey involve his sponses to political tension at borne and abroad and to the rise of mass culture, both of which complicated any idealistic notion of the individual and the exercise of free will. Four succeeding chapters uncover the modifications to his political view against the changing backdrop of the events of the war: Chapter Three focuses on 1941, the blitz and the urgent need to encourage America to join the allies; Chapter Four covers 1942, transatlantic convoys, opposed landings and MacNeice's reception of the Beveridge report; Chapter five concentrates on 1943-1944, with Greece as an abiding interest of Mac Neice's; and Chapter Six deals extensively with D-Day. Finally, Chapter Seven analyses his work in the few months of the peace, including his increasing interest in parable as a means of discussing the individual's place in a complex post-war world. Cumulatively, this thesis traces the evolution of Mac Neice's political views, and counters the tendency in influential criticism to posit MacNeice as politically detached. It concludes that MacNeice was a politically engaged 'Writer whose complicated views remained radically socialist throughout these years.

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5

Squire, Sarah. "Poetry and autobiography in the work of Robert Browning." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315964.

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6

Nowell-Smith, David Simon. "Poetry and poetics in the work of Martin Heidegger." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608617.

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7

Haynes, Annabel Stella. "Making beauty : Basil Bunting and the work of poetry." Thesis, Durham University, 2015. http://etheses.dur.ac.uk/11179/.

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This thesis investigates the representation of labour in the poetry of Basil Bunting, an aspect of his oeuvre hitherto critically overlooked, partly because of his avowed wish to keep politics out of poetry. Bunting constantly regarded the composing of poetry as work, and related the work of the poet to that of the traditional craftsman or skilled manual labourer. This conviction that poetry is work undermines his claim that his writing is apolitical, for work inevitably involves politics. Thus this thesis aims to demonstrate that political notions of work inform the form and prosodic techniques of Bunting’s poetry as well as its thematic content. While his subject matter ranges from mining disasters, money and music hall, through to Persian myths, the universalising theme of work is present throughout. His presentations of artisanal, agricultural, industrial and artistic forms of work and, significantly, his gendered treatment of domestic labour, are all addressed in this thesis. Looking at the poet in this new light entails a study of the background to his views about labour. The first part reads his early and later work alongside theories of labour by Marx and William Morris, and also investigates his correspondence with the leftist activist Objectivist poets. The second part frames Bunting’s ‘alternative’ labour-focused modernism within the wider literary culture of the 1930s, with chapters on Bunting and Bloomsbury, on Bunting and Lorine Niedecker, and on his poetic portrayals of social inequality during the Depression era. The final part examines Bunting’s role as a master-craftsman: it considers, firstly, his, and Pound’s, anti-institutional models for poetic schooling, and, secondly, the work of one of his most important ‘apprentices’, Tom Pickard.

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8

Cooper, Stephen Andrew. "Revolt and orthodoxy in the work of Philip Larkin." Thesis, Open University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251388.

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9

Evans, Eibhlin. "The later work of H.D. : an aesthetic of otherwise." Thesis, University of Hertfordshire, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338559.

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10

Pate, Spencer Cawein. "Poetic Justice: Rediscovering the Life and Work of Madison Cawein." Miami University Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1301406828.

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11

Langemak, Elizabeth. "Confession and pilgrimage in the work of Anne Carson /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1426080.

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12

Yeo, Wei Wei. "The presence of Dante in the work of Dante Gabriel and Christina Rossetti." Thesis, University of Cambridge, 2000. https://www.repository.cam.ac.uk/handle/1810/251733.

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13

Smith, Aaron M. "Boneyard Shifts and Shadow Work." Youngstown State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1213193189.

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14

Smith, Matthew Redgrave. "The representation of popular culture in the work of John Clare 1815-1827." Thesis, University of York, 2000. http://etheses.whiterose.ac.uk/14050/.

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15

Richards, Anne Rhiannon. "Poetry as prophecy - a study of the written work of David Jones." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328021.

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16

Roberts, Nicholas David Thomas. "The Orphic quest : poetry and loss in the work of Eugenio Montejo." Thesis, King's College London (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.430748.

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17

Rees, Eleanor. "'Making connections' : the work of the local poet." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/17210.

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This thesis interrogates the question ‘how does a local poet achieve connections in a context defined by difference?’ The creative practice section offers a collection of poetry written within given contexts, from specific places and emerging out of collaboration, commission and participative practice. Each project offers the difference anticipated by the research question. Therefore the context from which the poem emerged is made explicit to further support the argument. A local poet achieves connections in a context constituted by difference by using her imaginative capacities to produce virtual and emergent, yet real, material space. In Chapter One I define the creative process as that of ‘Local Poetics’ via a discussion of Heaney’s use of the term local poet and New-Materialist thought. I offer close readings of poems by Norman Nicholson, Adrian Henri and Barry MacSweeney to describe how the poem is a ‘local solution to a local problem’ and I present the history of participatory writing in Liverpool in relation to my own experience to support this idea. Chapter Two offers ‘case studies’ of my creative writing process to argue for ‘local poem as more than words’. The local poem emerges from multiple influences not all of them linguistic. In Chapter Three I extend this idea to consider how a local poet writes with their context not about it making poetry with the agency and affordances of materials. I conclude that connections are achieved by the local poet when multiple material trajectories acting on the sensate body become imaginative thought. In the process those material energies are transformed. Through intimate connection with an audience or reader the material process continues. I describe this activity as the work of the local poet.

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18

Fan, Xing. "A crossing of waters : a dialogical study of contemporary indigenous women's poetry : portfolio consisting of creative work and dissertation." Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2456341.

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19

Smelt, Walter III. "It is beautiful because it is holy: the life & work of Robert Lax." Thesis, Boston University, 2007. https://hdl.handle.net/2144/28584.

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20

Van, Wienen Mark W. "Partisans and poets : the political work of American poetry in the Great War /." Cambridge [GB] : Cambridge university press, 1997. http://catalogue.bnf.fr/ark:/12148/cb367001011.

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21

Romon-Alonso, Mercedes. "H.D. : sublimity and beauty in her early work (1912-1925)." Thesis, Durham University, 1998. http://etheses.dur.ac.uk/4691/.

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The purpose of this thesis is to study the poetry written by H.D. between 1912- 1925 in relation to two Romantic categories: beauty and sublimity. I shall attempt to show how H.D. subverts and revises the Romantic sublime offering alternatives that can be identified with a "female sublime". A direct consequence of such revision will be her commitment to beauty, which acts in her poems as a generative drive. Her understanding of beauty will be shown to have its roots in Sappho, Plato and the Victorian Hellenists, among others, and to have undergone analogous transformations to those of sublimity. Chapter I reopens the debate around Imagism and Imagist poetry showing that the problem of defining what Imagism is or was originates in the overwhelming authority of theory versus praxis. My goal is to deconstruct the critical fallacies on which Imagism has been built and to free the poetry which it represents. This allows me to question the myth of H.D. as "Imagiste" and to open her early poetry to new readings and interpretations. In Chapter n, I review the theoretical background to the aesthetics of the sublime represented by Longinus, Burke, Kant and Wordsworth. I also establish the critical frame within which this research will take place, drawing on Thomas Weiskel, Patricia Yaeger and Joanne Diehl. I initiate a study of sublimity in H.D.'s first volume, Sea Garden, and show the alternative treatment that this Romantic genre receives from this female poet. H.D.'s revisions of the Romantic sublime take us in Chapter m to a study of her poetics, as presented in her essay "Notes on Thought and Vision". I discuss a variety of sources for the composition of these "Notes", such as Havelock Ellis' influence, H.D.'s letters to John Cournos and her friendship with D.H. Lawrence. I show how H.D. understands artistic and poetic creativity as 'vision' and how the recovery of the abject female body allows her to formulate a notion of creativity that transcends gender. Chapter IV, pursues H.D.'s transformations of the Romantic sublime in Hymen, and presents Sappho as a model for the fusion of sublimity, love and eroticism in the poems of this volume. Chapter V begins with a theoretical discussion surrounding the aesthetics of the beautiful in relation to Chapter II. It continues with H.D.'s understanding of beauty within her essays, in particular, "Responsibilities", "Notes on Thought and Vision" and "Notes on Euripides, Pausanius and Greek Lyric Poets". In the light of recent work on Pater's masculine model of Hellenic beauty, I discuss H.D.'s own configuration of beauty.

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22

Riley, Peter. "Moonlighting in Manhattan : American poets at work 1855-1930." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610494.

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23

Rumiano, Jeffrey Edmond. "They Know "What Work Is": Working Class Individuals in the Poetry of Philip Levine." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-11272007-071313/.

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Thesis (Ph. D.)--Georgia State University, 2007.
Title from file title page. Pearl McHaney, committee chair; David Bottoms, Paul Schmidt, committee members. Electronic text (220 p.) : digital, PDF file. "Appendix B: Philip Levine interview with Jeff Rumiano, May 4, 2004": p. 194-220. Description based on contents viewed Jan. 31, 2008. Includes bibliographical references (p. 171-193).

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24

Kossick, Kaye. "The poetics of difference : woman, death, and gender in the work of Gerard Manley Hopkins." Thesis, University of Newcastle Upon Tyne, 1995. http://hdl.handle.net/10443/862.

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This thesis considers the representation of women and the gender principles in the work of Gerard Manley Hopkins and situates his perceptions of "masculinity" and "femininity" within a cultural, historical and literary context. A selection of his less canonical poems and prose is discussed and re-evaluated in the light of feminist and psychoanalytieal theory. In particular, the binarisms that fracture the representation of woman in Victorian art and literature and the issue of woman's alterity and subsequent association with death are identified and analysed. The thesis is organized into a tripartite introductory section, ten chapters and a conclusion. The first section of the introduction offers a broadly-based sociohistorical and theoretical examination of the gender principles and their origin. Part 11 of the introduction focuýSp s on Hopkins and his society, examining Victorian cultural views of gender diff6rence and the construction of masculinity. The third introductory section gives specific attention to Hopkins's theory of creativity and its relation to the gcndering of genius and aesthetic production. Chapters 1,2, and 3, offer detailed critical consideration of the deep psychosexual ambivalence towards woman, and the carnal materiality she embodies, in Hopkins's early poems: "ll Mystico", "A Voice from the World", "Hcaven-Havcn", "I must hunt down the prize", and "A Vision of the Mermaids". Chapter 4 gives a contextualized consideration of asceticism as an expression of the masculine will-to-power, and examines Hopkins's attraction to violence and the suffering of martyrs. The following three chapters explore the themes of death, violence and martyrdom, with particular emphasis on the issues of female sexual purity and masculine aesthetic vifility in Hopkins's verse drama on the murder of St. Winefred, St. Winefred's Well, and its accompanying chorus: "The Leaden Echo and the Golden Echo". The final three chapters of the thesis elucidate Hopkins's aesthetic and personal response to the Virgin Mary and the "feminine" pyschological characteristics and virtues she represents. Chapter 8 assesses the status of the Roman Catholic Church and the Virgin Mary in nineteenth century England, and also suggests that the image of the Madonna and the fictive "angel in the house" arc symbolically conjoined in opposition to the Tennysonian view of "Mother Nature" as a monstrous destroyer. This is followed, in Chapter 9, by a consideration of the view of Mary presented in Hopkins's prose. Chapter 10, the final chapter, presents a detailed analysis of Hopkins's Marian poem, "The Blessed Virgin Compared to the Air we Breathe", in which the ambivalence and anxiety that surround his concepts of selfhood, masculinity and the body of the mother arc examined. In conclusion, I argue that Hopkins's aesthetic and spiritual vocations are intimately linked with his notion of actual selfhood and are subject to the profoundly damaging influence of conflicting role expectations and mythic paradigms of masculinity and femininity which cannot be reconciled, either within the individual psyche, or in the society in which they are nurtured.

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25

Connor, Rachel Anne. "'Visible worlds' : the process of the image in the work of H.D." Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343863.

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This thesis examines the literary deployment of the visual in the work of H. D. (Hilda Doolittle). Beginning with a discussion of the early poetry of Sca Garden (1916) and the essay Notes on Thought and Vision (1919), 1 argue that H. D. 's categorisation as an Imagist poet has effaced the political and aesthetic possibilities opened up by her prose and later work. H. D. *s representation of 'womb vision' in Notes on Thought and Vision can be seen to anticipate the notion of' the 'creating spectator' in the theoretical writings of the Soviet film director. Sergei Eisenstein. Thus, by considering Sea Garden alongside developments in early cinema, I re-evaluate the image in H. D. *s early work, and locate her poetics not as 'static" but as kinetic. H. D. was also directly involved in film-making and in the writing of film criticism. Chapter Two explores how her engagement with the moving image is inscribed into the autobiographical novel Her, written in 1917. Examining Her alongside the silent film Borderline (1930), which H. D. helped to produce, this chapter explores issues of sexual and racial difference which are foregrounded through the formal devices employed in both texts. Chapter Three examines Tile Gýfi, which was written during the Second World War, in the light of H. D. 's contributions to the film journal Close Up (1927-33). This reading not only illuminatcs the political and ideological implications of H. D. 's use of the visual, it explores the intersections between literary and visual cultures at the beginning of the twentieth century. Accounts of cinema are largely absent from the history of literary Modernism and the thesis therefore goes some way towards a revisionist analysis of the period. Chapter Four extends the paradigm of the visual in H. D. 's work still further, analysing her memoirs Tribute To Freud (1956) and the unpublished Mqiic Ring (1943-44) in the light of her involvement with spiritualism. Both these texts encode a critique of the scientific 'gaze' exemplified by psychoanalysis and offer possibilities for an alternative model of 'seeing' which is predicated upon spiritual, or visionary, experience. Returning to the discourse of the cinema in Chapter Five, I contextualise my reading of Helen in EDIpt (1961 ) within debates about synchronised sound in early cinema. I also explore H. D. 's construction of female subjectivity and corporeality in Helen in the light of recent feminist film theory. In many ways H. D. 's work anticipates the preoccupations of recent feminist thinkers such as Luce Irigaray, H616ne Cixous and Judith Butler. These writers - along with recent feminist film theorists like Mary Ann Doane and Laura n Mulvey - provide a theoretical underpinning for the thesis. Such an approach permits a questioning of H. D. 's perceived position as a 'Modernist' poet. Furthermore, in the light of postmodern preoccupations with process, fluidity and flux, it is possible to see how dominant configurations of gender and sexuality are. through H. D. 's work, deliberately, and consistently, unsettled.

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26

Marsh, Nicola Eileen. "Writing for the reader? The politics of selfhood in the work of Susan Howe, Lyn Hejinian and Leslie Scalapino." Thesis, University of Southampton, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298892.

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27

Mark, Alison Katherine Marshall. "Reading between the lines : language, experience and identity in the work of Veronica Forrest-Thomson." Thesis, Birkbeck (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362716.

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28

Quigley, Sarah. "A world elsewhere : a critical and biographical study of the European influence on the life and work of Charles Brasch." Thesis, University of Oxford, 1997. http://ora.ox.ac.uk/objects/uuid:e6384f57-5ab1-491a-8882-75a42b582bac.

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When Charles Brasch died, in 1973, he specified that his private papers - his diaries, letters, and many of his manuscripts - be placed under embargo for thirty years after his death. The external details of his life were, by this time, well-known. He had become a high-profile figure in the field of New Zealand literature, through his critical writings, his role as 'patron', and particularly his twenty- year editorship of the periodical Landfall. Yet his reputation as a poet, although established, was neglected both then and now. His poetry is one of central relevance to a contemporary scene; as clearly as any, it reveals the difficulty of writing for, and about, a society which still laboured under the weight of a 'colonial' stigma. By tracing the movement from his juvenilia to his mature poetry, from his teenage years to adulthood, this study examines the effect of Brasch's personal development on his writing. Partly because of the embargo on his papers, partly because of his secretive nature, his private life has remained a shadow behind poetry which is itself often ambiguous; yet his creative progression was largely determined by the events of this life, both external and internal. Previously, little has been known or written about the decade and a half he spent in Europe. These were crucial years, both in shaping his editorial vision, and in the discovery of his own poetic voice. By means of personal interviews, and recourse to letters in private collections, his story is told: from his arrival in Oxford in 1927, to his final acceptance of New Zealand as his home, in 1945. The first chapter outlines the three years he spent at St John's College, and the general literary context in which he began to write. Chapter Two covers his brief foray into archaeology, and the resultant poetry and unpublished fiction. The importance of German literature - particularly that of Rilke - to his work becomes the focus of Chapter Three. As a direct result of this influence, the second half of the 1930s was dominated by his search for a voice, and a subject, of his own. Chapter Four details this struggle, and the first tentative New Zealand element in his work. A teaching job at Great Missenden - the subject of Chapter Five - temporarily distracted Brasch from developing this theme, yet sources reveal that the country of his birth was never far from his mind. Chapters Six and Seven deal with the effect on his poetry of the growing unease in Europe, the difficult split of allegiances to two hemispheres, and his subsequent commitment to England for the duration of the war. Throughout 1944-5, he became involved in script-writing, and the eighth and final chapter examines the extent of his success in this new genre. His return to New Zealand, late in 1945, marked the apparent beginning of a career which, nonetheless, had its origins in experiences half a world away.

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29

Kohli, Amor. "The demands of a new idiom : music, language, and participation in the work of Amiri Baraka, Kamau Brathwaite, and Linton Kwesi Johnson /." Thesis, Connect to Dissertations & Theses @ Tufts University, 2005.

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Thesis (Ph.D.)--Tufts University, 2005.
Adviser: Modhumita Roy. Submitted to the Dept. of English. Includes bibliographical references. Access restricted to members of the Tufts University community. Also available via the World Wide Web;

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30

Baker, J. "Thomas D'Urfey : the life and work of a restoration playwright." Thesis, University of Birmingham, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368786.

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This thesis is a study of the life and works of Thomas D'Urfey (1653- 1721), a prolific writer of -plays, poetry and operas during the Restoration period. It places him in the context of the theatre of his time and the difficult conditions in which he worked, showing how obscurity of birth and lack of education affected him in his burning desire for success and financial reward. His relationships with great men illustrate the role of the patron in Augustan society, and his long career in the theatre illuminates the principal developments in English drama between 1676 and 1710. The Introduction provides a brief critical survey of the current state of Restoration comedy criticism and of D'Urfey's place in that criticism. Chapters One and Three are primarily biographical; Chapters Two, Four and Five study his plays; Chapter Six takes a broader view of his non-dramatic writing, and Chapter Seven examines his last three comedies and discusses them as precursors of the novel. The final section of Chapter Seven makes some comparisons between Thomas D'Urfey and other dramatists of the period, especially John Dryden, and argues that there is a special interest in the struggle for recognition of an author generally regarded as a failure. The Conclusion summarises the arguments in the thesis for this re-assessment of D'Urfey's interest and importance. Throughout the thesis D'Urfey's work is shown to have many rewards for the modern reader.

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31

Lodge, Sara. "Changing the literary note : parodies, puns and pence in the work of Thomas Hood." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325151.

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Oliveira, Daniele Gomes de. "Dissertação readymadenemtanto da aluna de poesia Rrosé Selavy Duchampignon (work in progress) - ideograma mental /." São Paulo : [s.n.], 2007. http://hdl.handle.net/11449/86988.

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Orientador: Omar Khouri
Resumo: Trabalho crítico-criativo sobre poesia visual. O elástico conceito de ideograma norteou este trabalho. Estrutura. Movimento. Seleção e crítica. Ordenação. Justaposição. de fragmentos. Redes de associações. Conexões. Processos e não produtos acabados. Crescimento sígnico. Universo diagramático. Método heurístico. Poesia e linguagem. O texto é um diagrama, icônico. Aprofundamento. Poesia Concreta. Criou-se a personagem Rrosé Selavy Duchampignon, que relaciona poesia e Duchamp. Síntese criativa. Recorte. Colagem. Montagem. Trabalho com apropriações. Nesta dissertação-livro-de-artista também são apresentados alguns trabalhos de poesia visual. E um termo de compromisso com a arte. Registrado em cartório.
Abstract: Critic-creative work about visual poetry. The elastic ideogram concept guided this work. Structure. Movement. Selection and criticism. O verplapping of fragments. Associantion networks. Connections. Processes and not finished products. Signic growth. Diagrammatic universe. Heuristic method. Poetry and language. The text is an iconic diagram. Deepening. Concrete poetry. The character Rrosé Selavy Duchampignon, relating poetry and Duchamp, was created. Creative synthesis. Cutting. Pasting. Assemblage. Work with appropriations. In this artist-book-dissertation some works of visual poetry are also presented. And an instrument of commitment whit the art. Notarized.
Mestre

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33

Davie, Rosalind. "The other side of silence : the life and work of Mary Webb." Thesis, University of Gloucestershire, 2018. http://eprints.glos.ac.uk/5711/.

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Erika Duncan has commented that ‘because of the intangible sentimental quality of Mary Webb’s special genius, there has been a general reluctance to acknowledge her as a major writer.’ This thesis argues against such dismissive approaches to Webb and makes a case for a re-evaluation of Webb as an unusual writer of pantheist spirituality and nature mysticism and one who can now be appreciated for the ecopoetics of her work. Within this framework the study charts the stylistic qualities of her writing and its mutative shifts through a chronological examination of her work which also includes a biographical account of her life and the major influences which shaped her ideas and writing. Aspects of inter-textuality with other writers will be considered throughout and will underscore the value of Webb’s work whilst emphasising the unique and beautiful quality of her voice. The first chapter, ‘Early Responses’, considers her formative experiences and her earliest essays and poems. ‘Mythological Motifs’ then reviews the mythopoeic nature of Webb’s first two novels and her use of myth in furthering her themes. The ensuing chapter, ‘Preceptive Perception’, evaluates both the didacticism in authorial style and the pertinence of Webb’s vision which are features of her third book. Chapter Four discusses her final two completed volumes as ‘A Dyad’ for they represent, respectively, her weakest and her finest writing. The final chapter, ‘A Medieval Message’, focuses on Webb’s last, incomplete, work, analysing its experimental qualities and its potential to reveal Webb’s last efforts to leave a parting missive for her readers before her death. Central critical concepts are that: in the development of Webb’s religious views from conventional Christianity to pantheism she anticipated modern feminist spirituality; and, in her insistence upon the supreme value of nature and its continual risk from human exploitation in connection with the oppression of women and their need for spiritual freedom, Webb is an unrecognised ecofeminist who was reflecting early twentieth-century issues. In addition, I attempt to discover reasons for Webb’s neglect and positively propose a place for her in literary studies. A Conclusion will summarise the main arguments and indicate possible further avenues of research.

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Ten, Hacken Hilde. "Self-definition through poetry in the work of Gloria Fuertes and Pilar Paz Pasamar in the period 1950-1970." Thesis, St Andrews, 2007. http://hdl.handle.net/10023/421.

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King, Henry Marcus. "'Out from under the body politic' : poetry and government in the work of C.H. Sisson, 1937-1980." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4985/.

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This thesis explores the relationship between government and poetry in the verse, essays, and translations of Charles Hubert Sisson (1914-2003). Theories of sovereignty and government drawn from the work of Giorgio Agamben are used to interrogate these issues in Sisson’s critical and creative writing. Sisson’s work is contextualised within the politics of post-WWII Britain, taking in such issues as the altered relationship between the arts and the state, the decline of the British Empire and the subsequent influx of Commonwealth immigration, the changing status of the monarchy, and the importance of the environment. The thesis is divided into five chapters. The first comprises a preliminary theoretical excursus, focussing on poems by Sisson and C. Day Lewis. The second analyses Sisson’s portrayal of the country and the city, and his own position in relation to them. The third places Sisson’s work in the context of the changing nature of laureateship in the era 1945-1976, comparing his work with that of Philip Larkin and C. Day Lewis. The fourth investigates the politics of translating Virgil after the Second World War, and especially after Enoch Powell’s ‘Rivers of Blood’ speech of April 1968. The final chapter returns to Sisson’s wartime and immediately post-war writings, especially on the subject of India, before moving on to the poems collected in Exactions (1980).

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Mahan, David Craig. "Poetry as public theology : poetic witness in the work of Charles Williams, Michael O'Siadhail, & Geoffrey Hill." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.443486.

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CAMPOS, MONICA BAPTISTA. "POETRY WILL SAVE ME: MYSTIQUE AND AFFECTION FOR A THEOPOETIC CHRISTOLOGY IN THE WORK OF ADÉLIA PRADO." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=34988@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
A teologia tem diante de si o desafio de falar de Jesus Cristo no mundo contemporâneo e a obra de Adélia Prado se apresenta como um raro momento da literatura brasileira em que vislumbramos uma expressão da experiência cristã. Os versos de Adélia Prado nos revelam uma experiência cristológica visceral, afetiva que traduz o ápice da mística cristã: a figura do amor esponsal e erótico, personificado nos amantes ou nos noivos. A mística é o fio condutor que costura literatura e teologia na obra de Adélia Prado. A poética adeliana expressa uma mística centrada no Mistério da Encarnação que valoriza as dimensões que afetam o corpo e o cotidiano, os desejos e sentimentos humanos. A teopoeta nos conduz a olhar a Deus pela beleza e pela glória, pela forma, pelo paradoxo, pelo mistério, pela palavra e pelo silêncio, pelo verso e pelo avesso. Seus textos poético-místicos comunicam uma experiência real e têm força de kerigma. Encontramos na obra adeliana uma cristologia teopoética que também se relaciona com a antropologia, com a estética e com a pneumatologia. Na dimensão antropológica, a teopoética articula uma concepção dinâmica do ser humano em uma perspectiva de crescimento e amadurecimento. Em relação à estética, a perspectiva de Adélia tem o foco direcionado à experiência cristã: Jesus é Poesia de Deus. A cristologia teopoética é construída no afeto pelo Espírito, advém de uma experiência poética – cristopatia – e de um seguimento – cristonomia. É a fala da experiência, uma comunicação da experiência. A poesia me salvará, pois ela guarda o paradoxo do mistério cristão – a beleza do crucificado. Silêncio e palavra, medo e desejo, luz e sombra. Poesia-oração que é discurso dirigido a Deus, processo, metanóia, liberdade e regeneração humanas. A obra poética adeliana é um canto, soprado e inspirado pelo Espírito Santo.
Theology has got the challenge of speaking about Jesus Christ in the contemporary world. Adélia Prado s work presents itself as a rare moment in Brazilian literature in which we can glimpse an expression of the Christian experience. Prado s verses reveal to us a visceral and affective Christological experience that translates the peak of Christian mystique: the figure of engaged and erotic love, personified in lovers or the betrothed. Mystique is the guideline that knits together literature and theology in Adélia Prado s work. Adelian poetics expresses a mystique centered in the Mystery of Incarnation which values the dimensions of love, everyday life, human wishes and feelings. The theopoet leads us to looking to God through beauty, glory, figure, paradox and mystery, through words and silence, on the reverse and inside out. Her poetic-mystic texts communicate a real experience and have the power of a kerigma. We find in Adélia s work a theopoetic Christology, which also relates to anthropology, aesthetics and pneumatology. In the anthropologic dimension, the theopoetics articulates a dynamic conception of the human being from a growing and ripening perspective. As to the aesthetics, Adélia s perspective goes in the direction of the Christian experience: Jesus is God s poetry. Theopoetic Christology is built on the affection by the Spirit. It comes from a poetic experience – Christopathy – as well as from a following – Christonomy. It is the allocution of experience, a communication of experience. Poetry will save me, for it keeps the paradox of the Christian mystery: the beauty of the Crucified. Silence and words, fear and desire, light and shadow. Poetry-action that is a discourse guided by God, a process, a metanoia, human liberty and regeneration. Adélia s poetic work is a chant, blown and inspired by the Holy Spirit.

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Marinaro, Rebeckah. "The effect of group songwriting versus poetry writing on the self-efficacy of adults who are homeless." Thesis, The Florida State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1539252.

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The purpose of this study was to investigate the effect of group songwriting versus poetry writing on the self-efficacy of adults who are homeless. The study was conducted in the day center of an emergency shelter where participants took part in one of two conditions. The treatment condition consisted of a single music therapy songwriting session during which participants ( n = 19) collaboratively wrote lyrics and composed the music for an original song. After the group performed the song together, with the use of handheld percussion instruments, the researcher facilitated a closing discussion. The control condition consisted of a single poetry therapy session during which participants (n = 14) collaboratively wrote a free-verse poem, recited it together, and concluded with a facilitated discussion. Results showed increased mean self-efficacy scores for both conditions, though neither group's improvement was significant. While there was also no significant difference in the amount of change exhibited by one condition as compared to the other, the music group did evidence a stronger trend of movement toward higher self-efficacy. Music participants had higher mean change scores on 4 out of 5 pre/posttest questions, as well as a higher overall mean change score (6% change as compared to 2% in the poetry condition). The products created in each session were analyzed for observable differences. Overlapping themes included: love, peace, happiness, unity, goals, change, positive thinking, and overcoming adversity. The songs composed by the two music therapy groups were written in verse-chorus form and produced between 6 and 8 unique, unrepeated lines. The poem written by the poetry therapy group was through-composed and produced 26 unique lines. The poetry group product also contained more themes, more sub-thematic material and greater complexity, as evidenced by more detailed explication of each idea. The unique strengths of songwriting and poetry writing in this setting were illuminated by their use in this study; specific goal areas best suited to each modality are discussed. Literature reviewed strongly suggests the need for additional research regarding the use of music therapy with adults experiencing homelessness. The results of this study suggest that both music therapy and poetry therapy are effective therapeutic approaches for this population and that songwriting specifically, may have distinct advantages in addressing self-efficacy.

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Casto, Estella Kathryn. "Reading feminist poetry : a study of the work of Anne Sexton, Adrienne Rich, Audre Lorde, and Olga Broumas." Connect to resource, 1990. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1226003868.

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Yorke, Liz. "Towards a whole new poetry : re-visionary mythmaking in the work of Adrienne Rich and other women poets." Thesis, Manchester Metropolitan University, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.292884.

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Barbour, John Francis. "Byron among the classics : a study of the influence of classical poetry on the work of lord Byron." Thesis, Durham University, 1994. http://etheses.dur.ac.uk/5816/.

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This study begins by defining epic to determine if Byron's claims, regarding Don Juan,to be writing an epic, are justified, concluding that though most epics preserve the form ofearlier epics, substituting a different "message" or heroic ethos, Byron, in defiance of thistradition, attempts to preserve the essence of Homeric epic, particularly its new heroicethos, but in a new form. This is where Byron and Vergil's imitations of Homer differ,Byron rejecting both Vergil's manner of imitation and his heroic ethos. In a series ofimitations, Byron parodies Vergil, borrowing his imagery to suggest the unnatural and thesterile. Differences are exposed in their respective treatments of war, Byron advocatingthe self-justifying act of love rather than the consolations of duty and fame offered byVergil, which rely on a perception of cosmic order lacking in Byron's view, a view whichlinks him to Homer and the Attic tragedians. The Greek view of the darkness andconfusion of the cosmos Byron finds congenial, appreciating the opportunities it affordsfor open-endedness, though aware that this open-endedness is always subsumed by largerclosure due to different levels of perspective (actors, chorus, and gods). In ChildeHarold's Pilgrimage, Byron attempts to emulate this multilevelledness as a means todistance himself from the cycles of Nature from which he is painfully excluded due to hismixed body and spirit nature, finally breaking out to channel these cycles of Natureproductively through art. In Byron's dramas, too, there are cycles of evil whose origins liein Attic tragedy. Ever present in Byron, as in classical tragedy, is the Promethean dilemmabetween submission, and defiance leading to inevitable defeat. In his later poetry, Byronis more reconciled to the cycles of life, though continuing his Promethean quest in thefields of love and literature.

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Massie, Jack. "Language poetry and ecopoetry : a shared pragmatic work in A.R. Ammons, Charles Bernstein, Susan Howe, and W.S. Merwin." Thesis, University of East Anglia, 2018. https://ueaeprints.uea.ac.uk/68984/.

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The central aim of this thesis is to demonstrate that A.R. Ammons, Charles Bernstein, Susan Howe, and W.S. Merwin commit to a pragmatic poetic project of working language to facilitate cultural renewal. In illuminating this shared pragmatic work in poems from the turn of the 1990s, the thesis contradicts ecocritical assertions about the inimical relationship between ecopoetry and postmodern poetries such as Language. As ecocriticism established itself as a school of literary criticism in the 1990s, its proponents were damning of the influence postmodern literary theory was exerting on American poetry. Ecocritics argued that postmodernism had dangerously devalued the referential relationship between word and world at a time of escalating environmental crises. Taking Bernstein and Howe as representatives of Language poetry, and Ammons and Merwin as representatives of ecopoetry, the thesis will contest this ecocritical argument by illustrating that these four poets share a vision of poetry as a uniquely positioned medium for rejuvenating language and, subsequently, shifting cultural attitudes in a politically progressive manner. In order to make this argument, the thesis builds on a body of literary criticism which explores American poetry’s debt to American pragmatism. Critics connecting poetry to pragmatism have argued that pragmatists such as William James, Charles Sanders Peirce, and Ralph Waldo Emerson have helped American poets establish an epistemological middle ground between foundationalism and the sceptical side of postmodernism. The poets studied in this thesis extend this tradition of pragmatic poetry by using their writing to engage in an ongoing poetic rejuvenation of language and ideology. Furthermore, the thesis shows how these poets’ pragmatic approach to language and epistemology aligns them the ‘progressive’ side of the Culture Wars which were erupting in the early 1990s.

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Ochoa, Antonio. "Poetics of presence : the work of Oliverio Girondo, Jorge Eduardo Eielson, and the Noigandres Group of Concrete Poetry." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/29303.

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At the end of the nineteenth century there emerged a set of poetic principles that considered the existence of the poem beyond verse, feet, the accepted set of poetic forms and most importantly considered that the poem did not only belong to the realm of temporal arts, but that also could have a presence in space. At the beginnings of the twentieth century Modernism and the avant-garde carried on these principles of innovation. But by the end of the 1930s these efforts seem to reach an end. In Latin America in particular poetry by that time seemed to become more interested in social and historical issues than in experimentation and innovation of forms. However, there were some poets who never abandoned their innovative spirit. It was in the 1950s that a second wave of artists looked back to the spirit of those innovators of Modernism and the historical avant-garde movements in order to reconnect with that tradition. They saw that in their efforts there was a lot more at stake than the simple search for new forms; there was a revolution in the conception of poetry. In their work they found new conceptions about the organisation of the work of literature that could be indicative of a new poetic reality, one where poetry was no longer constrained by time based structures. Those implications reverberated to the very roots of the existence of the work of literature. The works analysed and interpreted in this work belong to that second wave of innovative artists that searched for the extension of the poem out of the realm of temporality and into the domain of space. That is, they wanted to make the poem present in the world. This thesis discusses the work of Argentinean poet Oliverio Girondo, Peruvian poet and artist Jorge Eduardo Eielson, and the Brazilian Noigandres group of concrete poetry in relation to the issues and concepts of presence in their work. New ways of organising the work of literature prompted questions about its way of being. Traditionally the work of literature had been considered a temporal art but with the innovative conceptions of literature and art such consideration had to be put under question. It is not that literature had ceased to be a temporal art but that these authors integrated into their works spatial elements that transformed the way they are, and the way they are read. The works discussed in this thesis indicate their considerations about presence, the presence of the work of literature both as a concept within the works and as an issue to be addressed with the form of the work. This thesis shows the different forms in which these authors explored these issues. Their considerations about presence are ultimately a way to reconsider the 'place' and therefore presence of the work of literature in the simultaneously industrial and underdeveloped reality of Latin America in the second half of the twentieth century.

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Leontis, Evangelia Sophia. "A discussion of Jennifer Higdon's setting of the poetry of Amy Lowell in the chamber work "Love Sweet"." Thesis, The University of North Carolina at Greensboro, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10263740.

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This document provides biographical information for Higdon and Lowell as well as a discussion of Higdon’s compositional style. It also includes a performance analysis of Higdon’s musical setting of Lowell’s poetry in the chamber work Love Sweet. Information is drawn from published materials, an interview with the composer, and an analysis of the score.

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Kelly, Michael Gerard. "Speech and utopia : spaces of poetic work in the writings of Segalen, Daumal and Bonnefoy." Thesis, University of Oxford, 2002. http://ora.ox.ac.uk/objects/uuid:ecd46701-c98b-4887-8cce-74613757b5f9.

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The thesis argues that a certain 'locus' of poetry is perceptible diachronically in the French literary field of the 20^th Century and that this locus (elusive, fragmented, multilayered) may be meaningfully focused upon via the interaction of the questionings centered around the terms 'speech' and 'utopia'. In the introduction an argument is made for the conceptual validity of the term 'utopia' in relation to the diverse literary practices accruing around the pole of the 'poetic', which results in the derivation of the idea of a Utopian dynamic - a vectoral addition to the conventionally static, figure-bound 'utopia'. Concentrating on three poets (Victor Segalen, René Daumal and Yves Bonnefoy) from three distinct generations and periods (pre-WWI, inter-War and post-WWII) which are standardly represented as discontinuous, the thesis proposes an analysis, ordered along three canonical sub-divisions of the Utopian preoccupation (which are three distinct modalities of Utopian space), of the Utopian dynamic argued to be characteristic of the work of poetic writing. The three parts of the thesis thus examine the 'poetic' as occurring within social space (lieu commun), physical space (haut lieu) and textual space (non lieu) over the combined duration of the corpus. Arguing for an intelligible continuity of preoccupation among the three poetic oeuvres discussed, the thesis concludes that that continuity enables, in return, a modification of our understanding of the Utopian, of which a lucid practice of poetic writing can thus become the embodiment. Utopia, from being a synonym for illusionment in a century at all times supremely alive to the need for irony, becomes a creative embrace of disenchantment. The point of resolution (poetic foundation) at each stage in the individual oeuvres analysed being the ongoing representation of the 'human' as inner and outer limit to the poetic subject's practice and to the aspiration from which it moves.

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Oliveira, Daniele Gomes de [UNESP]. "Dissertação readymadenemtanto da aluna de poesia Rrosé Selavy Duchampignon (work in progress) -: ideograma mental." Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/86988.

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Made available in DSpace on 2014-06-11T19:22:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2007Bitstream added on 2014-06-13T19:08:02Z : No. of bitstreams: 1 oliveira_dg_me_ia.pdf: 962417 bytes, checksum: 517fb2982a917fb012d217514abff806 (MD5)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Trabalho crítico-criativo sobre poesia visual. O elástico conceito de ideograma norteou este trabalho. Estrutura. Movimento. Seleção e crítica. Ordenação. Justaposição. de fragmentos. Redes de associações. Conexões. Processos e não produtos acabados. Crescimento sígnico. Universo diagramático. Método heurístico. Poesia e linguagem. O texto é um diagrama, icônico. Aprofundamento. Poesia Concreta. Criou-se a personagem Rrosé Selavy Duchampignon, que relaciona poesia e Duchamp. Síntese criativa. Recorte. Colagem. Montagem. Trabalho com apropriações. Nesta dissertação-livro-de-artista também são apresentados alguns trabalhos de poesia visual. E um termo de compromisso com a arte. Registrado em cartório.
Critic-creative work about visual poetry. The elastic ideogram concept guided this work. Structure. Movement. Selection and criticism. O verplapping of fragments. Associantion networks. Connections. Processes and not finished products. Signic growth. Diagrammatic universe. Heuristic method. Poetry and language. The text is an iconic diagram. Deepening. Concrete poetry. The character Rrosé Selavy Duchampignon, relating poetry and Duchamp, was created. Creative synthesis. Cutting. Pasting. Assemblage. Work with appropriations. In this artist-book-dissertation some works of visual poetry are also presented. And an instrument of commitment whit the art. Notarized.

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47

Ribeiro, Célio Diniz. "Poesia e vida diplomática em Francisco Alvim: Célio Diniz Ribeiro." Niterói, 2017. https://app.uff.br/riuff/handle/1/3224.

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A obra poética de Francisco Alvim explicita, repetidas vezes, questões que englobam o trabalho em geral e a vida diplomática especificamente. Tal fato não apenas o singulariza no cenário da poesia contemporânea, mas promove também uma problematização em torno das contradições existentes entre a prática intelectual no Brasil e o exercício de uma função pública. Neste panorama, percebe-se o quanto o signo trabalho, é uma questão importante em seus textos, tanto pela multiplicidade de sentidos que assume, quanto pelos questionamentos que levanta acerca dos limites do fazer poético na contemporaneidade. Apresentando, por isso mesmo, uma subjetividade cindida, instável e fragmentada numa pluralidade de vozes, sua obra deixa transparecer, desde o primeiro livro, Sol dos Cegos (1968), a consciência da perda de uma aura profética da poesia, como se verifica no próprio oxímoro presente no título. Com uma estética cheia de ironia e de ceticismo, mais do que se contrapor ao estilo retórico, característico do discurso diplomático, sua escrita literária mostra interrelações interessantes com esta práxis. Considerando o fato, o presente estudo tem por objetivo analisar como esses temas são tratados pelo autor e de que maneira o diálogo entre a poesia e a diplomacia apresenta uma convergência de procedimentos tais como a escuta, a assunção de outras vozes e a negociação.
Francisco Alvim’s poetical work often shows issues concerning the work in a general sense and the diplomatic life specifically. This fact not only distinguishes the contemporary poetry scene but also promotes a questioning around the contradictions between intellectual practice in Brazil and the exercise of a public function. Then, we can see how the sign work is an important issue in his texts, both the multiplicity of meanings that it assumes, as we can see in the questions about making poetry limits nowadays. Presenting a split subjectivity, unstable, fragmented in a plurality of voices, his work reveals, from the first book, O Sol dos Cegos (1968), awareness of the loss of the poetry’s prophetic aura, as in the oxymoron shown in the title. With an aesthetic full of irony and skepticism, rather than oppose the rhetorical characteristic style of diplomatic discourse, his literary writing presents some interesting interrelationships in this context. Considering this, the purpose of this investigation is to analyse how those themas have been treated by the author and how the dialogue between those activities, poetry and diplomacy, signs a convergence of procedures as listening, taking on different voices and negotiation.

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48

McLaughlin, Karl P. "'Defragmenting the portrait': Catalina Clara Ramírez De Guzman, extremadura's No Conocida Señora of the golden age. A critical multidisciplinary reappraisal of the work of Catalina Clara Ramírez de Guzmán (Llerena, 1618-c.1684)." Thesis, University of Bradford, 2010. http://hdl.handle.net/10454/4428.

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Modern critical works on the seventeenth-century Extremaduran author Catalina Clara Ramírez de Guzmán are sparse, with the exception of recent interest manifested by a small group of feminist scholars in the United States. Apart from intermittent mentions of her poetry, she is virtually unknown among British Hispanists. This thesis seeks to fill many existing gaps in knowledge on her by providing a broader critical assessment of her surviving poetry than has been available thus far, particularly by situating it and its author within their historical, literary and social contexts and drawing thematic and stylistic analogies with works by other authors, male and female. Part I will concentrate primarily on historical aspects. It will establish the reputation enjoyed by the poet in her day and review references to her work in modern critical literature. It will also provide a detailed reconstruction of the poet¿s family antecedents and discuss the evidence of a literary community in her home city during the period in which she was active as a writer. Part II will focus on the poetry itself, specifically a consideration of the thematic content of a broad representative selection of Ramírez de Guzmán¿s verses, which were not published until nearly two centuries after her death, and an examination of her interaction with the genres of occasional verse, verse portraiture and burlesque and satirical poetry, all of which will be discussed against the background of their respective traditions.

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49

McLaughlin, Karl P. "'Defragmenting the portrait' : Catalina Clara Ramírez De Guzman, extremadura's No Conocida Señora of the golden age : a critical multidisciplinary reappraisal of the work of Catalina Clara Ramírez de Guzmán (Llerena, 1618-c.1684)." Thesis, University of Bradford, 2010. http://hdl.handle.net/10454/4428.

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Modern critical works on the seventeenth-century Extremaduran author Catalina Clara Ramírez de Guzmán are sparse, with the exception of recent interest manifested by a small group of feminist scholars in the United States. Apart from intermittent mentions of her poetry, she is virtually unknown among British Hispanists. This thesis seeks to fill many existing gaps in knowledge on her by providing a broader critical assessment of her surviving poetry than has been available thus far, particularly by situating it and its author within their historical, literary and social contexts and drawing thematic and stylistic analogies with works by other authors, male and female. Part I will concentrate primarily on historical aspects. It will establish the reputation enjoyed by the poet in her day and review references to her work in modern critical literature. It will also provide a detailed reconstruction of the poet's family antecedents and discuss the evidence of a literary community in her home city during the period in which she was active as a writer. Part II will focus on the poetry itself, specifically a consideration of the thematic content of a broad representative selection of Ramírez de Guzmán's verses, which were not published until nearly two centuries after her death, and an examination of her interaction with the genres of occasional verse, verse portraiture and burlesque and satirical poetry, all of which will be discussed against the background of their respective traditions.

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50

George, Joseph A. George Joseph A. "How work enfaiths catechizing in the religious poetry of Denise Levertov ; and, "Writing under observation" : applying a cognitive theory of unreliability to Nabokov's Lolita /." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1340/umi-uncg-1340.pdf.

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Thesis (M.A.)--University of North Carolina at Greensboro, 2007.
Title from PDF t.p. (viewed Oct. 22, 2007). Directed by Christopher Hodgkins and Scott Romine; submitted to the Dept. of English. Includes bibliographical references (p. 27-30, p. 59-64).

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