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Dissertations / Theses on the topic 'Love poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 24 August 2024

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1

Bourgeois, Wendy Renee. "Love(Other)." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/1398.

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The following manuscript is a collection of poems composed largely as direct address to an idealized reader, "the Beloved Other." The poems enact and describe the vagaries of relationship, familial and romantic as well as mystical and intrapersonal.

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2

Quintanilla, Octavio. "Love Poem with Exiles." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28465/.

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Love Poem with Exiles is a collection of poems with a critical preface. The poems are varied in terms of subject matter and form. In the critical preface, I discuss my relationship with poetry as well as the idea that we inherit poems, and that if we are inspired by them, we can transform them into something new.

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3

Warwick, Claire Louise Harrison. "#Love is eloquence' : Richard Crashaw and the development of a discourse of divine love." Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338019.

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4

Buturović, Amila 1963. "Love in the poetry of Ibn Quzmān." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63925.

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5

Al-Shalabi, Marwa. "Caroline love poetry and the Renaissance tradition." Thesis, Bangor University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.331953.

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6

Nikoloutsos, Konstantinos P. "The male beloved in Roman love poetry." Thesis, University of Birmingham, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411118.

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7

Clemenzi-Allen, Benjamin. "Epic." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/983.

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This thesis consists of a collection of poems: two thematic-translations that engage source material for their composition and two anaphoric poems. “A Seeson in Heckk,” an epyllion (or mini-epic), engages Arthur Rimbaud's "A Season in Hell," as it echoes his syntax and translates some of his themes into a portrait of a troubled young speaker familiar but strange to Rimbaud's. “Love Poem,” the first anaphoric poem in the collection, explores the arc of a relationship through surreal, bizarre, and lyrical images that chart the experience of falling in and out of a tumultuous love affair. “THE BOOK OF CLAY” is composed in relation to “The Narrative of the Captivity and the Restoration of Mrs. Mary Rowlandson.” These poems form a surreal, pastiche, thematic-translation of the early American's accounts of her experience during the King Philip's War. “Transplant: Final Lines from a Poem Titled, Cardiology” also uses anaphora, while it explores emotional identity, authenticity, and an overused poetic trope: the heart.

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8

McCullough, Eleanor G. ""Except you ravish me" [microform] : the images of Christ as courtly knight, bridegroom, and mother of the soul as woven through the religious love lyric "In a valey of this restles mynde" /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p048-0326.

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9

Cook, Méira. "Speaking in tongues, contemporary Canadian love poetry by women." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0025/NQ31971.pdf.

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10

Deters, Joseph Michael 1967. "Love and the postmodern: The poetry of Angel Gonzalez." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/289422.

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This dissertation considers the discourse of love in Angel Gonzalez's poetry and the affinity that the poet's amorous verse has with a postmodern aesthetic. Beginning with his first collection and continuing through his last, the study focuses on how the amorous sentiments of the poet are manifested in his work. The evocation of love is quite varied throughout Gonzalez's poetic trajectory. In chapter one, the foundation of the study is set as the poetry of Aspero mundo (1956) is revealed to exhibit some early signs of a postmodern bent. The theoretical works of Julia Kristeva, Roland Barthes and Catherine Belsey are used in order to illustrate and support the relationship of the poetry with postmodernism. Chapter two examines Sin esperanza con convencimiento (1962) and Palabra sobre palabra (1965). Here, the manifestation of a markedly postmodern irony and the apparent fusion of love, language and poetic creation is studied. Among the critical references employed in this chapter are the ideas of Ihab Hassan, Jean Francois Lyotard, and others. Tratado de urbanismo (1967) is the focus of chapter three. Specifically, this chapter considers the use of intertextual elements and their manifestation in the love poetry of this work. The critical ideas of Kristeva, Barthes, Jonathan Culler and Mikhail Baktin form the theoretical underpinnings of this chapter. In addition, the revelation of the manner in which Gonzalez uses love poetry as a tool for social commentary is also explored as the poet assumes a more public voice within the discourse of love. Chapter four studies the next three books of the poet, Breves acotaciones (1967), Procedimientos narrativos (1972) and Muestra (1977). Here, the poet examines his ability to control the linguistic medium, parodies traditional love poetry and many times employs what Michael Riffaterre has termed "ungrammaticalities." In the fifth and final chapter of this dissertation, Prosemas o menos (1985) and Deixis en fantasma (1992) are studied. The importance of poetic ordering as well as the poet's retrospective views on his own mortality and the immortality of his amorous verse are investigated in these final works.

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11

Petrou, T. "Form and love in the poetry of Jacques Roubaud." Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10041895/.

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This dissertation explores the relationship between form and the figuration of love in the poetry of Jacques Roubaud. I begin with Roubaud's decision to institute form at the centre of his poetic practice. While rejecting the freer verse forms associated with Surrealist poetry, Roubaud maintains an ambiguous relationship with the work of Paul Éluard, placing the earlier poet at the heart of his theoretical understanding of an inextricable link between love and poetry, form and memory. I then analyse the particular place of Roubaud's muse within poetic form, and her relation to Roubaud's key concepts of literary constraint and memory. I read parts of Trente et un au cube (1973) through the lens of Lacan's theory of sexual difference and Irigaray's response, finding that the position of Roubaud's poetic beloved in the poems overlaps with that of the reader. Roubaud offers his reader spaces in which to invest her own associations and memory, and to contribute to the productivity of his practice of formal constraint. I go on to consider the differing roles of the Lacanian and Irigarayan sexual disjunction in the relation between the poet and his beloved, particularly expressed through moments of sleep and silence. While it is an ambivalent space, the disjunction may also be the site in which the individuality of both terms in the love relation flourishes, allowing for mobility in that relation. Finally, I reflect on that collaboration between poet and beloved by retracing the journey taken thus far through a selection of subsequent works written as the poet mourns the loss of his wife, Alix Cléo. A key text is Du noir tombe (1985), a poetry collection read here for the first time as relating to Roubaud's loss, and I consider the interaction of Alix Cléo's photography and Roubaud's notion of poetic form.

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12

Zapoluch, Katie. "Love and Failure in the Flyover States." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/580.

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13

Babinski, Annik I. "Okay Cool No Smoking Love Pony." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1937.

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This poetry collection moves from the narrator’s childhood in the marshes of Canada to her coming of age in a new, southern swamp in South Florida. Many of the poems use free verse as well as fairly recent poetic forms like the Golden Shovel and the Pecha Kucha. Others rely on wordplay and nonce forms. Influenced by Hector Veil Temperly, Matthew Zapruder, Dorothea Lasky, Laura Kasischke and Anne Carson, the poems often employ simple language in stream of consciousness, and oscillate between lyric and narrative. These poems are feverish creations inspired by the oracular tradition and induced by the psychic crush of modern life: depression of the body and mind, cultural paranoia, and the decline of nature. The reader is privy not only to the personal biography of the narrator, but also to the inner workings of the narrator’s mind as it encounters and interprets the world.

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14

Miranda, Deborah A. ""In my subversive country" : searching for American Indian women's love poetry and erotics /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/9358.

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15

Lennon, Paul Joseph. "Beyond Neoplatonism : love in the poetry of Francisco de Aldana." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648844.

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16

Seog, Youngjoong. "The concept of love in the poetry of Anna Axmatova." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1342112162.

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17

Jones, S. Hester E. "Some literary treatments of friendship : Katherine Philips to Alexander Pope." Thesis, University of Cambridge, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308236.

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18

Mackey, Matthew C. "When Bird and Fish Fall in Love." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1596.

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A work of poetry that offers a new method of poetics. By examining translation as a means of understanding relationships, this work offers a nuanced manner for the writing and experience of poetry. When Bird and Fish Fall in Love is a close examination of language, relationships, translation, and the intimacy of conflation.

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19

Mason, Jean S. "The figure that love makes : a study of love and sexuality in the poetry of Robert Frost." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66249.

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20

Robidoux, Ken. "Sufficient grace poems /." Morgantown, W. Va. : [West Virginia University Libraries], 2005. https://etd.wvu.edu/etd/controller.jsp?moduleName=documentdata&jsp%5FetdId=3926.

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21

Prezioso, Debra Nicole. "Love and Repair." Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/424.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf
Bachelors
English
Arts and Sciences
Creative Writing

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22

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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23

Ward, Dinah. "Interpreting female-female love in the early poetry of Michael Field." Thesis, University of Sheffield, 2008. http://etheses.whiterose.ac.uk/114/.

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Thesis abstract Michael Field was the pen-name of Katharine Bradley and Edith Cooper, an aunt and niece who wrote closet drama and lyric poetry from the 1880s through to the 1910s. The two women also conducted an intense love relationship, which caught the interest of feminist scholars from the 1970s onwards. Their poems have been read as evidence for the existence of lesbian sexuality during a historical period that was crucial for the emergence of male homosexuality as a form of identity. My aim in this thesis is to assess whether the poetry of Michael Field can indeed be understood as communicating an underlying sense of a lesbian self. I explore the homoerotic and heteroerotic discourse they produce, examining the differences and similarities between this writing and writing by three contemporary men key in the development of male homosexuality. I also question whether their representations of female-female love can be understood as part of a feminist or radical development of ideas. My findings are that while these poems show a strong interest in the formation of identity for the poets, and while that process has some resemblance to the construction of identity in contemporary male writers associated with the emergence of male homosexuality, nevertheless Bradley and Cooper do not produce representations of lesbian sexuality recognisable in the modern sense as a form of sexuality that exists in necessary opposition to female heterosexuality and male homosexuality. Furthermore, I argue that the forms of homoeroticism used to underpin the identities constructed by Bradley and Cooper reproduce and maintain some deeply conservative traditions. I conclude that feminist critics need to be sensitive to historical difference and development, understanding how modern political positions arise from and against previous possibilities, rather than searching for an imaginary cross-historical similarity amongst women to support a present-day feminist social critique.

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24

Onslow, Anna C. "Love and the 'Tema vital' in the poetry of Pedro Salinas." Thesis, Swansea University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678548.

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25

Cousins, Sandra Elizabeth. "The evolution of Pedro Salinas's attitudes to poetry and language : with special reference to the poetry of love." Thesis, University of Cambridge, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293587.

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26

Reno, Seth T. "Amorous Aesthetics: The Concept of Love in British Romantic Poetry and Poetics." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306247314.

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27

Torres, Isabella M. B. "The orphic voice in Garcilaso de la Vega, Quevedo and Bocangel." Thesis, Queen's University Belfast, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.481809.

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28

Beasom, Patrick Timothy. "Oculi Sunt in Amore Duces: the Use of Mental Image in Latin Love Poetry." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1243199325.

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29

Del, Pulgar Manuel-Jesús Moreno García. "La poesía de Nicolás Núńez." Thesis, Durham University, 1996. http://etheses.dur.ac.uk/5199/.

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An exponent of the much maligned form cancionero poetry, Nicolás Núńez was one of the few poets writing in this genre who received some recognition. Some years ago Keith Whinnom produced and edition of Continuación of Cárcel de Amor, Nicolás Núńez's poetic works however remain almost entirely unstudied. The aim of this thesis is to produce a critical study and edition of the poetry of Nicolás Núńez, who epitomises a generation of writers devoted to the game of poetry or the game of love. Exploring this definition of love as a 'courtly pastime', I have sifted the formulaic critical appraisal of courtly love, with the aim of clarifying and revising this critical stand point. In the light of the Herculean effort of Keith Whinnom to bring a breath of fresh air to this rather state field of criticism, the first part of my work, based in 15(^th)C Spain, will seek to define the theme of love in the cancioneros in relation to the theory of love as a play phenomenon, and will proceed to the close examination of a seminal text which reveals the ludic characteristics of this genre. Here I elucidate features essential to an understanding of cancionero poetry, which represents a confluence of three strands: the courtly, the religious and sexual. Unfortunately I have been unable to discover any new details relatives to the identity of Nicolás Núńez. My edition upon his poetic opus which proposes new additions to the canon suggested by Alan Deyermond, precedes my critical study of a poet who represents the final work in a chain of learning originating with the Cancionero de Baena, and who is a magnificent exponent of this highly individual 15(^th)C poetic form. In addition, I have considered issues such as the dating and authorship of LBl. Fundamental to my thesis is the first of the four appendices which make up part three. The remaining appendices are a compilation of previously published texts and critical studies, which provide information germane to the understanding of certain chapters.

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30

Skebe, Carolyn Alifair. "Bird Bones and a Hatched Egg." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2667/.

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A fifty page manuscript of poetry and a critical introduction detailing the poet's aesthetics. Using the idea of the double-image and eroticism, the poet places her work in the category of the surreal. She describes the process of writing poetry born of fragmentary elements as a feminist emergence of agency. The manuscript is composed of four sections, each an element in the inevitable breakdown of a love relationship: meeting, love-making, birth of a child, death. Quotes from various authors of anthropological and fictional texts begin each section to reinforce thematic structure in a process of unveiling the agency of the narrator. The poems are organized as a series, beginning and ending with sequence poems.

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31

Kronenberg, Simeon Geoffrey. "Love in contemporary American gay male poetry: challenges and expansion in the works of Allen Ginsberg, Thom Gunn, Randall Mann, Eduardo C. Corral, Richard Siken and Jericho Brown." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/19725.

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That the gay experience of love is profoundly different from other love experiences is the foundation of this essay and is an idea that will be tested and explored via readings of the works of a group of contemporary American, gay male poets: Allen Ginsberg, Thom Gunn, Randall Mann, Eduardo C. Corral, Richard Siken and Jericho Brown, as flag-bearers of the gay male experience. This paper will investigate the ways in which gay poets view the world, especially in relation to notions of love, and how these are expressed through an identifiable and uniquely gay-male perspective. The research paper is the first section of a two-part project. The second part consists of thirty-three poems that echo some of the core interests of the research paper, centred on the character of the male gay voice in contemporary poetry. Some of these poems have been (or will be) published in various journals and anthologies including Meanjin, Southerly, Cordite, Australian Poetry Journal, Contrapasso and Australian Love Poems, 2013. The poems form part of a manuscript titled The tilted house that will be presented to publishers for possible publication.

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32

Whetnall, J. L. "Manuscript love poetry of the Spanish fifteenth century : Developing standards and continuing traditions." Thesis, University of Cambridge, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377232.

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33

Houghton, L. B. T. "Death and the elegist : Latin love poetry and the culture of the grave." Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604255.

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This thesis examines the treatment of death ritual, burial practice and the afterlife in the corpus of Latin elegy, in the light of what can be provisionally reconstructed of contemporary Roman customs and attitudes regarding death and commemoration. Through close readings of particular passages from Propertius, Tibullus, Ovid and ‘Lygdamus’, certain general tendencies in the elegists’ descriptions of their own and other characters’ demises are identified and set within the context of the genre’s overall development. In this way, the poets’ use of material relating to death, burial and beyond is shown to be an indispensable vehicle for their literary, social and political self-definition. After an introduction reflecting on previous scholarly approaches to the subject and discussing some possible explanations for the popularity of the death motif in elegy, the first main chapter deals with elegiac explorations of the afterlife, setting the elegists’ accounts of their own and others’ posthumous activity in the underworld against ways of visualising the hereafter current at the time. Beginning with Tibullus’ influential and innovatory diptych at 1.3.57-82, we see visions of the next world used programmatically to define and reinforce the earthy ‘life of love’. The next chapter considers the theme of the funeral, in which the elegists’ presentations of their preferred pompae are read as a distillation of their distinctive themes and terminology; in many cases, the details of a character’s funeral reflect and reward his or her performance on the stage of elegy. The final section, devoted to elegiac tombs, analyses the site, form and treatment desired by the poets’ personae for their monuments (and those of other characters), comparing evidence from surviving Roman memorials and inscriptions. Points of particular interest include scenes of shipwreck and the notion of the sea as tomb, and elegiac epitaphs, which crystallise the essential elements of the lover-poet’s experience into memorable lapidary formulae. A brief epilogue summarises the study’s wider implications for the process of elegiac self-fashioning.

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34

McCarthy, Penny. "Muses, mistresses and patrons : the direction and indirection of English renaissance love poetry." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361359.

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35

Mignon, Laurent J. N. "The beloved unveiled : continuity and change in modern Turkish love poetry (1923-1980)." Thesis, SOAS, University of London, 2002. http://eprints.soas.ac.uk/29550/.

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The thesis explores the ideological aspect of modern Turkish love poetry by focusing on the works of major poets and movements between 1923 and 1980. The approach to the theme of love was metaphorical and mystical in classical Ottoman poetry. During the period of modernisation (1839-1923), poets either rejected the theme of love altogether or abandoned Islamic aesthetics and adopted a Parnassian approach arguing that love was the expression of desire for physical beauty. A great variety of discourses on love developed during the republican period. Yahya Kemal sets the theme of love in Ottoman Istanbul and mourns the end of the relationship with the beloved who incarnates his conservative vision of national identity. The Five Syllabists contrast treacherous and sensual love in the city with pure and simple love in the Anatolian countryside, thus reflecting the Anatolianism of the nationalist intelligentsia. Nazim Hikmet approaches the theme from a variety of angles. He explores the links between love and human solidarity and humanises the beloved by writing about her in a realistic context. The Bizarre movement discusses the theme of love in the framework of its subjective realism and focuses more on the effects of love on the individual than on love itself Socialist poets do not approach the theme uniformly but all of them advocate a socially engaged realism and are opposed to the individualism of Bizarre. The movement of the Second Renewal equates love with sexuality and explores its impact on human relationships. Islamist poets too adopt a realist stance. They abandon the idealised gardens of the divan tradition and go on a mystical quest in the harshness of everyday reality. The ideological convictions of all these movements and poets are mainly expressed in the choice of setting of the relationship, in the image of the beloved and in the definition of love.

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36

Hackett, Robert Lincoln <1982&gt. "The Bible in Medieval Love Lyrics: A Fundamental Element of European Poetry Books." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6556/1/Hackett_Robert_Tesi.pdf.

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The focus of this study is the relationship among three different manuscripts (Modena, Bibl. Estense, MS α.R.4.4; Firenze, Bibl. Laurenziana MS Rediano 9; and London, BL, MS Harley, 2253) and the poetry they transmit. The aim of this research is to show the ways that the Bible was used in the transmission of the lyric poetry in the three literatures that they represent: Occitan (primarily through Marcabru’s songs), Italian (through the love poetry of Guittone d’Arezzo), and Middle English (through the Harley love lyrics and the MS.’s primary scribe), in a medieval European context.

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Hackett, Robert Lincoln <1982&gt. "The Bible in Medieval Love Lyrics: A Fundamental Element of European Poetry Books." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6556/.

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The focus of this study is the relationship among three different manuscripts (Modena, Bibl. Estense, MS α.R.4.4; Firenze, Bibl. Laurenziana MS Rediano 9; and London, BL, MS Harley, 2253) and the poetry they transmit. The aim of this research is to show the ways that the Bible was used in the transmission of the lyric poetry in the three literatures that they represent: Occitan (primarily through Marcabru’s songs), Italian (through the love poetry of Guittone d’Arezzo), and Middle English (through the Harley love lyrics and the MS.’s primary scribe), in a medieval European context.

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38

AlKhalil, Muhamed. "Nizar Qabbani: From Romance to Exile." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1336%5F1%5Fm.pdf&type=application/pdf.

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39

Sonoquie, Neesa. "Lucky Creature." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1013.

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Lucky Creature is a collection of poems that considers particular aspects of being human, specifically love, death, isolation, and the nature of knowledge. A primary concern is the body, explored as a vehicle for shame. The role of imagination as a means of escape is also paramount, leading always toward an act of transformation as a chance at immortality in an entropic universe where everything has a shelf life.

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40

Beasom, Patrick Thomas. "Oculi sunt in amore duces the use of mental image in Latin love poetry /." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1243199325.

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Thesis (Ph.D.)--University of Cincinnati, 2009.
Advisor: Kathryn Gutzwiller. Title from electronic thesis title page (viewed July 29, 2009). Keywords: Latin poetry; love poetry; Catullus; Propertius; Ovid; mental image. Includes abstract. Includes bibliographical references.

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41

Bell, Gregory Stuart. "John Donne: Love and Voices in the Elegies and Songs and Sonnets." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15326.

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This thesis argues that Donne's Elegies and Songs and Sonnets found a readership trained to appreciate his words. It draws on the work of Wolfgang Iser. Iser particularly looks at the importance of a text providing a space in which the reader can imagine possibilities that extend his or her world. It is through voices that Donne connects with his readers, and creates worlds and spaces that they can explore. As his poetic control matures, Donne increasingly lives inside the poetic worlds he creates. At first, in the Elegies, his speaker is the societal observer and participant. Through this speaker, Donne will increasingly seek to educate his readers, and have them imagine new ways to approach life and love. In the Elegies, women will be the touchstone against which men measure their worth. In the Songs and Sonnets the speaker develops to be Donne himself, and the measure of worth will change to be the prospect of an androgynous, balanced, constant love. Donne explores the nature of what such a reciprocal love might look like, pushes rhetoric almost to breaking point, and seeks poetic solutions to the questions a challenging world poses. It is Donne's developing awareness of the power of voice that allows him to structure his world, finally face the agonizing loss of Anne, and contemplate a life with God. An awareness of biographical context will at times help to more fully understand his poetry. And it is voices, both real and imagined, that offer the reader the chance to participate in making meaning in that poetry.

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Grave, I. "A study of figurative language in the thirteenth century Italian love lyric based on a repertory, together with an analysis of the correspondence sonnets concerning questions of style." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.384766.

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Torres, Josette Annmarie. "Bodies Degraded by Friction." Thesis, Virginia Tech, 2010. http://hdl.handle.net/10919/77491.

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Bodies Degraded by Friction is a collection of poetry existing in finite spaces. The first section, “A Moment and a Moment and a Moment," attempts to capture in words small passages of time as simple as clicking through a Facebook photo album and as destructive as new love. The second section, “It’s Complicated," is a manuscript in progress detailing a year in the life of an “other woman" negotiating an interpersonal relationship role underrepresented in self-help books and mass media. Several themes run throughout the book: the consequences of the use of technology-mediated communication as digital isolationist mechanisms, the collisions of real/virtual identity and real/virtual place, disruption as a poetic device, and the idea that love is a fleeting and ultimately impermanent state.
Master of Fine Arts

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Lacki, Glenn Christopher. "A conspiracy of love : exile and the double Heroides." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669896.

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Rogers, Donna. "ELIZABETH BISHOP AND HER WOMEN:COUNTERING LOSS, LOVE, AND LANGUAGE THROUGH BISHOP'S HOMOSOCIAL CONTINUUM." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2992.

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This thesis examines Elizabeth Bishop's seemingly understated and yet nuanced poetry with a specific focus on loss, love, and language through domesticity to create a poetic home. In this sense, home offers security for a displaced orphan and lesbian, moving from filial to amorous love, as well as the literary home for a poet who struggled for critical recognition. Further, juxtaposing the familiar with the strange, Bishop situates her speaker in a construction of artificial and natural boundaries that break down across her topography and represent loss through the multiple female figures that permeate her poems to convey the uncertainty one experiences with homelessness. In order to establish home, Bishop sets her female relationships on a continuum as mother, aunt, grandmother, and lovers are equitably represented with similar tropes. In essence, what draws these women together remains their collective and familiar duty as potential caretaker, which is contrasted by their unusual absence in the respective poems that figure them. Contrary to the opinion most scholars hold, Bishop's reticence was a calculated device that progressed her speaker(s) toward moments of self discovery. In an attempt to uncover her voice, her place in the literary movements, and her very identity, critics narrowly define Bishop's vision by fracturing her identity and positing reductive readings of her work. By choosing multiple dichotomies that begin with a marginalized speaker and the centered women on her continuum, the paradox of Bishop's poetry eludes some readers as they try to queer her or simply reduce her to impersonal and reticent, while a holistic approach is needed to uncover the genesis of Bishop's poetic progression. To be sure, Bishop's women conflate into the collective image of loss, absence, and abandonment on Bishop's homosocial continuum as a way to achieve catharsis. Bishop's concern with unconditional love, coupled with the continual threat of abandonment she contends with coursing through her work, gives credence to the homosocial continuum that is driven by loss and love with the perpetual need to create a language to house Bishop from the painful memories of rejection. Bishop situates her speaker(s) in the margins, since it is at the center when the pain of loss is brought into light, to allow her fluid selves release from the prison loss creates. By reading her work through the lenses of orphan, lesbian, and female poet, the progression of her homosocial continuum, as I envision it, is revealed. It is through this continuum that Bishop comes to terms with loss and abandonment, while creating a speaking subject that grows with each poem. Without her continuum of powerful female relationships, Bishop's progression as a poet would be far less revealing. Indeed, defining herself through negation, Bishop's sense of homelessness is uncovered in juxtaposition to her centered female subjects, and I delve into these contestations of space/place as well as her figurations of home/ homelessness to discern Bishop's poetic craft as she channeled the painful details of her past, thus creating her "one art."
M.A.
Department of English
Arts and Humanities
English MA

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Balbi, Alita Fonseca. "'"The less deceived": subjectivity, gender, sex and love in Sylvia Plath's and Philip Larkin's poetry." Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/ECAP-8SBLZ9.

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In this thesis, I make a comparative reading of Philip Larkin's and Sylvia Plath's poetry. The focus of the reading is on how their works discuss subjectivity and interpersonal relations. The analysis takes into consideration three main concepts: subjectivity, gender and love. First I establish a definition of the term subjectivity for the purposes of this analysis, and then compare and contrast the ways in which Larkin's and Plath's poems depict it. I also explore how gender roles are conveyed in their poetry as preconceptions imposed on people, and how these impositions affect in negative ways the relationships between women and men. The third concept, love, is discussed in light of the possibility of the subject to establish more profound emotional connections with the outer world and with others. Such emotional connections are often portrayed as inspiring the speakers poetic sensibility because they allow them to perceive the world in more subjective terms. I argue that both Larkin's and Plath's poetry depict speakers with conflicting views on subjectivity: at the same time they are aware of the constructed nature of social roles, they also believe in a romantic inner self. Even though their works portray social norms and gender roles as deceiving, their speakers still long for more positive deceptions such as friendship and love. For this reason, their speakers are named in this thesis the less deceived, a reference to one of Larkin's poems. In the poems analyzed, being the less deceived has an ambiguous meaning, conveying both positive and negative aspects. While it reflects the speakers awareness of the manipulative paradigms that underlie social interactions, it also shows a feeling of deprivation because of the discredit that falls upon transcendental matters such as religious faith and love, both of which are deceits that the poetic voices long for. Being the less deceived also refers to the fact that knowing the manipulative character of social norms does not mean they are free from it. Instead, the majority of the speakers in Larkins and in Plaths poetry still find themselves entrapped in meaningless social rites and are incapable of changing the society which they try to be, and at the same time avoid being, a part of.
Nessa dissertação, faço uma leitura comparativa das poesias de Philip Larkin e de Sylvia Plath. O foco da leitura é a maneira como suas obras poéticas retratam a subjetividade e as relações interpessoais. A análise leva em consideração três principais conceitos: subjetividade, gênero e amor. Primeiro, estabeleço uma definição do termo subjetividade para o propósito dessa análise, e então comparo e contrasto as maneiras nas quais os poemas de Plath e de Larkin o retratam. Também discuto como os papéis de gênero são vistos nos poemas como (pre)conceitos impostos, e como esses afetam de maneira negativa as relações entre homens e mulheres. O terceiro conceito, amor, é visto como a possibilidade de o sujeito estabelecer ligações emocionais mais profundas com o mundo e as outras pessoas. Tais ligações são freqüentemente retratadas nos poemas como algo que aflora a sensibilidade poética dos sujeitos, já que elas os permitem enxergar o mundo de uma maneira mais subjetiva. Meu principal argumento é que as vozes poéticas nos trabalhos de Plath e de Larkin apresentam visões conflitantes a respeito do conceito de subjetividade: ao mesmo tempo em que elas estão cientes da construção de papéis sociais, elas também acreditam em um eu interior romântico. Embora suas poesias retratem conceitos como normas sociais e papéis de gênero como ilusórios, suas vozes poéticas ainda desejam certas ilusões como a amizade e o amor. Por essa razão, as vozes poéticas dos poemas de Plath e de Larkin são aqui chamadas de menos enganadas, uma referência a um dos poemas de Larkin. Ser o/a menos enganado/a tem um significado ambíguo nesse contexto, refletindo aspectos negativos e positivos. Ao mesmo tempo em que mostra a consciência que as vozes poéticas têm dos paradigmas manipuladores que permeiam as interações sociais, o termo também se refere ao sentimento de privação causado pelo descrédito em questões transcendentais como a fé religiosa e o amor, ambas as quais são ilusões pelas quais essas vozes poéticas anseiam. Ser o menos enganado também se refere ao fato de que saber do caráter manipulador das normas sociais não quer dizer estar livre delas. Pelo contrário, as vozes poéticas nas poesias de Plath e de Larkin ainda se encontram presas em vãos costumes sociais e incapazes de v mudar a sociedade da qual elas tentam, e ao mesmo tempo evitam, ser parte.

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Brewster, Richard. "'Unhappily in love with God' : conceptions of the divine in the poetry of Geoffrey Hill, Les Murray and R.S. Thomas." Thesis, Durham University, 2002. http://etheses.dur.ac.uk/4120/.

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This thesis looks at the poetry of three markedly different contemporary poets, Geoffrey Hill, Les Murray and R. S. Thomas. They are linked by at least tacit belief in Christianity and the Christian world-view, and this belief shapes everything they write, whether explicitly 'religious' or otherwise. My focus throughout the thesis is on Hill, Murray and Thomas's differing conceptions of God, and my explorations of their poetic and religious stances take God as both their starting point and destination. The opening chapter is a general introduction to the possibilities of religious poetry in the modern world, before turning, in chapter two, to Hill, Murray and Thomas themselves and an identification of their religious concerns and sensibilities. The remaining thematic chapters concern themselves with Hill and Murray's explorations of suffering and evil, post-1945; the place of humour and laughter in the religious visions of Murray and Hill; Murray's remarkable sequence of animal poems, 'Presence'; and the figure of Christ in the poetry of Thomas. I conclude with a discussion of T. S. Eliot's misgivings concerning religious poetry, and how Hill, Murray and Thomas avoid writing the limited poetry he identifies. My method throughout is to base my discussion of these three poets on close readings of their individual poems.

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Morton, Matthew Travis. ""Improvisation without Accompaniment" and "What Passes Here for Mountains"." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703355/.

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"Improvisation without Accompaniment" is a lyric investigation into the ways that an awareness of mutability and death can clarify or distort our experience of the world. The poems in this collection draw upon the speaker's small-town Texas upbringing to explore broader questions that arise as a consequence of his burgeoning awareness of mortality: What are the moral imperatives for an individual citizen in a larger political community? What are the bidirectional effects of our relationship with place and the environment? Given the painful transience of human experience, what does it mean to live a good life? The book is characterized by psychological poems that illustrate the mind's movement, poems that use syntactic variation and tonal shifts to indicate an openness to changes of heart and mind. "What Passes Here for Mountains," an in-progress poetry manuscript, is driven by a similar impulse to explore the precise ways that our beliefs and opinions affect our immediate experience. These newer poems address anxieties about climate change, the effects of childhood trauma on the adults those children become, and the obstacles to self-actualization.

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Rodriguez-Carroll, Natasha L. "Red Factor." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1470331179.

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Fraser, Barbara Kelly. "The intimacy of humankind : convergences and divergences and of love in Latin American poetry 1950-1990." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/46116.

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This dissertation examines the interchange between individual and social love, eros and philadelphos in the writings of four Latin American poets of the Cold War Era: Pablo Neruda, Ernesto Cardenal, Gioconda Belli and Raúl Zurita. Chronologically I frame this work beginning with Neruda’s return to writing love poetry in the early 1950’s up until the breakdown of collectivist movements in the late 1980’s with the expansion of capitalism and the return to democracy in the Southern Cone and in parts of Central America. Geographically, I focus on two countries which have had democratic revolutions in the 20th century in which literature has played a social role: Chile and Nicaragua. Drawing on Gilles Deleuze and Félix Guattari’s theories on Romanticism and territorialisation I establish several major points of divergence between eros and philadelphos and then examine the ways each poet manages these differences in their attempt to create a committed poetry oriented towards expressing collective realities and promoting social change

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