To see the other types of publications on this topic, follow the link: Lyric poetry.
Dissertations / Theses on the topic 'Lyric poetry'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Lyric poetry.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Leonard, John. "Lyric and modernity /." Online version, 1994. http://bibpurl.oclc.org/web/22516.
Full text
2
Snarey, Nicola. "Lyric poetry and the positioning of the lyric speaker." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/40731/.
Full textAbstract:
Lyric poetry is frequently viewed by critics as distinct from narrative poetry and prose. This distinction rests largely on the positioning of the lyric speaker vis-à-vis the poet author. Part of any definition of the lyric is the understanding that the lyric speaker is identical to the poet and therefore the poem is the unmediated direct expression of the poet’s thoughts and experiences. These assumptions which are endemic to literary and sometimes linguistic criticism have led to restricted critical studies and a preponderance of inappropriate biographical criticism. This thesis examines how the speakers in certain types of lyric poetry are positioned, and identifies where conceptions of lyric speakers may be causing the problem of the biographical fallacy. The central questions that structure this thesis are: • Why is the lyric speaker so often considered by critics to be identical to the poet and therefore an unmediated direct expression of the poet’s thoughts and experiences? • Can lyric poetry instead make use of the same complexity of perspectives, voices and mediation that narrative prose does? • What linguistic and narratological features in poetry deemed ‘personal’ to the poet might be creating the illusion of personalness, causing us to reduce this potential complexity to unmediated and monologic autobiography? I argue that the assumption that lyric poetry represents the monologic and unmediated voice of the poet is endemic in criticism and without a more precise examination of what lyric speakers do, poetic criticism will continue to fall back on biographical criticism despite the many theoretical attempts to leave it behind. By demonstrating that there is narrativity present in lyric poetry, I argue that narratological concepts can and should be applied to lyric poetry, and therefore I join a growing discussion about how theoretical approaches to poetry can be improved by using the tools that are used to analyse narrative. Overall, my thesis is an application of narrative theory to three distinct types of lyric poetry that best demonstrate the multiperspectivism of the lyric, but are at the same time central examples of the genre: lyric poetry which uses a turn or volta to encode multiple viewpoints, poetry which appears extremely personal and connected to its poet, and poetry based on experiences of real conflict. By using narrative theory (and where necessary drawing on literary linguistic models, such as text world theory, relevance theory and transitivity) , I analyse the point(s) of view expressed in poems considered quintessentially lyric and the positions and levels of mediation that the lyric speaker can adopt, thus demonstrating not only that lyric poetry can make use of the same complexity of perspectives, voices and mediation that narrative prose does, but that the poetic speaker operates in much the same way as that of a prose narrator. I argue that this should cause us to rethink how the speaker in lyric poetry is approached. In addition, I argue that by examining poetry in this way, we can move on from making assumptions about the biographical links between poetry and poets, and instead identify the linguistic features which cause us to assume that such a link is present.
3
Butterfield, Ardis Ruth Teasdale. "Interpolated lyric in medieval narrative poetry." Thesis, University of Cambridge, 1988. https://www.repository.cam.ac.uk/handle/1810/245029.
Full textAbstract:
My doctoral research concerns the use of song within narrative works in the Middle Ages. I have concentrated first on the substantial tradition in Old French of incorporating songs in this manner; and second, on the importance of this tradition to Chaucer, a poet who includes songs in nearly all his narrative poetry, and who was deeply familiar with many of the late thirteenth- and early fourteenth-century French works of this type. In order to demonstrate the connection between this very large range of French narratives and Chaucer, it has been necessary first to define the French tradition on its own terms, since even by French scholars it has rarely been treated collectively, and some of the works have barely been explored. This assessment of the French material has involved a fresh attempt to define the lyric interpolations themselves, when (as in the majority of thirteenth-century works) they take the form of brief snatches of song known as refrains. Since the nature of these refrains has been a source of controversy among French scholars, my study begins by analysing them both as texts and as melodies, in order to assess their status and function within the narratives. I then go on to discuss works ranging from Jean Renart's Guillaume de Dole to Adam de la Halle's Le Jeu de Robin et Marion, to the dits amoureux of Machaut and Froissart. The influence of this French tradition upon Chaucer is examined first of all in Chaucer's early poems, through his direct knowledge and assimilation of Machaut and Froissart and other contemporary French poets. It is then traced, more indirectly, through Chaucer's reading of Boccaccio and Boethius. I thus consider Chaucer's use of Boccaccio's Il Filostrato in the light of Boccaccio's own knowledge of this French tradition from his position in the Angevin court of Naples. In addition, by investigating French translations of Boethius's De Consolatione Philosophiae, I examine the structural importance of this work as a prosimetrum both upon French narratives containing songs, and upon Chaucer's Troilus and Criseyde. In this way I aim to show that the influences upon his practice of combining lyric and narrative are both multiple and multiply connected. The aim of this dissertation is therefore two-fold: first, to contribute to the understanding of a substantial but little-known area of French studies, and second, to renew the discussion of Chaucer's relation to French love poetry by seeing his work as a late medieval development in England of a distinctive, and distinctively French mode of composition. Throughout the course of my work, my wider interest is in the way in which the juxtaposition of the two categories of lyric and narrative shows us that our understanding of medieval genre is in need of refinement. In particular, by taking account of the presence of musical notation in the manuscripts of several of the French narratives, I hope to suggest that some of our assumptions about the 'literary' nature of medieval genres should be revised, especially as works of this type often seem composed precisely in order to create and exploit contrasts of genre of a musical, as well as a poetic kind.
4
Cazzato, Vanessa. "Imaginative worlds in Greek lyric poetry." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.559804.
Full textAbstract:
The thesis examines the imagery of Archaic Greek lyric poetry and its relation to the 'here and now' and to the implied context of performance. Chapter One sets out the conceptual programme and establishes a critical vocabulary. Various theoretical notions are discussed which are drawn from linguistics (deixis and deictic field), philosophy (reference, language games, and possible worlds), and modern literary theory (fictional worlds and text worlds); some new critical tools are established (,imaginative worlds', visual analogies and 'representational planes', the idea of 'degrees of reference'). Chapter Two sets the scene by looking at specific examples drawn from sympotic imagery shared by pottery and poetry. The rest of the thesis exemplifies the theory set out initially through a series of close readings from a broad selection of Archaic Greek monody. The close readings start with smaller scale fragments which conjure up worlds corresponding to circumscribed situations, and progress to poems which conjure up more extensive worlds. Chapters Three, Four, and Five look at diverse kinds of erotic poetry drawn respectively from Anacreon, Ibycus, and Archilochus. Chapter Six takes as its subject- matter the martial elegy of Callinus, Tyrteus, and Mimnermus. Chapter Seven moves from poetry which conjures up a markedly heroic world to poetry which conjures a contrasting unheroic world: the iambic poetry of Hipponax. Chapter Eight turns to a political poem by Solon. Chapter Nine concludes the thesis in a ring composition by returning to erotic poetry (Sappho's) and to the theoretical considerations set out in Chapter One.
5
Crone, Jennifer Helen. "Lyric Constructions." Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/21274.
Full textAbstract:
Refusing an opposition between lyric subjectivity on the one hand and, on the other, a language-based poetry that claims by ‘experimental’ methods to objectively foreground its own processes of construction, the thesis deploys close formalist readings and an original genetic study of textual production to analyse how the lyric ‘I’, or lyric voice, constructs poetic form and meaning. I take as my case study the work of Louise Glück, which is both successful within the MFA and public literary systems and frequently disparaged for possessing a singular, autobiographical voice. I then compare this genetic research and close reading with historicist and formalist theories of lyric poetry, those ‘lyric constructions’ which I term a regime of reading. My formalist and genetic approaches to analysing Glück’s poems, poem sequences, and poetic allegories demonstrate that Glück’s lyric voices are plural. They feature a vast diversity of intertextual, grammatical, and temporal deixis, and are increasingly set alongside non-lyric, narrative or historical poetic voices. Glück’s processes of lyric construction also indicate that the poet facilitates intertextual lyric self-assembly rather than authoring singular autobiography. These results contest the contemporary generic understanding of lyric form. If one defines lyric grammatically as a logical structure of first-person enunciation, lyric poetry gains a more specific, value-free definition, but it also suggests that not all of Glück’s work is lyric. To fully conceptualise this multiplicity I base a new theory of lyric self-construction on a revised understanding of the relation between formal categories and forms of life. I append to my thesis preliminary work toward an analysis of the generic construction of rhythm which contests current prosodic theories that contemporary lyric is largely written in prose, and suggests that rhythm is a more important generic marker of the poetic function than verse form or lineation.
6
Attwood, Catherine. "The poetic #I' in fourteenth- and fifteenth-century French lyric poetry." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260509.
Full text
7
Cheers, Rebecca. "Knowing Anne Brennan: Lyric poetry as feminist biography." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/206891/1/Rebecca_Cheers_Thesis.pdf.
Full textAbstract:
This practice-led thesis explores the use of lyric poetry as a form of feminist biography through the writing of a poetic biography, No Camelias, on the life of Anne Brennan, a figure of Australian literary history whose life has been sparsely recorded, and whose existing historical profile is marred by misogyny and indifference. The creative manuscript is accompanied by an exegetical essay which analyses poetry by Natalie Harkin and Jessica Wilkinson, two poets who explore marginalised histories through contrasting poetic approaches to archival research. Together, these connected components re-present Anne Brennan’s life through feminist grief, subjectivity and empathy.
8
Dunham, Rebecca. "The miniature room." Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/4435.
Full textAbstract:
Thesis (Ph. D.)--University of Missouri-Columbia, 2006.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on July 18, 2008) Includes bibliographical references.
9
Quipp, Edward. "W.H. Auden and the meaning of lyric poetry." Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/2119.
Full textAbstract:
My thesis proceeds from recent critical discussion about the status of the aesthetic object after the decline of high theory of the 1980s and 1990s. The term “singularity”, articulated by critics working with the ideas of Martin Heidegger, has been variously applied to the artwork in the attempt to describe the generative power of art as separable from any historical or political determinants that may shape it. What makes the experience of art “singular”, that is, an experience governed by the artwork itself, without the scaffolding of theory or context? Such a question, I argue, actually demands a return to the first principles of close textual criticism, along with a rigorous approach to genre. The lyric poetry of W. H. Auden provides the ideal material for “singular” criticism. Unpacking the term lyric and redefining it according to Auden’s particular poetics, I consider how Auden inaugurated a new manner of experiencing modern poetry based on the notion, implicit to the conventional understanding of lyric, of vocality. After an account of Heidegger’s influence on contemporary ideas on aesthetics, I consult the work of Theodor Adorno, and later Hannah Arendt, in order to situate Auden’s early work in a European context, opposing the Atlanticism which has governed the vast majority of Auden criticism. Working to restore the power of the first encounter with the poem to historically and philosophically nuanced textual analysis, I present the key works of Auden’s early corpus in a new light.
10
Weingarten, Jeffrey. "Lyric historiography in Canadian modernist poetry, 1962-1981." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121330.
Full textAbstract:
This dissertation focuses on five closely knit writers who, between 1962 and 1981, produced exemplary historiographic poetry that guided their contemporaries. Al Purdy, John Newlove, Barry McKinnon, Andrew Suknaski, and Margaret Atwood were the chief voices of a literary mode that I term "modernist lyric historiography": a meditative modernist lyric that is self-critical, self-consciously incapable of claiming and skeptical about any claim to authority over history, and fundamentally historiographic (in the sense that it synthesizes, discards, and/or critically evaluates fragments of history). Arguably, Purdy was the inaugurator of lyric historiography: in the early 1960s, he experimented with a modernist lyric attentive to a broad vision of Canadian history. Newlove was one of many poets who saw Purdy's lyric historiography as a mode that could be used to provide insight into neglected prairie histories. As part of their search for more intimate connections to history that could sustain longer, narrative poems, McKinnon and Suknaski adapted lyric historiography to explore the familial past. Atwood reimagined lyric historiography as the search for Canadian "foremothers," proto-feminists that could serve as models for the second-wave feminist movement.Addressing the archives, creative writing, and historical contexts of these five writers, this dissertation proposes two primary claims. First, modernism persisted well into the 1970s (and even beyond) and shared with Canadian postmodernism a sophisticated approach to the idea of "history." Second, modernist lyric historiography was a continued investigation into one's ability to claim authority over historical narratives. Many modernists found some measure of such authority by exploring the most intimate connections to the past, which tended to be literal and figurative familial ones.Cette thèse traite de cinq écrivains, qui, entre 1962 et 1981, ont créé des modèles de poésie historiographique, qui ont guidé leurs contemporains modernistes. Al Purdy, John Newlove, Barry McKinnon, Andrew Suknaski et Margaret Atwood ont été les figures principales d'un mode littéraire que nous appelons «l'historiographie lyrique moderniste». Ce terme désigne une poésie lyrique moderniste et méditative, qui est autocritique, réticente à revendiquer une quelconque autorité sur l'histoire et méfiante de cette autorité lorsqu'elle est invoquée, ainsi que fondamentalement historiographique. Au début des années 1960, Purdy expérimente avec la poésie moderniste sur l'histoire du Canada. Newlove considérait l'historiographie lyrique de Purdy comme une manière d'écrire qui pourrait offrir une nouvelle façon de voir le passé négligé des prairies. McKinnon et Suknaski ont adapté l'historiographie lyrique en examinant le passé de leur famille. Atwood a réinventé l'historiographie lyrique en tant que recherche des «aïeules» canadiennes, des proto-féministes qui pourraient servir de modèle à la deuxième génération de féministes. En tenant compte des archives, de l'écriture et des contextes historiques de ces cinq écrivains, cette thèse propose deux idées principales. Premièrement, nous affirmons que le modernisme a persisté durant l'après-guerre et qu'il partageait avec le postmodernisme canadien une approche sophistiquée et critique de l'histoire. Deuxièmement, nous soutenons que l'historiographie lyrique moderniste consistait en un questionnement persistant sur la capacité de revendiquer une certaine autorité concernant un récit historique. Plusieurs modernistes ont trouvé une certaine autorité en explorant les liens les plus intimes avec le passé, qui avaient tendance à être des liens familiaux littéraux et métaphoriques.
11
Brady, Bronwyn. "The idea of gaiety in Yeats's lyric poetry." Thesis, Rhodes University, 1990. http://hdl.handle.net/10962/d1015642.
Full textAbstract:
In June 1917 W.B. Yeats wrote to his father : Much of your thought resembles mine . . but mine is part of a religious system more or less logically worked out, a system which will I hope interest you as a form of poetry. I find the setting it all in order has helped my verse, has given me a new framework and new patterns. (Wade 1954, 627) The new framework and new patterns that he claimed to have found in his system generated a new, and for Yeats, radically different sort of poetry. Before 1919 (The Wild Swans at Coole), the poetry had as its subject various traditional themes: the pity of love; the romance and heroism of Irish mythology; the threat of age, change and death. The poetry up to this point is, formally speaking, highly skillful, but locked into its own admissions of failure to touch or incorporate reality in any but a romantically defeatist way. However, the order which Yeats refers to in his letter, and the system he generated as a propaedeutic to this new order, once assimilated into the habit and texture of the poetry, generated new topics of its own which made those of the earlier work seem subjective, self- indulgent and intellectually uninformed. Yeats's poetry now changed drastically in focus and form, from subjective to objective poetry. Whereas the earlier poetry had opposed reality with romantic heroism or selfdestructive despondency, the poetry subsequent to his change of practice, incorporates a new vision of reality as the intrinsic architechtonics of poetry itself. Now the measure of human and aesthetic completion is no longer an inexplicable and inscrutable sadness, but an intelligent and informed detachment, an energy of mind that Yeats called "gaiety". My thesis explores this energy of mind and what it meant for Yeats and his poetry. My contention is that the idea of gaiety provides a way for Yeats to grant meaning to his life, a way for him to create himself. As the poetry is completed thanks to the new system, so is the poet. In order to see this, it is necessary to read the poems as a series of collections, or stories, that resonate back and forth with meaning and qualification and understanding. Yeats's system is his myth, and he writes his poetry in terms of and informed by that myth, shaping and re-shaping the experience of the created and fictional self until it has meaning in a way that the real self does not. The thesis explores this process of creation firstly in theoretical terms, using Lotman's ideas of Story and Myth, and looking at Yeats's intellectual and poetic inheritance. It goes on to examine some of the great poems in an attempt to define gaiety, and how Yeats achieves it in the poetry, and then to look at the early, pre-system poems to see how they differ. Finally, it takes the last of Yeats's lyric collections, Last Poems, and shows how gaiety works in the most mature poetry when the poems are read as narrative events within a story.
12
Reidmiller, Anne Rekers. "Horace and the Greek Lyric Tradition." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1115397326.
Full text
13
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/.
Full textAbstract:
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.
14
Yeung, Heather Hei-Tai. "Affective mapping : voice, space, and contemporary British lyric poetry." Thesis, Durham University, 2011. http://etheses.dur.ac.uk/929/.
Full textAbstract:
This thesis investigates the manner in which an understanding of the spatial nature of the contemporary lyric poem (broadly reducible to the poem as and the poem of space) combines with voicing and affect in the act of reading poetry to create a third way in which space operates in the lyric: the ‘vocalic space’ of the voiced lyric poem. Together with the poem as and of space, the vocalic space of the contemporary lyric poem gives way to an enunciating I and eye with which we, as reader, identify and which we voice, in a process of ‘affective mapping’. Voice, and the spaces the I/eye of the contemporary lyric poem visualises and articulates, is affective, contested, and multiple. Visual and vocalic identification with the voice of the poem through this free, fragmented, or multiple, I/eye leads us to understand more fully the poem on its own terms. The chapters of this thesis offer readings of John Montague’s The Rough Field, Thomas Kinsella’s A Technical Supplement, Kathleen Jamie’s This Weird Estate, and Alice Oswald’s Dart, as well as the poetry of Seamus Heaney, Thom Gunn and Mimi Khalvati, in order to investigate the implication of this thesis on the way we read, voice, and analyse contemporary British lyric poetry. The work of each poet offers different perspectives on perception, place, and space, and different engagements with the voiced and textual spaces of poetry, from the more formal poetics of Heaney, Jamie, and Gunn, to the experiments with text and image of Montague, Kinsella, and Jamie, the use of different languages by Montague, Jamie, and Khalvati, and the manipulation of the space of the page and angle of poetic vision and voice by Montague, Khalvati, and Oswald. The chapters work almost chronologically from The Rough Field (1972) to Dart (2002) with an emphasis on the importance of space, voice, and affect to the readings of the poems and poets in question.
15
Barton, Anna Jane. "Name and the lyric in the poetry of Tennyson." Thesis, University of Glasgow, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433206.
Full text
16
Green, Keith. "A study of deixis in relation to lyric poetry." Thesis, University of Sheffield, 1992. http://etheses.whiterose.ac.uk/1855/.
Full textAbstract:
This thesis is an examination of the role of deixis in a specific literary genre, the lyric poem. Deixis is seen as not only a fundamental aspect of human discourse, but the prime function in the construction of 'world-view' and the expression of subjective reference. In the first part of the thesis current problems in deictic theory are explored and the relationship between deixis and context is clarified. A methodology for the analysis of deixis in any given text is constructed and the pragmatics of the lyric poem described. The methodology is applied to detailed analyses of selected lyric poems of Vaughan, Wordsworth, Pound and Ashberry. There is a demonstration of how deixis contributes to the functioning of the poetic persona, and the changes in deixis occurring diachronically in the poetry are examined. In conclusion it is demonstrated that although deixis necessarily reflects the changing subjectivity of the poetic persona through time, there are many elements of deixis which are constant across historical and stylistic boundaries. There remains a tension between the constraints of the genre, the necessary functions of deixis and the shifting subjectivities which that deixis reflects.
17
Allen, Edward Joseph Frank. "Lyric technologies : the sound media of American modernist poetry." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708318.
Full text
18
Lisiecki, Chet. "Lyric Poetry, Conservative Poetics, and the Rise of Fascism." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18532.
Full textAbstract:
As fascist movements took hold across Europe in the 1920s and 1930s, there emerged a body of lyric poetry concerned with revolution, authority, heroism, sacrifice, community, heritage, and national identity. While the Nazi rise to power saw the deception, persecution, and brutalization of conservatives both in the Reichstag and in the streets, these themes resonated with fascists and conservatives alike, particularly in Germany. Whether they welcomed the new regime out of fear or opportunism, many conservative beneficiaries of National Socialism shared, and celebrated in poetry, the same ideological principles as the fascists.
Such thematic continuities have made it seem as though certain conservative writers, including T. S. Eliot, Stefan George, and Hugo von Hofmannsthal, were proto-fascist, their work cohering around criteria consonant with fascist ideology. My dissertation, however, emphasizes the limits of such cohesion, arguing that fascist poetry rejects, whereas conservative poetry affirms, the possibility of indeterminacy and inadequacy. While the fascist poem blindly believes it can effect material political change, the conservative poem affirms the failure of its thematic content to correspond entirely to material political reality. It displays neither pure political commitment nor aesthetic autonomy, suspending these categories in an unresolved tension.
Paul de Man's work on allegory hinges on identifying a reading practice that addresses this space between political commitment and aesthetic autonomy. His tendency to forget the immanence of history, however, is problematic in the context of fascism. Considering rhetorical formalism alongside dialectical materialism, in particular Adorno's essay "Lyric Poetry and Society," allows for a more rounded and ethical methodological approach. The poetic dramatization of the very indeterminacy that historically constituted conservative politics in late-Weimar Germany both distinguishes the conservative from the fascist poem while also accounting for its complicity. Fascism necessitated widespread and wild enthusiasm, but it also succeeded through the (unintentional) proliferation of political indifference as registered, for example, by the popularity of entertainment literature. While the work of certain conservative high modernists reflected critically on its own failures, such indeterminacy nonetheless resembles the failure to politically commit oneself against institutionalized violence and systematic oppression.
19
Greentree, Rosemary. "An annotated bibliography of the Middle English lyric /." Title page, contents and abstract only, 1999. http://web4.library.adelaide.edu.au/theses/09PH/09phg815.pdf.
Full text
20
Steffy, Rebecca J. "Jorie Graham's Overlord and the cosmopolitan lyric." Click here for download, 2009. http://proquest.umi.com/pqdweb?did=1833767281&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
Full text
21
Roth, Matthew. "Anything Like Us." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3217/.
Full textAbstract:
Anything Like Us is a collection of poems with a critical introduction. In this introduction, I explore modern alternatives to Romantic and Neo-Romantic lyric expression. I conclude that a contemporary lyric that desires to be, in some fashion, about itself, must exhibit an acceptance of the mediating influences of time and language, while cultivating an inter-subjective point-of-view that does not insist too much on the authority of a single, coherent voice. The poems in Anything Like Us reflect, in both form and content, many of the conclusions advanced in the introduction. Nearly all the poems concern the desire for, and failure to find, meaningful connections in an uncertain world .
22
Hurley, Grant. "The Lyric West : reading the Vancouver Poetry Society, 1916-1974." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42256.
Full textAbstract:
The first Canadian society formally devoted to poetry was founded in Vancouver, British Columbia by six local hobby poets on 21 October 1916. Over the course of nearly sixty years, the Vancouver Poetry Society (VPS) matured into a formidable cultural institution, hosting numerous readings, lectures, plays, gala nights, a radio programme and several publishing enterprises. These activities were supported by an exceptional membership of influential Canadian poets: romantics Charles G.D. Roberts and Bliss Carman in the early years of the Society, and later, modernist poets Dorothy Livesay, Al Purdy, and Pat Lowther, among a wide variety of poets, artists, publishers, and playwrights. I argue that the history of the Vancouver Poetry Society is framed by a constant struggle to generate and maintain cultural authority and distinction in the contested spaces of Canadian literature. Produced by the VPS through the mediation of local and national literary publics with its internal politics and aesthetics, its authority functioned only in conjunction with the vibrant, multivocal circulation of varied and often contradictory literary discourses within its ranks. I document Society efforts to establish authority through an examination of its early history and changes in institutional frameworks into the 1930s, including the appropriation of literary celebrities in the persons of Carman and Roberts, and the adherence to the spiritual and critical language of Theosophy as an ultimate guiding authority. Secondly, I narrate the Society’s accommodation and cautious encouragement of modernism. Finally, I briefly trace the Society’s loss of cultural capital after its increasingly consistent disavowal of modernism.
23
Milburn, Erika Louisa. "Lyric poetry in sixteenth-century Naples : Luigi Tansillo (1510-1568)." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324288.
Full text
24
Simecek, Karen. "Experiencing lyric poetry : emotional responses, philosophical thinking and moral inquiry." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/57957/.
Full textAbstract:
To date, the most substantial accounts of our engagement with literature have focused on prose-fiction, in particular the novel, drawing on issues of plot, character and narrative in explaining our understanding of literary works. These accounts do not consider how the poetic features of a literary work may affect our reading experience and how this contributes to the meaning of the work. In this thesis I show the philosophical importance of the experience of reading poetry for the role it can play in inquiry, in particular, how such an experience can facilitate philosophical thinking and active inquiry. Adopting a reader-response view of our engagement with poetry, I argue that the experience of reading lyric poetry can make a valuable contribution to philosophical inquiry by enriching our conceptual understanding. The reading experience helps us to forge explicit awareness of our concepts and the networks of associations and beliefs that determine our use of them. Understanding poetry necessarily requires attending to the unity of form and content, and the particular perspectives on offer in the poem. This complex whole sustains perspectives and emotions where character and narrative are lacking. I argue that the perspectival nature of our reading experience is important for philosophical inquiry into aspects of human life. Encountering the perspectives of the poem helps to activate our own perspectives through our emotional and intellectual responses, bringing into focus what we value. I apply this argument to the moral domain, arguing that poetry can facilitate moral inquiry in particular by exposing moral significance in our concepts, helping us to feel what is at stake, and by testing our moral understanding. The way in which the poetic examples discussed engage us emotionally, imaginatively and cognitively (through the reading experience) help us address moral questions from distinctive and valuable perspectives, which provide us with moral insights of value in philosophical inquiry.
25
Borodale, S. "Towards a poetics of field theatre : lyric site-based poetry." Thesis, Bath Spa University, 2016. http://researchspace.bathspa.ac.uk/11572/.
Full textAbstract:
This thesis defines a poetics of writing the sequence of lyrigraphs, Mouth. My process was to write live, on site; deep within the caves, mines, quarries, geological and archaeological horizons of the Mendip hills in Somerset. I begin with a descent into Swildon's Hole and end with a resurfacing from Eastwater Cavern: dynamic accounts that chart the actual process of composing lyrigraphs underground. In the borderland between the surface and the subterranean, mouths of caves align with the mouth of poetic speech. Lyrigraph records a language of coincidence in the condition of late style. My introductory chapter provides literary and autobiographical context of the impulsive and coincidental mechanisms in my writing practice, in the evolution of what I call 'lyrigraph'. In Chapter One, against the work of Ted Hughes, I explain how lyrigraph (from the Greek lyric and graphos) is a text written on site in which I log moments of 'poetic' utterance and which requires a potent present (the time in which a lyrigraph happens) and field theatre (encounters brought into relation as the lyrigraph is written). Chapter Two, maps the specific topographies and histories of the Mendip as actants in the field theatre of my writing live on site. In Chapter Three, I argue that lyrigraph enables acts of writing in which physical and metaphorical experiences of darkness in landscape converge. Chapter Four describes my archive as a living entity drawn from objects and memory in which the buried landscape is both represented and physically included. In the final chapter, drawing on the works of Ortega y Gasset and Edward Said, the emergence of metaphor and transformative language is explored as a place of mysterious survival from which moments of lyric utterance might be unearthed.
26
Shakespeare, Alex Andriesse. "Robert Lowell, Lyric and Life." Thesis, Boston College, 2013. http://hdl.handle.net/2345/bc-ir:104264.
Full textAbstract:
Thesis advisor: Paul MarianiRobert Lowell, Lyric and Life investigates the meaning of autobiography as it is represented and produced by the work of art. I begin by tracing Lowell's poetics to the highly personal Romanticism of William Wordsworth and the highly impersonal Modernism of T.S. Eliot, Ezra Pound, and Allen Tate. Reading Lowell's writing in light of this dual inheritance, I am able to point out the limitations of calling Lowell's poetry "confessional" and to propose a model of the lyric self that accounts for the significant semiotic and psychological complexity that goes into the making of a lyric "I." I argue that, from a reader's point of view, Lowell's autobiographical poems are more creations of experience than they are records of experience; that, although the reader is supposed to believe he is "getting the real Robert Lowell," what he really gets is a fictive representation. Taking hold of what Robert Lowell called the "thread of autobiography" that strings together his life's work, I then trace the changing role of Lowell's autobiographical lyric self in a series of three chapters. The first of these chapters concerns the manuscript drafts and published poems of Life Studies (composed from 1953-1959) and, through attention to Lowell's revisions, demonstrates the great extent to which Lowell fictionalized his experience: for instance, by omitting some of the most personal details of the poems in favor of elegant prosodic or thematic composition. The next chapter takes up what I designate "the Notebook poems" (the sonnets published between 1967 and 1972 in the volumes Notebook 1967-68, Notebook, History, and For Lizzie & Harriet), examining the ways in which Lowell's move to New York City and his readings of Hannah Arendt, Eric Auerbach, Simone Weil, and Herbert Marcuse (among others) affected his views of the lyric self in relation to history. This chapter ends by arguing for the Dantesque contours of the Notebook poems, and again takes a close look at Lowell's drafts, including an unpublished essay on Dante. A final chapter examines two ekphrastic autobiographical poems ("Marriage" and "Epilogue"), from Lowell's final volume, Day by Day (1977), in relation to poems by Elizabeth Bishop and William Wordsworth. It concludes by showing, through a close reading of "Epilogue" and its drafts, Lowell's own retrospective concern to question and doubt the autobiographical pursuits of his poetry. A brief epilogue draws the variegated threads of these chapters together and offers a final reflection on the inextricable knot of Lowell's lyrics and his life by way of reading his final poems and the biographical record of his death
Thesis (PhD) — Boston College, 2013
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: English
27
Holt, Timothy. "Fighting in the shadow of epic : the motivations of soldiers in early Greek lyric poetry." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:0e705e39-2ba1-4ac0-9833-f4f6afb04af2.
Full textAbstract:
This thesis explores the theme of the motivation of soldiers in Greek lyric poetry while holding it up against the backdrop of epic. The motivation of soldiers expressed in lyric poetry depicts a complex system that demanded cohesion across various spheres in life. This system was designed to create and maintain social, communal, and political cohesion as well as cohesion in the ranks. The lyric poems reveal a mutually beneficial relationship between citizen and polis whereby the citizens were willing to fight and potentially die on behalf of the state, and in return they received prominence and rewards within the community. It is no coincidence that these themes were so common in a genre that was popular at the same time as the polis and citizen army were both developing.
28
Mallette, Karla. "Medieval Sicilian lyric poetry, poets at the courts of Roger II and Frederick II." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq35235.pdf.
Full text
29
Skillman, Nikki Marie. "The Lyric in the Age of the Brain." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10543.
Full textAbstract:
This dissertation asks how the physiological conception of the mind promoted by scientific, philosophical and cultural forces since the mid-twentieth century has affected poetic accounts of mental experience. For the cohort of poets I identify here—James Merrill, Robert Creeley, A.R. Ammons, John Ashbery, and Jorie Graham—recognition that fallible, biological mechanisms determine the very structure of human subjectivity causes deep anxiety about how we perceive the world, exercise reason, and produce knowledge. These poets feel caught between the brain sciences’ empirical vision of the mind, which holds the appeal of a fresh and credible vocabulary but often appears reductive, and the literary tradition’s overwhelmingly transcendental vision of the mind, which bears intuitive resonance but also appears increasingly naïve. These poets find aesthetic opportunity in confronting the nature of mind: Merrill takes up forgetting as a central subject, making elegant, entropic monuments out of the distortions and perforations of embodied memory; Ammons and Creeley become captivated by the motion of thinking, and use innovative, dynamic forms to emphasize the temporal and spatial impositions of embodiment upon the motions of thought; Ashbery luxuriates in the representational possibilities of distraction as a structural and thematic principle; Graham identifies the anatomical limits of the visual system with our limits of empathetic perspective, conceiving of her poems as prostheses that can enhance our feeble power to imagine other minds. In a host of significatory practices that reimagine lyric subjectivity in physiological terms, these poets’ ambitious and influential oeuvres reveal the convergence of “raw” and “cooked” post-war poetries in a set of fundamental suppositions about our aptitudes as observers, knowers, and interpreters; this convergence exposes the vestiges of the Romantic mind in modernism’s empowered conception of the poetic imagination. Uniquely equipped to explore meaningful correspondences between physiological and literary form, the contemporary lyric defies the novel’s preeminent position in the study of literary consciousness by demonstrating an enterprising talent for philosophical investigation of the experience of mind.
30
Oade, Stephanie. "Catullus : lyric poet, lyricist." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:469ce045-65e7-4df3-8a1e-c16e4195b9f7.
Full textAbstract:
There exists between lyric poetry and music a bond that is at once tangible and grounded in practice, and yet that is indeterminate, a matter of perception as much as theory. From Graeco-Roman antiquity to the modern day, lyrical forms have brought together music and text in equal partnership: in archaic Greece, music and lyric poetry were inextricably (now irrecoverably) coupled; when lyric poetry flowered in the eighteenth century, composers harnessed text to music in order to create the new and fully integrated genre of Lieder; and in our contemporary age, the connection between word and music is perhaps most keenly felt in pop music and song 'lyrics'. In 2016, the conferral of the Nobel Prize for Literature on Bob Dylan brought to wider public attention the nature of lyric's poetical-musical bond: can Dylan be considered a poet if the meaning, syntax and expression of his words are dependent upon music? Is music supplementary to the words or are the two so harnessed that the music is in fact a facet of the poetic expression? The connection between music and poetry is perfectly clear in such integrated lyric forms as these, but a more indeterminate connection can also be felt in 'purely' musical or poetic works - or at least in the way that we perceive them - as our postRomantic, adjectival use of the word 'lyrical' shows. Describing music as lyrical often suggests that it carries an extra-musical significance, a deeply felt emotion, something akin to verbal expression, while a lyrical poem brings with it an emotive aurality and a certain musicality. Text and music of lyrical quality may, therefore, invoke the other for the purpose of expression and emotion so long as our understanding of lyric forms remains conditioned by the appreciation of an implied music-poetry relationship This thesis works within the overlap of music and poetry in order to explore the particular lyric voice of Catullus in the context of his twentieth-century musical reception. Whilst some of Catullus's poems may have been performed musically, what we know of poetry circulation, publication and recitation in first-century BCE Rome suggests that the corpus was essentially textual. Nevertheless, Catullus's poetry was set to music centuries later, not in reconstruction of an ancient model, but in new expression, suggesting not only that composers of the twentieth century found themes in Catullus's poetry that resonated in their own contemporary world but that they found a particular musicality, something in the poetry that lent itself to musical form. I argue that it is in these works of reception that we can most clearly identify the essence of Catullan lyricism. Moreover, by considering the process of reception, this thesis is able to take a broader view of lyric, identifying traits and characteristics that are common to both music and poetry, thus transcending the boundaries of individual art forms in order to consider the genre in larger, interdisciplinary terms.
31
Park, Arum. "Truth and Genre in Pindar." Cambridge University Press, 2013. http://hdl.handle.net/10150/622193.
Full textAbstract:
By convention epinician poetry claims to be both obligatory and truthful, yet in the intersection of obligation and truth lies a seeming paradox: the poet presents his poetry as commissioned by a patron but also claims to be unbiased enough to convey the truth. In Slater's interpretation Pindar reconciles this paradox by casting his relationship to the patron as one of guest-friendship: when he declares himself a guest-friend of the victor, he agrees to the obligation ‘a) not to be envious of his xenos and b) to speak well of him. The argumentation is: Xenia excludes envy, I am a xenos, therefore I am not envious and consequently praise honestly’. Slater observes that envy may foster bias against the patron, but the problem of pro-patron bias remains: does the poet's friendship with and obligation to his patron produce praise at the expense of truth?
32
Gamble, Miriam Claire. "Form, genre and lyric subjectivity in contemporary British and Irish poetry." Thesis, Queen's University Belfast, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491942.
Full textAbstract:
This thesis engages with the usc of traditional forms, and the role of the lyric subject, in contemporary poetry. It carries out close readings on the work of five contemporary poets (Derek Mahon, Michael Longley, Paul Muldoon, Don Paterson and Simon Armitage) and highlights points of intersection and influence between their various oeuvres. The thesis also challenges critical readings which suggest the existence of significant 'generational' differences in Northern Irish poetry from the 1960s onwards, and reveals, by dose attention to the poems themselves, that the critical perception of a clear barrier existing between the formal 'conservatism' of one generation and the 'experimentalism' of the next is unfounded and incorrect. By linking the formal procedures of Paul Muldoon to pre-existing strategies perceptible in the work of two earlier poets, Michael Longley and Derek Mahon, it reveals a more fruitful pattern of exchange and influence, and highlights ways in which the two earlier writers, via their manipulation of form and subject, may be seen to engage with 'radical' concepts habitually perceived to be beyond their purview. To this end, the thesis also interacts with theories of form, language and subjectivity. Finally, by extending its reach beyond Northern Ireland to include the work of two emergent British poets, Don Paterson and Simon Armitage, the thesis argues that the formal approaches of Northern Irish poetry continue to exert visible intluence on new writing, thus challenging arguments which suggest these techniques to be redundant, retrograde or site-specific. Using the figure of Paul Muldoon as intermediary, it asserts the significance of Muldoon's formal inheritance to his influence on younger writers, and argues for recognition of the means by which Armitage and Paterson straddle the conventional binaries of labels like 'mainstream' and 'experimental.'
33
Zuccato, Edoardo. "Coleridge's Italian background." Thesis, University of York, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306368.
Full text
34
Sutherland, Catherine S. "The lyric poetry of Johann Christian Gunther as a paradigm of the transition from Baroque to Englightenment." Thesis, Goldsmiths College (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307981.
Full text
35
Owen, Ruth J. "The poet's role : lyric responses to German unification, by poets from the GDR." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324345.
Full text
36
Mack, Joseph Edward. "Teaching the Sermon: Lyric, Narrative, and T. S. Eliot." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/91374.
Full textAbstract:
This thesis is an examination of the subsection of T. S. Eliot's The Waste Land that is aptly named "The Fire Sermon." The hybrid nature of this famous poem makes it open to a variety of readings, and these readings are often conflicting. Thus, the work, in spite of being a seminal text in literature, can be difficult to teach due to the complexity of the piece itself. This fact makes choosing a pedagogical approach to teaching The Waste Land a challenge. With the goal of making Eliot's poem more explorable, this thesis will undertake the task of an examination of "The Fire Sermon" using two distinctive theories. The theories in question are the theory of the lyric, exemplified by Jonathan Culler's writing, and the theory of heteroglossia established by Mikhail Bakhtin. However, that analysis will be merely a stepping stone for a more strictly pedagogical question that this project seeks to answer. That question is, namely, the query of which branch of contemporary theory, narrative or lyric, is more apt to present the issues inherent in "The Fire Sermon" in an effective and teachable manner. Both positions have a number of positive attributes and elements that make them uniquely suited to the examination of Eliot's writing.Master of Arts
Teaching poetry can be a difficult task. The basic question of “Why should I study poetry?” is one that many a professor has had to answer. While the scholarly community has done a decent job of articulating the value of the liberal arts, the specifics of how to teach difficult poetry is more of a gray area in scholarship. Certainly, a number of articles, opinions, and theories on how to best teach poetry exist, but creating a clear blueprint with examples of how to apply complex theories to a poem is essential to guiding new instructors into the field of teaching poetic works before an audience. This thesis is a work that shows several of the methods of studying poetry via an examination of several important poetic and narrative theories and the theorists that created said methods, and then the thesis undertakes a practical examination of a poem, a section of T. S. Eliot’s The Waste Land. The purpose of this thesis is to make critical theories and abstract ideas more applicable and valuable as usable tools in the classroom, rather than having them exist as ideas without a practical application. Knowledge is, after all, something made to be shared.
37
Haines, Robert M. "Inter." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849627/.
Full textAbstract:
This dissertation is has two parts: a critical essay on the lyric subject, and a collection of poems. In the essay, I suggest that, contrary to various anti-subjectivists who continue to define the lyric subject in Romantic terms, a strain of Post-Romantic lyric subjectivity allows us to think more in terms of space, process, and dialogue and less in terms of identity, (mere self-) expression, and dialectic. The view I propose understands the contemporary lyric subject as a confluence or parallax of imagined and felt subjectivities in which the subject who writes the poem, the subject personified as speaker in the text itself, and the subject who receives the poem as a reader are each repeatedly drawn out of themselves, into others, and into an otherness that calls one beyond identity, mastery, and understanding. Rather than arguing for the lyric subject as autonomous, expressive (if fictive) "I,” I have suggested that the lyric subject is a dialogical matrix of multiple subjectivities—actual, imagined, anticipated, deferred—that at once posit and emerge from a space whose only grounded, actual place in the world is the text: not the court, not the market, and not a canon of legitimized authors, but in the relatively fugitive realm of text. In this way, there is no real contradiction between what Tucker terms the intersubjective and the intertextual. The lyric space I am arguing for is ultimately a diachronic process in which readers take up the poem and bring that space partially into their bodies, imaginations, and consciousness even as the poem brings them out, or to the edge, of each of these.
38
Rhodes, Pamela Elizabeth. "Faulkner's lyric plots : an approach to selected writings 1920-29." Thesis, Keele University, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.257448.
Full text
39
Rosenbaum, Susan B. "Professing sincerity : modern lyric poetry, commercial culture, and the crisis in reading /." Charlottesville : University of Virginia press, 2007. http://catalogue.bnf.fr/ark:/12148/cb41002315z.
Full text
40
Conlon, Rose B. "Toward a New American Lyric: Form as Protest in Claudia Rankine." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1077.
Full textAbstract:
This thesis argues that Claudia Rankine's two American lyrics destabilize the subject-object dialectic underwriting American lyricism. First, I consider Don’t Let Me Be Lonely’s rejection of spectatorship, insofar as spectatorship objectifies the suffering of the Other. Second, I analyze Citizen’s subversion of the lyric “I”, particularly as it vocalizes the “you”-position traditionally relegated to poetic object. I suggest that both works, by returning power to the object, manifest an aesthetic disruption to the racially-based power dialectic underpinning American lyric tradition. Eventually, I propose that Rankine mobilizes the poem as a future-space for the realization of an ideal politics.
41
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.
Full text
42
Cutter, Weston. "After Horses." Thesis, Virginia Tech, 2009. http://hdl.handle.net/10919/76958.
Full textAbstract:
After Horses is a a collection of narrative and verse poems centered loosely around the idea or theme of how to create meaning from the fracture and detritus of daily life. Also under obsessive consideration throughout: loneliness, the risk of human connection, the risk of a lack of human connection, the impossibility of language, hope as illuminating and good thing, hope as desperate and devouring thing, and an underlying fear and awareness of the fact that no one can be sure of what ultimately matters, anyway.Master of Fine Arts
43
Choi, Jung Ja. "Writing Herself: Resistance, Rebellion, and Revolution in Korean Women's Lyric Poetry, 1925--2012." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13070020.
Full textAbstract:
Despite a recent global surge in the reception and translation of Korean women poets, there has been surprisingly little scholarship on this topic. This dissertation aims to expand the focus of Western scholarship beyond the Korean male canon by providing the first in-depth analysis of the works of Korean women poets in the 20th and 21st centuries. The poets I chose to examine for this study played a critical role in revolutionizing traditional verse patterns and in integrating global socio-political commentary into modern Korean poetry. In particular, by experimenting widely with forms from epic narrative, memoir in verse, and shamanic narration to epistolary verse and avant-garde styles, they opened up new possibilities for Korean women's lyric poetry. In addition, they challenged the traditional notion of lyric poetry as simply confessional, emotional, passive, or feminine. Their poetry went beyond the commonplace themes of nature, love, and longing, engaging with socio-political concerns such as racial, class, and gender discrimination, human rights issues, and the ramifications of the greatest calamities of the 20th century, including the Holocaust, the Korean War, and the Kwangju Uprising. Unlike the dominant scholarship that tends to highlight the victimization of women and their role as passive observers, this project shows Korean women poets as active chroniclers of public memory and vital participants in global politics and literature. The multifaceted and detailed reading of their work in this dissertation facilitates a more nuanced understanding of the complexity of 20th-and 21st-century women's lives in Korea.East Asian Languages and Civilizations
44
Curtis, Sarah. "REVEALING INFLUENCE: EXPLORING BRITISH IDENTITY, SEXUAL POWER, AND LYRIC AMBIGUITY IN SPENSER, KEATS, AND TENNYSON." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/theses/1728.
Full textAbstract:
The poets of the Romantic period and before learned their craft by reading poetry. John Keats fell in love with poetry when he was about seventeen and became a powerhouse in the canon of poetic literature by reading and thinking about poetry—what it is, how it’s made, and its value. Although critics regularly consider multiple sources, and even trace influence from one poet to another, influence is rarely the focus of critical analysis, but is instead a method of that analysis. Influence is not merely a tool, but a lens through which to understand more fully how poetry’s form and themes evolve over time, and perhaps how they devolve as well. This thesis traces the influences of Spenser in Keats’s The Eve of St. Agnes, and draws connections beyond the Romantic period to demonstrate how Spenser’s world-making, Keats’s lush language, and a tradition of re-evaluating sexual power roles and definitions of chastity carries through to the future, specifically Tennyson’s The Idylls of the King. My argument focuses on three major aspects of these poets’ work: definitions of chastity; using legend and poetry to shape English identity; and the varied uses of poetic language in lyric poetry to create ambiguity which reinforces and forces interpretations of these themes beyond the poems they reside in.
45
Jeffery, Ella M. "Dead Bolt: Unhomely renovations and contemporary Australian poetry." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/122955/1/Ella_Jeffery_Thesis.pdf.
Full textAbstract:
Australia is in the grip of an obsession with house renovation. This practice-led thesis examines how acts of house renovation can be represented, interrogated and contested in lyric poetry, arguing that the renovated house is an unhomely, liminal space. The project consists of a 90-page collection of poetry titled Dead Bolt, and an exegesis titled Intimate Architecture. Using lyric poetry, the project reveals that the renovated house is a deeply unhomely space, one which is both familiar and strangely unfamiliar: a space that encapsulates both the destroyed house of the past and the unknown house of the future.
46
Pieterse, Annel. "Language limits : the dissolution of the lyric subject in experimental print and performance poetry." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71855.
Full textAbstract:
Thesis (PhD)--Stellenbosch University, 2012.ENGLISH ABSTRACT: In this thesis, I undertake an extensive overview of a range of language activities that foreground the materiality of language, and that require an active reader oriented towards the text as a producer, rather than a consumer, of meaning. To this end, performance, as a function of both orality and print texts, forms an important focus for my argument. I am particularly interested in the effect that the disruption of language has on the position of the subject in language, especially in terms of the dialogic exchange between local and global subject positions. Poetry is a language activity that requires a particular attention to form and meaning, and that is licensed to activate and exploit the materiality of language. For this reason, I have focused on the work of a selection of North American poets, the Language poets. These poets are primarily concerned with the performative possibilities of language as it appears in print media. I juxtapose these language activities with those of a selection of contemporary South African poets whose work is marked by the influence of oral forms, and reveals telling interplays between media. All these poets are preoccupied with the ways in which the sign might be disrupted. In my discussion of the work of the Language poets, I consider how examples of their print poetics present the reader with language fragments, arranged according to non-syntactic principles. Confronted by the lack of an individuated lyric subject around whom these fragments might cohere, the reader is obliged to make his/her own connections between words, sounds and phrases. Similarly, in the work of the performance poets, I identify several aspects in the poetry that trouble a transparent transmission of expression, and instead require the poetry to be read as an interrogation of the constitution of the subject. Here, the ―I‖ fleetingly occupies multiple, shifting subject positions, and the poetic interplay between media and language tends towards a continuous destabilising of the poetic self. Poets and performers are, to some extent, licensed to experiment with language in ways that render it opaque. Because the language activities of poets and performers are generally accommodated within the order of symbolic or metaphoric language, their experimentation with non-communicative excesses can be understood as part of their framework. However, in situations where ―communicative‖ language is expected, the order of literal or forensic language cannot accommodate seemingly non-communicative excesses that appear to render the text opaque. Ultimately, I am concerned with exploring the manner in which attention to the materiality of language might open up alternative understandings of language, subjectivity and representation in South African public discourse. My conclusion therefore considers the consequences when the issues opened up by the poetry – questions of self and subject, authority and representation – are translated into forensic frameworks and testimonial discourse.
AFRIKAANSE OPSOMMING: My proefskrif bied ‘n breedvoerige oorsig van ‘n reeks taal-aktiwiteite wat die materialiteit van taal sigbaar maak. Hierdie taal-aktiwiteite skep tekste wat die leser/kyker noop om as vervaardiger, eerder as verbruiker, van betekenis in ‘n aktiewe verhouding met die teks te tree. Die performatiewe funksie van beide gesproke sowel as gedrukte taal vorm dus die hooffokus van my argument. Ek stel veral belang in die effek wat onderbrekings en versteurings in taal op die subjek van taal uitoefen, en hoe hierdie prosesse die die dialogiese verhouding tussen lokale en globale subjek-posisies beïnvloed. Poëtiese taal-aktiwiteite word gekenmerk deur ‘n fokus op vorm en die verhouding tussen vorm en inhoud. Terwyl die meeste taalpraktyke taaldeursigtigheid vereis ter wille van direkte kommunikasie, het poëtiese taal tot ‘n mate die vryheid om die materaliteit van taal te gebruik en te ontgin. Om hierdie rede fokus ek selektief op die werk van ‘n groep Noord-Amerikaanse digters, die sogenaamde ―Language poets‖. Hierdie digters is hoofsaaklik met die performatiewe moontlikhede van gedrukte taal bemoeid. Voorts word hierdie taal-aktiwiteite met ‘n seleksie kontemporêre Suid-Afrikaanse digters se werk vergelyk, wat gekenmerk word deur die invloed van gesproke taalvorms wat met ‘n verskeidenhed media in wisselwerking gestel word. Al hierdie digters is geïnteresseerd in die maniere waarop die inherente onstabiliteit van linguistiese aanduiers ontgin kan word. In my bespreking van die werk van die Language poets ondersoek ek voorbeelde van hul gedrukte digkuns wat die leser voor taalfragmente te staan bring wat nie volgens die gewone reëls van sintaks georganiseer is nie. Die gebrek aan ‘n geïndividualiseerde liriese subjek, waarom hierdie fragmente ‘n samehangendheid sou kon kry, noop die leser om haar eie verbindings tussen woorde, klanke en frases te maak. Op ‘n soortgelyke wyse identifiseer ek verskeie aspekte wat die deursigtige versending van taaluitinge in die werk van sekere Suid-Afrikanse performance poets belemmer. Hierdie gedigte kan eerder gelees word as ‘n interrogasie van die proses waardeur die samestelling van die subjek in taal geskied. In hierdie gedigte bewoon die ―ek‖ vlietend ‘n verskeidenheid verskuiwende subjek-posisies. Die wisselwerking van verskillende media dra ook by tot die vermenigvuldiging van subjek-posisies, en loop uit op ‘n performatiewe uitbeelding van die destabilisering van die digterlike ―self.‖ Digters en performers is tot ‘n mate vry om met die vertroebelingsmoontlikhede van taal te eksperimenteer. Omdat die taal-aktiwiteite van digters en performers gewoonlik binne die orde van simboliese of metaforiese taal val, kan hul eksperimentering met die nie-kommunikatiewe oormaat van taal binne hierdie raamwerk verstaan word. Hierdie oormaat kan egter nie binne die orde van letterlike of forensiese taal geakkommodeer word nie. Ten slotte voer ek aan dat ‘n fokus op die materialiteit van taal alternatiewe verstaansraamwerke moontlik maak, waardeur ons begrip van die verhouding tussen taal, subjektiwiteit en representasie in die Suid-Afrikaanse publieke diskoers verbreed kan word. In my slothoofstuk oorweeg ek wat gebeur as die kwessies wat deur die bogenoemde performatiewe taal-aktiwiteite opgeroep word – vrae rondom die self en die subjek, outoriteit en representasie – binne ‘n forensiese raamwerk na die diskoers van getuienis oorgedra word
47
Fleming, Morna Robertson. "The impact of the Union of the Crowns on Scottish lyric poetry, 1584-1619." Thesis, University of Glasgow, 1997. http://theses.gla.ac.uk/2553/.
Full textAbstract:
This thesis examines the impact on Scottish lyric poetry of the Union of the Crowns in 1603 by making a detailed analysis of the separate Scottish and English literary traditions before 1603, highlighting the peculiar features which identify national traits. In the course of this analysis it is seen that English influence on the themes and topoi of Scottish writing is not particularly marked, although a drive towards English orthography is seen in printed works of the 1580s and thereafter increasingly in original Scottish writing. Following the Union of the Crowns, the lyric products of the united kingdoms are analysed by 'school' in order to determine how much of the distinctively Scottish voice that had been previously identified is still detectable. The accepted view is that Scottish poetry simply disappeared by a process of attrition as Scottish poets found they could not compete with their English contemporaries, but it is my contention that even where Scottish poets deliberately adapted their writing to the styles of English groupings of poets, they maintained a strongly individual Scottish voice. The Scottish poetical traditions and themes continue well into the seventeenth century and beyond the scope of this thesis, maintained through the habitual practice of keeping manuscript collections and commonplace books.
48
Lohöfer, Astrid. "Ehics and Lyric Poetry : Language as World-Disclosure in French Symbolism and Canadian Modernism." Thesis, Montpellier 3, 2013. http://www.theses.fr/2013MON30082.
Full textAbstract:
S’inscrivant dans le tournant éthique survenu il y a peu en théorie littéraire, cette étude analyse la relation entre éthique et poésie moderne, avançant que les implications éthiques de ces textes ne sont pas seulement enrichies par, mais aussiindissociables de l’emploi créatif et non-conventionnel de la langue rencontré dans ce courant. La majorité des articles consacrés à la critique éthique se concentrent sur la transmission explicite de valeurs morales par le biais de romansou de nouvelles – sans tenir compte de la complexité linguistique renfermée par l’énoncé lyrique – ou assimilent l’éthique de la littérature, de façon très généralisée, à des phénomènes purement esthétiques à l’instar de l’expérience textuelleémanant de l’altérité ou de l’indécidabilité – et contournent de ce fait les préoccupations éthiques concrètes de chacun des textes. Dans le but d’atteindre une compréhension plus nuancée de la relation entre éthique et poésie (moderne), je propose d’envisager la parole lyrique comme un lieu de révélation du monde ouvrant de nouvelles perspectives sur les questions éthiques qui restent voilées ou dissimulées dans le discours ordinaire. Cette idée a été développée par MartinHeidegger et Paul Ricoeur, qui, dans leurs écrits sur l’art et la littérature, se penchent sur la manière dont les textes poétiques rompent avec les contraintes du discours institutionnel et rendent au langage son pouvoir expressif originel. [etc.]Situated in the context of the recent ethical turn in literary theory, this study examines the relationship between ethics and modernist poetry, arguing that the ethical implications of these texts are not only enriched by, but also inseparable from, the creative, unconventional use of language typical of this genre. The majority of studies in the field of ethical criticism either focus on the explicit transmission of moral values in novels and short stories, while ignoring the linguistic complexity at the heart of lyric utterance, or equate the ethics of literature, in a very generalized way, with purely aesthetic phenomena such asthe textual experience of alterity or undecidability, thereby bypassing the concrete ethical concerns of individual texts. In order to attain a more nuanced comprehension of the relationship between ethics and (modernist) poetry, I propose to view lyric language as a site of world-disclosure opening up new perspectives on ethical issues that remain veiled or hidden in ordinary speech. This idea has been elaborated by Martin Heidegger and Paul Ricoeur, whose writings on art and literature engage with the ways in which poetic texts break the constraints of institutionalized discourse and return language to its original, expressive power. [etc.]
49
Hutton, Mark. "Only the Earth Remains: Exploring the Machine in Selected Lyric Poetry of Robinson Jeffers." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etd/3322.
Full textAbstract:
In The Machine in the Garden: Technology and the Pastoral Idea in America, Leo Marx “evaluates the uses of the pastoral ideal in the interpretation of American experience” (Marx 4). While Marx explores ways that pastoralism has been impacted by factors such as industrialism, it is the purpose of this project to explore Marx’s assertion regarding the presence of the figurative and literal machine within the poetry of Robinson Jeffers.
Jeffers’ poetry is generally located within the landscapes of California. His lyric poetry has a distinct connection to the land and is driven by inhumanism, which works to shift the “emphasis and significance from man to not-man…” (Oelschlaeger 246). Jeffers’ machine like elements highlight the relationship between the natural world and humanity’s intrusion; in doing so, Jeffers furthers Marx’s supposition that American literature continues to be impacted by the machine, by “forces working against the dream of pastoral fulfillment” (Marx 358).
50
Nichols, Casey M. "Stellar Autopsy." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395100975.
Full text