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Dissertations / Theses on the topic 'Lyric poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Leonard, John. "Lyric and modernity /." Online version, 1994. http://bibpurl.oclc.org/web/22516.

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2

Snarey, Nicola. "Lyric poetry and the positioning of the lyric speaker." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/40731/.

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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

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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.

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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 o

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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.

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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

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5

Crone, Jennifer Helen. "Lyric Constructions." Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/21274.

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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 thi

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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.

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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.

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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 r

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8

Dunham, Rebecca. "The miniature room." Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/4435.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2006.<br>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.

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9

Quipp, Edward. "W.H. Auden and the meaning of lyric poetry." Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/2119.

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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 dema

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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.

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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).

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11

Brady, Bronwyn. "The idea of gaiety in Yeats's lyric poetry." Thesis, Rhodes University, 1990. http://hdl.handle.net/10962/d1015642.

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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 lov

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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.

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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/.

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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

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14

Yeung, Heather Hei-Tai. "Affective mapping : voice, space, and contemporary British lyric poetry." Thesis, Durham University, 2011. http://etheses.dur.ac.uk/929/.

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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 co

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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.

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16

Green, Keith. "A study of deixis in relation to lyric poetry." Thesis, University of Sheffield, 1992. http://etheses.whiterose.ac.uk/1855/.

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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 p

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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.

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18

Lisiecki, Chet. "Lyric Poetry, Conservative Poetics, and the Rise of Fascism." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18532.

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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 ideol

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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.

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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.

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21

Roth, Matthew. "Anything Like Us." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3217/.

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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 t

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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.

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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 Pur

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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.

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24

Simecek, Karen. "Experiencing lyric poetry : emotional responses, philosophical thinking and moral inquiry." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/57957/.

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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 acti

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25

Borodale, S. "Towards a poetics of field theatre : lyric site-based poetry." Thesis, Bath Spa University, 2016. http://researchspace.bathspa.ac.uk/11572/.

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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 in

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26

Shakespeare, Alex Andriesse. "Robert Lowell, Lyric and Life." Thesis, Boston College, 2013. http://hdl.handle.net/2345/bc-ir:104264.

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Thesis advisor: Paul Mariani<br>Robert 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 t

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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.

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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 a

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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.

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29

Skillman, Nikki Marie. "The Lyric in the Age of the Brain." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10543.

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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, w

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30

Oade, Stephanie. "Catullus : lyric poet, lyricist." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:469ce045-65e7-4df3-8a1e-c16e4195b9f7.

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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 mu

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31

Park, Arum. "Truth and Genre in Pindar." Cambridge University Press, 2013. http://hdl.handle.net/10150/622193.

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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, theref

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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.

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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 cl

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33

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.

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34

Zuccato, Edoardo. "Coleridge's Italian background." Thesis, University of York, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306368.

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35

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.

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36

Mack, Joseph Edward. "Teaching the Sermon: Lyric, Narrative, and T. S. Eliot." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/91374.

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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 d

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37

Haines, Robert M. "Inter." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849627/.

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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 personi

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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.

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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.

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Conlon, Rose B. "Toward a New American Lyric: Form as Protest in Claudia Rankine." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1077.

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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,

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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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Cutter, Weston. "After Horses." Thesis, Virginia Tech, 2009. http://hdl.handle.net/10919/76958.

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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.<br>Master of Fine Arts

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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.

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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 e

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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.

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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

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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.

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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 h

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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.

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Thesis (PhD)--Stellenbosch University, 2012.<br>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 lo

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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/.

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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 un

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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.

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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’é

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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.

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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, whic

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Nichols, Casey M. "Stellar Autopsy." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395100975.

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