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Dowson, Jane. "Modern women's poetry 1910-1929." Thesis, University of Leicester, 1998. http://hdl.handle.net/2381/30283.
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In tracing the publications and publishing initiatives of early twentieth-century women poets in Britain, this thesis reviews their work in the context of a male-dominated literary environment and the cultural shifts relating to the First World War, women's suffrage and the growth of popular culture. The first two chapters outline a climate of new rights and opportunities in which women became public poets for the first time. They ran printing presses and bookshops, edited magazines and wrote criticism. They aimed to align themselves with a male tradition which excluded them and insisted upon their difference. Defining themselves antithetically to the mythologised poetess; of the nineteenth century and popular verse, they developed strategies for disguising their gender through indeterminate speakers, fictional dramatisations or anti-realist subversions. Chapter Three explores the ways in which women's poems of the First World War register the changing ideologies of gender and nationalism. Chapter Four identifies a 'conservative modernity' in women who avoided femininity, through universal speakers and the conventional forms of male-associated traditions, but there is also a covert woman's agenda, particularly in the love lyrics of Vita Sackville-West. The remaining chapters recognise women's participation in modernist innovation through radical aesthetics or radical subject matter. In 'The British Avant-Garde', the most significant experimentalist in Edith Sitwell, but the less well-known work of Nancy Cunard, Iris Tree and Helen Rootham, is also considered. Chapter Six, 'The Anglo-American Avant-Garde', includes American women who lived in Britain or who were indirectly influential through the network of writers in London, Paris and New York: H.D., Amy Lowell, Gertrude Stein, Laura Riding, Marianne Moore and Mina Loy. The final group of 'Female Modernists', Charlotte Mews, May Sinclair, Edna St. Vincent Millay, Anna Wickam and Sylvia Townsend Warner, project a feminist consciousness in negotiation with poetic formalism. They indicate women's progress towards a new self-asserting aesthetic.
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Reddy, Colleen. "Ecological consciousness in modern Australian poetry." Thesis, Queensland University of Technology, 1998.
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One of the most significant issues confronting humanity as the twentieth century draws to a close is that concerning environmental degradation. This study posits the dual notion that at the centre of any movement to protect the earth from further degradation there must be a change in the predominant anthropocentric worldview, and that there is a role for poets to help bring about such change by
writing ecologically-conscious poetry. The study explains what is meant by ecological consciousness as distinct from a
conservation or environmental ethic. There follows a brief discussion of Deep Ecology (the philosophical perspective which, along with others, critiques human domination of nature) and a survey of relevant literature. The growth of an Australian poetic and the concomitant development of an Australian relationship with the land are also surveyed. Then, through a process of close reading, comparative analysis and discourse, the work of a number of poets (both
indigenous and non-indigenous) is considered for its ecological awareness. The study highlights some pivotal ideas for the development of a new worldview:
these are the development of a non-anthropocentric perspective of nature similar to that embraced by adherents of Deep Ecology; acceptance of the notion that nature
is ambivalent (that the cycle of life is also a cycle of death and decay); and the possible use of indigenous people's deeply ecological relationship with the land as
a basic model on which to build a new worldview. The study contends that only poetry which is grounded in ecocentrism, rather than anthropocentrism, can claim to be ecologically-conscious. It concludes by reaffirming the need for poets to
encourage a change in the prevailing anthropocentric worldview by adopting a deeply-ecological focus on nature in some of their poetry.
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Juknytė, Ernesta. "Modern religious consciousness in Lithuanian exodus poetry." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100426_163046-20195.
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Quint, Arlo. "Nine New Poets: An Anthology by Arlo Quint." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/QuintA2004.pdf.
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McCarthy, Erin Ann. "“Get me the Lyricke Poets”: Poetry and Print in Early Modern England." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338379173.
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Manfredi, Paul Richard. "Decadence in modern Chinese poetry problems and solutions /." access full-text online access from Digital dissertation consortium, 2001. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3024264.
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Campbell, Maria Regina. "Mourning the father-figure in modern American poetry." Thesis, University of Ulster, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551595.
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The purpose of this thesis is to illustrate the process of mourning within the works of five key 'confessional' poets: Robert Lowell, Theodore Roethke, John Berryman, Sylvia Plath and Anne Sexton. I will use a psychoanalytical framework to explore the reverberations of a father's death in their poetry. I will illustrate the various methods employed by these poets to reconnect with this deceased figure in their poetry. By using psychoanalytical theories from Sigmund Freud to John Bowlby, I will illustrate the various pathways of mourning adopted by each of these poets and show how contemporary grief studies offer an enhanced understanding of the struggles implicit within their recovery from a father's death. I will ascertain whether these poets were driven by their need for psychological closure or whether they were searching for a means to express previously repressed and often contradictory emotions. I will also evaluate the extent of cathartic relief experienced on imaginatively exhuming their fathers in their poetry, illustrating the psychic dangers inherent within this aesthetic intrusion into the sensitive area of a father's death. I will argue that, more often than not, this process of revisiting unsatisfactory father-child relationships, rather than signalling psychic recovery, actually serves to inflate old grievances and mire the poets deeper within the trauma of that loss. Finally, I will consider the future of personalised verse through the poetry of Sharon Olds while evaluating the achievements and limitations of her predecessors.
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Rutter, Mark. "Visual art and the book in modern poetry." Thesis, University of Southampton, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438695.
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MacKenzie, Garry Ross. "Landscapes in modern poetry : gardens, forests, rivers, islands." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5910.
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This thesis considers a selection of modern landscape poetry from an ecocritical perspective, arguing that this poetry demonstrates how the term landscape might be re-imagined in relation to contemporary environmental concerns. Each chapter discusses poetic responses to a different kind of landscape: gardens, forests, rivers and islands. Chapter One explores how, in the poetry of Ian Hamilton Finlay, Douglas Dunn, Louise Glück and David Harsent, gardens are culturally constructed landscapes in which ideas of self, society and environment are contemplated; I ask whether gardening provides a positive example of how people might interact with the natural world. My second chapter demonstrates that for Sorley MacLean, W.S. Merwin, Susan Stewart and Kathleen Jamie, forests are sites of memory and sustainable ‘dwelling', but that deforestation threatens both the ecology and the culture of these landscapes. Chapter Three compares river poems by Ted Hughes and Alice Oswald, considering their differing approaches to river sources, mystical immersion in nature, water pollution and poetic experimentation; I discuss how in W.S. Graham's poetry the sea provides a complex image of the phenomenal world similar to Oswald's river. The final chapter examines the extent to which islands in poetry are pastoral landscapes and environmental utopias, looking in particular at poems by Dunn, Robin Robertson, Iain Crichton Smith and Jen Hadfield. I reflect upon the potential for island poetry to embrace narratives of globalisation as well as localism, and situate the work of George Mackay Brown and Robert Alan Jamieson within this context. I engage with a range of ecocritical positions in my readings of these poets and argue that the linguistic creativity, formal inventiveness and self-reflexivity of poetry constitute a distinctive contribution to contemporary understandings of landscape and the environment.
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Ghaderi, Farangis. "The emergence and development of modern Kurdish poetry." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/22267.
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This thesis challenges the traditional literary criticism’s definition of modern poetry and the explanation of its emergence as a radical break with the past in the 1930s and 1940s and conducted by Abdula Goran, “the father of modern Kurdish poetry”. In traditional criticism, the classification of poetry is based on its formal features and modern poetry is characterized by abandoning the classical metrical system (aruz), and employing syllabic meter and free rhyme schemes. However, guided by Lotman’s theory of literary change, this thesis offers a more nuanced approach to the study of modern poetry and examines its emergence as a process of literary change that unfolded through the oeuvre of several poets, starting from the late nineteenth century and culminating in the 1940s. Exploring the process of the poetic change in time and investigating the mechanism of the transformation, three stages of transformation are identified which are represented by the works of Hacî Qadirê Koyî, Rehîm Rehmê Hekarî, and Pîremêrd. A close reading of the works of the selected poets reveals a gradual move from the classical norms and conventions of poetry and a successive introduction of new perspectives, rhetoric, and literary devices into the poetic system. This thesis argues that modern Kurdish poetry emerged in response to the advent of modernity and nationalism in Kurdish society. The study argues that modern poetry was the literary form which accompanied the emergence of Kurdish nationalism, a phenomenon which can be equated with the role played by the novel in Europe. Poetry played a significant role in constructing and disseminating Kurdish nationalism, making it intelligible to uneducated people. The examination of the evolution of modern poetry in this study has revealed lesser known aspects of the formation and the development of Kurdish nationalism and has brought to light the neglected contribution of Kurdish religious intellectuals.
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O'Rourke, Maureen. "The experience of exile in modern Arab poetry." Thesis, SOAS, University of London, 2009. http://eprints.soas.ac.uk/28768/.
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This thesis is a study of how exile has affected the work of several Arab poets of the latter half of the twentieth century, set against the political background of nationalism, the end of colonialism and the resultant Arab regimes, the effects of modernisation and globalisation, and the ramifications of the establishment of Israel. It also makes comparisons with recent theories of exile literature and of literary movements. The analysis is structured in three sometimes overlapping areas: firstly, depiction of the pain, insecurity and dangers of exile and of its causes, including elements of committed and resistance poetry; secondly, the search for affiliation, both through nostalgia and the Palestinians' claim to their country, and in substituting for old linkages a 'poetic terrain' or networks of real or virtual connections; and, thirdly, the creation of new poetics by changes in the form, content and philosophy of Arabic poetry, through fruitful interaction with the Arab heritage - the use of historical figures and genres, creative use of classical forms and metres, and, often by inversions, of classical topoi - in conjunction with, but not subsumed by, interaction with both the European heritage and with the contemporary avant-garde. The psychological effects of the disruptions of exile, and attempts to create meaning and identity are also taken into account, as well as the question of how poetry can be a vehicle for the expression of suffering and/or for raising political issues. Exiled Arab poets of the last half century, like other exiled poets, have made a significant contribution to their culture, especially in the field of modernist poetry, and have begun to establish it in world literature. And, because they have experienced so much, they have had much to say.
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Cairns, Daniel. "As it likes you early modern desire and vestigial impersonal constructions /." Waltham, Mass. : Brandeis University, 2009. http://dcoll.brandeis.edu/handle/10192/23236.
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Pitzer, Jennifer Christine. "Reading the city the urban environment in modern poetry /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 8.06 Mb., 70 p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1435855.
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Skerratt, Brian Phillips. "Form and Transformation in Modern Chinese Poetry and Poetics." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11116.
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Hu Shi began the modern Chinese New Poetry movement by calling for the liberation of poetic forms, but what constitutes "form" and how best to approach its liberation have remained difficult issues, as the apparent material, objective reality of literary form is shown to be deeply embedded both culturally and historically. This dissertation presents five movements of the dialectic between form and history, each illustrated by case studies drawn from the theory and practice of modern Chinese poetry: first, the highly political and self-contradictory demand for linguistic transparency; second, the discourse surrounding poetic obscurity and alternative approaches to the question of "meaning"; third, a theory of poetry based on its musicality and a reading practice that emphasizes sameness over difference; four, poetry's status as "untranslatable" as against Chinese poetry's reputation as "already translated"; and fifth, the implications of an "iconic" view of poetic language. By reading a selection of poets and schools through the lens of their approaches to form, I allow the radical difference within the tradition to eclipse the more familiar contrast of modern Chinese poetry with its foreign and pre-modern others. My dissertation represents a preliminary step towards a historically-informed formalism in the study of modern Chinese literature.East Asian Languages and Civilizations
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Khalifa, Abdelwahab Ali. "Problems of translation of modern Arabic poetry into English." Thesis, University of Exeter, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.441806.
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Giannakopoulou, Aglaia. "Ancient Greek sculpture in modern Greek poetry, 1860-1960." Thesis, King's College London (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322258.
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Smith, Katherine Jo. "Ovidian female-voiced complaint poetry in early modern England." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/95225/.
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This thesis explores the genre of Ovidian female-voiced complaint poetry and its tradition in early modern English literature. In looking at original poems, translations and receptions of Ovid’s Heroides, I argue that female as well as male writers throughout the early modern period engaged with the tradition of Ovidian female-voiced complaint poetry. By using case studies advancing chronologically throughout the period, I will also show how female-voiced complaint changes and develops in different historical and literary contexts. Nobody as yet has produced a study looking at a large sample of women writing female-voiced complaint. The criticism around complaint is diffuse, with only a small number of book-length studies which focus on complaint in general as a genre or discourse. There are many articles or chapters on individual complaint poems but not many which compare different female-voiced complaints of the same period, especially those written by women. When female poets write in the genre, the rhetorical trope of Ovidian female-voiced complaint (that the sex of the author is discontinuous with that of the speaker) must be renegotiated. This renegotiation by female poets is often the result of close and learned engagement with the traditions of complaint, both the classical precedents and the receptions and re-imaginations of the genre in early modern England. They are choosing a genre which has a productive potential in being female-voiced but which also has a tradition of male manipulation. However, rather than seeing women writers as existing separately from male writers, I argue that they work in parallel, drawing on the same Ovidian complaint traditions.
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Quin, Jack. "W.B. Yeats, modern poetry, and the language of sculpture." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/19146/.
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This thesis explores the relationship between poetry and sculpture in the work of W.B. Yeats (1865-1939). I focus on Yeats’s poetical and critical engagement with Celtic Revival statuary, public monuments in Dublin, the coin designs of the Irish Free State, abstract sculpture by the Vorticists and the modernists, and a variety of objets d’art. The thesis shows that beyond constructing vague analogies between sculptural form and poetic form, Yeats’s lifelong engagement with a range of sculptors and sculpture movements led to more nuanced pairings of poetics and sculptural aesthetics. Drawing on archives, letters, contemporary articles and debates, this thesis foregrounds the poet’s engagement with sculptors and art writing on sculpture that have received only partial and fragmentary attention to date. Chapter one traces Yeats’s art school education, where he studied with George Russell and the sculptors Oliver Sheppard and John Hughes, and his imagining of an inter-arts Celtic Revival from 1884 to 1901. Chapter two examines his responses to Dublin public monuments and political readings of sculpture from 1898 to 1925. In chapter three I consider his role in redesigning the Free State coinage and his interest in Carl Milles and Ivan Meštrović, from 1926 to 1928. Chapter four examines Yeats in conversation with the sculpture writing of Henri Gaudier-Brzerska and Ezra Pound that proliferated the modernist ‘little magazines’ of early-twentieth century London, and the poet’s subsequent fascination with Constantin Brancusi. The fifth and final chapter surveys Yeats’s late poetry on sculpture and some of the profounder sculptural-poetic pairings borne from a lifelong interest in the art of sculpture. This project contributes to the intersecting fields of Yeats studies, Irish literary and visual culture studies, and new modernist studies.
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Campbell, Alexandra. "Archipelagic poetics : ecology in modern Scottish and Irish poetry." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/9102/.
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This thesis examines a range of poets from Ireland, Northern Ireland and Scotland from the Modernist period to the present day, who take the relationship between humans, poetry and the natural world as a primary point of concern. Through precise, materially attentive engagements with the coastal, littoral, and oceanic dimensions of place, Louis MacNeice, Hugh MacDiarmid, Derek Mahon, Michael Longley, Kathleen Jamie, John Burnside, Moya Cannon, Mary O’Malley and Jen Hadfield, respectively turn towards the vibrant space of the Atlantic archipelago in order to contemplate new modes of relation that are able to contend with the ecological and political questions engendered by environmental crises. Across their works, the archipelago emerges as a physical and critical site of poetic relation through which poets consider new pluralised, devolved, and ‘entangled’ relationships with place. Derived from the geographic term for ‘[a]ny sea, or sheet of water, in which there are numerous islands’, the concept of the ‘archipelago’ has recently gained critical attention within Scottish and Irish studies due to its ability to re-orientate the critical axis away from purely Anglocentric discourses. Encompassing a range of spatial frames from bioregion to biosphere, islands to oceans, and temporal scales from deep pasts to deep futures, the poets considered here turn to the archipelago as a means of reckoning with the fundamental questions that the Anthropocene poses about the relationships between humans and the environment. Crucially, through a series of comparative readings, the project presents fresh advancements in ecocritical scholarship, with regards to the rise of material ecocriticism, postcolonial ecocriticism, and the ‘Blue Humanities’.
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Dinh, Minh Hang. "A comparative study of Western and Vietnamese modern poetry." Thesis, University of Bolton, 2017. http://ubir.bolton.ac.uk/1142/.
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This thesis moves from a study of poetic theory to poetic practice and examines the interaction between Western and Vietnamese poetry of the twentieth and twenty-first centuries in relation to specific issues, forms and individual poets. As a Vietnamese student studying in England, I have found at least two main areas of interest and concern: one is the impact of Western poetry on Vietnamese poetry, and the other is the acknowledgement by some Western poets that they have been profoundly influenced by Eastern writing. With my native awareness of Eastern ideologies in poetry, I also examine non-Western literary traditions and avant-garde approaches in the light of these parallels. To the best of my knowledge, no previous research has ever been conducted in this area. In Chapter 1, Western theories and the practice of Imagism are considered. These are crucial areas in terms of offering a new approach to East-West borrowing, understanding and misunderstanding. Chapter 2 compares Imagist poetry with Haiku, a Japanese traditional form, and proposes a way of understanding Pound’s Imagist poems according to Zen and Eastern culture. Chapters 3 and 4 indicate parallel Western and Eastern innovations in literature and society in Vietnam from the 1930s onwards. I find that there have been different ‘wars’ in modern Vietnamese poetry as Vietnamese poets have struggled with ‘writing a poem’ and ‘being a poet’. Those ‘wars’ are between ancient Chinese poetry and Vietnamese script poetry; between Eastern ideologies of morality and beauty and Western concepts of freedom in poetry; between traditional Vietnamese poetry and Thơ mới (‘New Poetry Movement’) in Vietnam, which was influenced by French Symbolism; and the resistance of Vietnamese ‘poetic rules’ to the shocks that Dada, conceptual arts and American Experimental poetry brought to Vietnam. Chapter 5 studies Gertrude Stein’s writing as a suggested innovative technique for Vietnamese poets. Chapter 6 compares and contrasts Mina Loy with a visual artist, René Magritte; here, surrealist concepts of subjects and objects are considered alongside feminist poetry in Vietnam as suggestions for breaking through the mediaeval ideologies and prejudice of modern Vietnamese poetry.
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Lewis, Mia Pfost. "The anguished "T" : an egotistical sublime? /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3164524.
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Yu, Liwen. "Politicizing poetics the (re)writing of the social imaginary in modern and contemporary Chinese poetry /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42841628.
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Talib, Adam. "Out of many, one : epigram anthologies in pre-modern Arabic literature." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:fed5b992-9403-4f79-aa6f-92a9b5dd7406.
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This is the study of a previously neglected genre in pre-modern Arabic literature: the (poetic) epigram anthology. The epigram anthology was pioneered by a handful of poets in 14th-century Syria, but the genre was soon taken up by anthologists across the pre-modern Middle East and soon became one of the most popular types of Arabic poetry up until the modern period. This study is divided into two parts. Part One deals with critical issues in literary history and comparative literature, while Part Two is made up of three encapsulated studies on specific aspects of the social and literary (structural and textual) composition of the texts. In Part One, the epistemological background of the terms epigram and anthology is surveyed and their suitability for application to pre-modern Arabic literature is evaluated. Part One also includes a comprehensive history of the maqāṭīʿ (sing. maqṭūʿ, also maqṭūʿah) genre in Arabic as well as a detailed explication of this style of poetry, its anthological context, its generic status in the Arabic literary tradition, and its relation to the wider world-literary category of epigram. The three chapters of Part Two are devoted to the social network of anthologists and poets, the structure and composition of the anthologies themselves, and the way in which anthologists used a technique, which is called ‘variation’ in this study, to link the cited poetic material into an organic whole respectively. NB: This is a literary-historical study informed by the discipline of comparative literature; it is not primarily a philolological, biographical, or codicological investigation. The literary material presented here is what has been deemed most relevant for the purposes of the larger generic discussion at the centre of this literary-historical study. An annotated bibliography of unpublished sources is provided in an appendix in order to help the reader navigate the tricky present status of many Mamluk and Ottoman era sources.
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Clarke, Joseph Kelly. "The Praeceptor Amoris in English Renaissance Lyric Poetry: One Aspect of the Poet's Voice." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc331007/.
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This study focuses on the praeceptor amoris, or teacher of love, as that persona appears in English poetry between 1500 and 1660. Some attention is given to the background, especially Ovid and his Art of Love. A study of the medieval praeceptor indicates that ideas of love took three main courses: a bawdy strain most evident in Goliardic verse and later in the libertine poetry of Donne and the Cavaliers; a short-lived strain of mutual affection important in England principally with Spenser; and the love known as courtly love, which is traced to England through Dante and Petrarch and which is the subject of most English love poetry. In England, the praeceptor is examined according to three functions he performs: defining love, propounding a philosophy about it, and giving advice. Through examining the praeceptor, poets are seen to define love according to the division between body and soul, with the tendency to return to older definitions in force since the troubadours. The poets as a group never agree what love is. Philosophies given by the praeceptor follow the same division and are physically or spiritually oriented. The rise and fall of Platonism in English poetry is examined through the praeceptor amoris who teaches it, as is the rise of libertinism. Shakespeare and Donne are seen to have attempted a reconciliation of the physical and spiritual. Advice, the major function of the praeceptor, is widely variegated. It includes moral suasion, advice on how to court, how to start an affair, how to maintain one, how to end one, and how to cure oneself of love. Advice also includes warnings. The study concludes that English poets stayed with older ideas of love but added new dimensions to the praeceptor amoris, such as adding definition and philosophical discussion to what Ovid had done. They also added to the use of persona as speaker, particularly with Donne's dramatic monologues.
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Luck, Jessica Lewis. "Gray matters contemporary poetry and the poetics of cognition /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3215175.
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Thesis (Ph.D.)--Indiana University, Dept. of English, 2006.Source: Dissertation Abstracts International, Volume: 67-04, Section: A, page: 1339. Adviser: Paul John Eakin. "Title from dissertation home page (viewed March 22, 2007)."
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Ricks, David Bruce. "Homer and Greek poetry 1888 - 1940 : Cavafy, Sikelianos, Seferis." Thesis, King's College London (University of London), 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268791.
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Radway, John North. "The Fate of Epic in Twentieth-Century American Poetry." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:26718713.
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This dissertation explores the afterlife of the Western epic tradition in the poetry of the United States of America after World War Two and in the wake of high modernism. The ancient, Classical conception of epic, as formulated by Aristotle, involves a crucial, integral opposition between ethos, or character, and mythos, or the defining features, narratives, and histories of the world through which ethos moves. The classical epic and its direct line of succession, from Homer to Virgil to Dante to Milton and even to Joel Barlow, uses the opposition between ethos and mythos to create literary tension and drive. In the first half of the twentieth century, however, Ezra Pound upended this tradition dynamic by attempting to create a new form of epic in which mythos, not ethos, was the principal agonist, and in which large-scale aspects of the political, literary, and economic world struggled for survival on their own terms, thus divorcing epic from its traditional reliance on ethos. Chapter One explores this dubious revolution in terms of Pound’s larger project of breaking away from his nineteenth century forbears. The remaining chapters comprise three case studies of the divergent ways in which later twentieth century poets sought to salvage something of the traditional epic dynamic from the ruin wracked by Pound and his acolytes. Chapter Two explores John Berryman’s 77 Dream Songs, an epic-like poem that models itself subtly on Dante’s Commedia while placing a profound and deliberate emphasis on ethos even at the expense of mythos. Chapter Three explores Robert Lowell’s career-long effort to expose the terrifyingly inexorable nature of mythos, constructing an inconceivably enormous presence against whom character and divinity alike struggle in vain. Finally, Chapter Four examines Adrienne Rich’s early and middle years as an attempt to outline and enact a politically and socially efficacious means by which ethos might finally overcome mythos and liberate itself not only from the recursive historical traps of Pound, modernism, fascism, and patriarchy, but also from the literary history and tradition that lured humanity into believing that those traps ever existed. Berryman’s intervention in the epic tradition is heavily literary and overtly personal; Lowell’s is cynical, apocalyptic, and descriptively political; and Rich’s is revolutionary and messianic. Together, these three poets represent a meaningful sampling of the afterlife of the epic tradition in late twentieth-century America.English
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Jackson, Patrick Earl. "This side of despair : forms of hopelessness in modern poetry /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1421604231&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Thesis (Ph. D.)--University of Oregon, 2007.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 333-340). Also available for download via the World Wide Web; free to University of Oregon users.
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Georganta, Konstantina. "Modern mimesis : encounters between British and Greek poetry, 1922-1952." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/1196/.
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This thesis considers the crisis in the portrayal of national spaces and national identities, insecure in the multiplicity of their cultural roots and thus diasporic and hybrid, from 1922, a year marked for its importance in the disintegration of imperial Britain and in the positioning of Greece on the threshold of its European literary Modernist inheritance, until 1952, the year of Louis MacNeice’s observations of Greece in his poetry collection Ten Burnt Offerings. The boundaries of cultures, states, religious beliefs and genders are considered in the figures of T.S. Eliot’s Mr. Eugenides, C.P. Cavafy’s Myris, Kostes Palamas’s Phemius, W. B. Yeats’s Crazy Jane and Demetrios Capetanakis’s Greek Orlando and the Greek space is explored as John Lehmann’s Mediterranean home and Louis MacNeice’s Easter gathering. The opening chapter considers the bardic performance of Yeats and Palamas’s poetic alter-egos and their respective progress towards a fusion with the feminine and a battle with the modern. Smyrna, an area of contention for British imperial and Greek irredentist claims raising questions about the stability of national states and national identities, is discussed in Chapters 2 and 3 in the way it informed the construction of identities in Eliot’s The Waste Land and Cavafy’s poetry, respectively. Chapters 4 and 5 consider the literary encounter between Capetanakis and Lehmann, a pair that advanced the dissemination of modern Greek poetry in Britain. The final chapter of the thesis examines MacNeice’s poetry and radio features inspired by Greece in an effort to explore how the imagining of Greece has developed both visually and metaphorically in the post-war years.
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BARRETO, EDUARDO JOSE PAZ FERREIRA. "FERNANDO PESSOA AND ORPHEU: MODERN MYTHS - REALITY GÊNESIS TROUGH POETRY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5603@1.
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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICOA tese visa a demonstrar que o autor de Mensagem, acompanhado pela geração de artistas que colaboraram para a publicação da revista literária Orpheu, pretenderam criar um novo universo poético português, de maneira a inaugurar a modernidade literária no país. Para isso, argumenta-se, utilizaram e, de certa forma, ampliaram e transcenderam conceitos apresentados pelo poeta francês Charles Baudelaire. Partindo de uma definição de tais conceitos, sob a ótica de Baudelaire e Pessoa, define-se em que âmbito serão utilizados, e procede-se em caracterizar o artista moderno e, a partir deste, a diferença entre moderno e modernismo. Finalmente, discute-se a incidência de ambos no caso português, examinando-se as condições sócio-político-econômicas do início do século, a recepção da crítica às novas correntes estéticas apresentadas por Orpheu e o projeto poético do grupo de poetas que recebeu seu nome, destacando-se sempre o papel central, crítico e codificador assumido por Fernando Pessoa.
This dissertation intends to show that the author of Mensagem and the generation of artists who contributed for literary magazine Orpheu s publication, intended to create a new portuguese poetic universe, in order to give birth to the country s literary modernity. In order to accomplish that, they used, broadened and transcended concepts taken from the french poet Charles Baudelaire. From such concepts definitions, their use s range isdefined by Baudelaire s and Pessoa s points of view, and are used to sketch the definition on modern artist and, from him, the difference between modern and modernism. Finally, it discuss the importance of both on the portuguese scenario, while examining the beginning of the century social-political-economic conditions in Portugal, critics reaction to the new aesthetics introduced in Orpheu and the groups poetic project, always highlighting Fernando Pessoa s leading role in critics and in codifying the movement s theoretical bases.
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Jones, Philip. "Rewriting the Atlantic archipelago : modern British poetry at the coast." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/51877/.
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Despite a so-called ‘oceanic turn’, there has been relatively little attention paid to literary representations of the shoreline as a specific material and cultural site. This thesis examines how modern British poets respond to and represent the coastline in their work, with particular emphasis on notions of place and geographic scale. Whilst looking at the use of the archipelago in recent cultural and literary studies of British and Irish writing, this thesis argues for a more refined and complex sense of the archipelagic, one which responds to the needs and demands of an increasingly global and interconnected world. To better understand this relationship between text and coastal landscape, the project draws on the work of Henri Lefebvre and Doreen Massey, as well as Edward Casey’s investigations into the future of place and Philip E. Steinberg’s reconceptualisation of ocean spaces. In engaging with ideas of place in a newly intense period of globalisation, this thesis contends that a critical desire to focus on disruptions of linear spatial and temporal scales must still negotiate residual notions of bounded communities and national identities. The archipelago emerges both as a site of rupture and interconnection. In attending to these different levels of geographic experience, the thesis also demonstrates how notions of scale must respond to more than spatial distance, becoming attentive to how a variety of emotional and psychological experiences become frayed and disrupted within the shifts between the local, national and planetary. In the poetry of Peter Riley, Wendy Mulford, Robert Hampson, Matt Simpson and Robert Minhinnick, the shore emerges as an ambivalent and fluid terrain but one, nonetheless, in possession of its own social and cultural histories.
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Malay, Michael. "The figure of the animal in modern and contemporary poetry." Thesis, University of Bristol, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.682680.
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This study is concerned with exploring the notion that there is a special relationship between animal life and the 'poetic'. It provides close readings of modern and contemporary poetry with the aim of testing, refining and drawing out the implications of this claim. The introductory chapter briefly examines the history of the animal in Western philosophy and literature. It charts this history in order to contextualize one of the gUiding questions of this study: how have animals been seen by philosophers and poets, and what differences exist between their different 'modes' or 'disciplines'? These questions lead to a discussion of J. M. Coetzee's The Lives of Animals (1997), which dramatizes these issues in fiction. The text explores a notion central to this study - namely, that poetry has a special capacity for relating to animal others. The thesis examines the implications of this idea, asking if there is something peculiar about 'poetic' thought that enables it to cultivate connections with animal life that distinguishes it from other forms of language. The thesis pursues then these questions in relation to four poets: Marianne Moore, Elizabeth Bishop, Les Murray and Ted Hughes. It provides a formal analysis of recurring literary strategies in each poet's work - such as metaphor and similebut also offers a broader consideration of the cultural factors informing each writer's oeuvre. It asks the same question in many different guises: how do poets use language in such a way that faithfully responds to the singularity of animal life?
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Manecke, Keith Gordon. "On location the poetics of place in modern American poetry /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1070218804.
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Thesis (Ph. D.)--Ohio State University, 2004.Document formatted into pages; contains 236 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2008 Dec. 1.
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Smith, Michael Bennet 1979. "Disparate measures: Poetry, form, and value in early modern England." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11182.
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xi, 198 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.In early modern England the word "measure" had a number of different but related meanings, with clear connections between physical measurements and the measurement of the self (ethics), of poetry (prosody), of literary form (genre), and of capital (economics). In this dissertation I analyze forms of measure in early modern literary texts and argue that measure-making and measure-breaking are always fraught with anxiety because they entail ideological consequences for emerging national, ethical, and economic realities. Chapter I is an analysis of the fourth circle of Dante's Inferno . In this hell Dante portrays a nightmare of mis-measurement in which failure to value wealth properly not only threatens to infect one's ethical well-being but also contaminates language, poetry, and eventually the universe itself. These anxieties, I argue, are associated with a massive shift in conceptions of measurement in Europe in the late medieval period. Chapter II is an analysis of the lyric poems of Thomas Wyatt, who regularly describes his psychological position as "out of measure," by which he means intemperate or subject to excessive feeling. I investigate this self-indictment in terms of the long-standing critical contention that Wyatt's prosody is "out of measure," and I argue that formal and psychological expressions of measure are ultimately inseparable. In Chapter III I argue that in Book II of the Faerie Queene Edmund Spenser figures ethical progress as a course between vicious extremes, and anxieties about measure are thus expressed formally as a struggle between generic forms, in which measured control of the self and measured poetic composition are finally the same challenge Finally, in my reading of Troilus and Cressida I argue that Shakespeare portrays persons as commodities who are constantly aware of their own values and anxious about their "price." Measurement in this play thus constitutes a system of valuation in which persons attempt to manipulate their own value through mechanisms of comparison and through praise or dispraise, and the failure to measure properly evinces the same anxieties endemic to Dante's fourth circle, where it threatens to infect the whole world.
Committee in charge: George Rowe, Chairperson, English; Benjamin Saunders, Member, English; Lisa Freinkel, Member, English; Leah Middlebrook, Outside Member, Comparative Literature
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Summers, Stephen. "Laughter Shared or the Games Poets Play: The Ethics and Aesthetics of Irony in Postwar American Poetry." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18322.
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During and after the First World War, English-language poets employed various ironic techniques to address war's dark absurdities. These methods, I argue, have various degrees of efficacy, depending upon the ethics of the poetry's approach to its reading audience. I judge these ethical discourses according to a poem's willingness to include its readers in the process of poetic construction, through a shared ironic connection. My central ethical test is Immanuel Kant's categorical imperative and Jurgen Habermas's conception of discourse ethics. I argue that without a sense of care and duty toward the reading other (figured in open-ended ironies over dogmatic rhetorics), there can be no social responsibility or reformation, thus testing modernist assumptions about the political usefulness of poetry.
I begin with the trench poets Siegfried Sassoon and Wilfred Owen, whose sarcastic and satirical ironies are constructed upon a problematic consequentialist ethos. Despite our sympathy for the poets' tragic positions as soldiers, their poems' rhetoric is ultimately coercive rather than politically progressive. It negates the social good it intends by nearly mimicking the unilateral rhetoric that gave rise to the war.
The next chapter concerns Ezra Pound's Hugh Selwyn Mauberley and T. S. Eliot's The Waste Land, fundamental modernist poems defining the postwar Anglo-American era. In contrast to the trench poets, I argue these two poems at their best manage to create an irony of free play, inviting the audience's participation in meaning-making through the irony of self-parody. Traditional ethical critiques of these poets' troubling politics, I argue, do not negate the discourse ethics present in these texts.
The final three chapters follow the wartime and postwar ironies of the American poets William Carlos Williams, Marianne Moore, and Wallace Stevens. Williams, a medical doctor, makes use of the ironic grotesque in his poems to offer the voice of poetry to the disenfranchised, including individuals with disabilities. Moore, a modernist and early feminist, pairs her poems to decenter poetic authority, depicting possible ethical poetic conversations. Finally, Stevens's democratic, pragmatic ethics appears within poetry that continually invites its readers to fill in gaps of meaning about the war and beyond.
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Ma, Xuecong. "The Crescent Moon School : the poets, poetry, and poetics of a modern conservative intellectual group in Republican China." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25761.
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The Crescent Moon School (新月派Xinyue pai) is a Chinese intellectual group that was active from 1923 to 1934. Its members include Xu Zhimo 徐志摩(1897-1931), Hu Shi 胡适 (1891-1962), Liang Shiqiu 梁实秋(1903-1987), Wen Yiduo 闻一多(1899-1946), Luo Longji 罗隆基(1896-1965), and many other Anglo-American educated scholars in the Republican era. Although the group was engaged in various activities, poetry was their primary concern and their most notable practice. This thesis intends to solve two problems: 1) what common values or core spirit guided the various cultural practices of the group? 2) what are the poetic features and underlying poetics of the group as a whole? To answer the two questions, this thesis firstly examines the core spirit of the group by reviewing their activities and historical development. It argues that underlying the various activities and facts, there was a core spirit shared by the group. This core spirit, which I refer to as the “modern conservative spirit”, reflected a unique understanding of modernity that was different from that of the May Fourth discourse. They understood modernity not as a negation of tradition, but as a critical synthesis and mutual conformity between the old and the new, the local and the global. I show how the Crescent Moon intellectuals acquired this core spirit, and how it was displayed in their various activities. Secondly, this thesis provides detailed textual analysis of several Crescent Moon poems and reconstructs their poetics. It argues that their poetics demonstrated three faces, i.e. a romantic temperament, a classic ideal, and a modern consciousness. The three faces coexisted throughout the poetic practice of the group, although a certain face might have dominated in a certain period. I demonstrate how the three faces were unified under the guidance of the modern conservative spirit, and I argue that the simultaneousness of the three faces embodied the modern conservative intellectuals’ pursuit of literary modernity. By discussing the core spirit and poetics of the Crescent Moon School, this thesis concludes that the group was a missing link in Republican modern conservative trend, linking the late 1910s and early 1920s neotraditionalist thinkers with the mid-1930s Beijing School writers. The modern conservative intellectuals represented a dissenting voice in the Republican era, but they were also committed pursuers of modernity and cosmopolitanism.
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Richardson, C. Scott. "Taking the repeats: Modern American poetry in imitation of eighteenth-century musical forms." Thesis, University of Ottawa (Canada), 2001. http://hdl.handle.net/10393/9311.
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This dissertation surveys the various efforts by modern American poets to imitate the repetitive structures of eighteenth-century instrumental music, setting in a wider historical context some of the central achievements of the twentieth-century long poem, as well as offering readings of some lesser-known but interesting works that draw on musical structures and processes as their formal models. The introduction examines why such disparate poets have wished to organize their work through some analogue to musical form. Taking their cues from western instrumental composition, writers have let the shapes of their poems be determined not by the demands of narrative for succession or the demands of discursive argument for progressive development but instead by music's repetitive imperative. In musical structures such as the variation set, the fugue, and the sonata, poets found constructive techniques congenial to the twentieth-century mind. Eighteenth-century musical genres can be seen as anticipating in a remarkable manner modern ideas concerning the circular patterns of thought and experience. The first chapter examines poetry modeled on the variation set, surveying works by Randall Jarrell, Wallace Stevens, Harry Mathews, Charles Olson, and Frank O'Hara. The second chapter deals with poetic fugues, including works by May Sarton, William Bronk, Weldon Kees, Delmore Schwartz, and Sylvia Plath. It also examines the validity of fugal analogies at both the macro- and micro-level of analysis in two key modern long poems, Ezra Pound's Cantos and Louis Zukofsky's "A". The final chapter examines poetic versions of sonata forms, including the sonata-based genres of symphony and quartet. It deals with works by Donald Justice, Conrad Aiken, John Gould Fletcher, Stevens, W. C. Williams, and John Ashbery. T. S. Eliot is central to the discussion: the chapter reexamines the validity of musical analogy in relation to Four Quartets and places Eliot's achievement in historical context, as a culmination of earlier currents and as a dominant presence in later musically-patterned poetry.
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Pager, Chet Kelii-Wallraff. "Verses on Auschwitz : images of the Holocaust in modern American poetry." Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/18875.
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This thesis examines how poetic responses to the Holocaust in America, when they emerged, have differed from the novels addressing the same subject; how the Second World War has challenged, in a way the First World War did not, basic humanistic assumptions regarding the image of man, the role of God, the benefits of civilisation & culture, and the humanising power of art or reason; and how this impact has influenced modern trends in poetry. After an extensive background section documenting the impact the Holocaust and Second World War have made upon the literary imagination, an extensive review is conducted of the varied critical positions and criteria, both aesthetic and ethical, from which American literary responses have been evaluated. Among the major critical positions is the belief that there should be no literary response to the Holocaust; that this literary response must primarily serve to document and testify; that the Holocaust should not be addressed imaginatively by non-victims; and that the Holocaust should not be used as a metaphor to convey some other subject or theme. These and other critical standpoints are discussed in relation to works by ten American poets whose poetry is representative of the ways in which the Holocaust has impacted on the poetic imagination, the breadth of poetic responses to this atrocity, and the range of difficulties and corresponding criticisms which are associated with almost all attempts to respond creatively to the Holocaust. The poets examined are Sylvia Plath, Anne Sexton, Maxine Kumin, Adrienne Rich, Denise Levertov, Stephen Berg, Van Brock, W.D. Snodgrass, William Heyen and Charles Reznikoff. Where illustrative, comparisons to relevant European poets have been made, including Nellie Sachs and Paul Celan. It was concluded that certain poets (Levertov, Rich, Heyen), as well as certain critical standpoints (Ezrahi, Langer, James Young) did more justice to the reality of the Holocaust and the challenges it poses to the literary and poetic imagination. Bibliography: p. 135-140.
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Cutler, Amy Elizabeth. "Language disembarked : the coast and the forest in modern British poetry." Thesis, Royal Holloway, University of London, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.682568.
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Rudd, Andrew Milton. "Church of the imagination : Constructing spiritualities in modern and contemporary poetry." Thesis, Manchester Metropolitan University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535832.
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Buisson, Johanna Marie. "Lingua Barbara (of barbarians in European modern poetry : Michaux, Hughes, Celan)." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.620649.
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Platt, Mary Hartley. "Epic reduction : receptions of Homer and Virgil in modern American poetry." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:9d1045f5-3134-432b-8654-868c3ef9b7de.
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The aim of this project is to account for the widespread reception of the epics of Homer and Virgil by American poets of the twentieth century. Since 1914, an unprecedented number of new poems interpreting the Iliad, Odyssey and Aeneid have appeared in the United States. The vast majority of these modern versions are short, combining epic and lyric impulses in a dialectical form of genre that is shaped, I propose, by two cultural movements of the twentieth century: Modernism, and American humanism. Modernist poetics created a focus on the fragmentary and imagistic aspects of Homer and Virgil; and humanist philosophy sparked a unique trend of undergraduate literature survey courses in American colleges and universities, in which for the first time, in the mid-twentieth century, hundreds of thousands of students were exposed to the epics in translation, and with minimal historical contextualisation, prompting a clear opportunity for personal appropriation on a broad scale. These main matrices for the reception of epic in the United States in the twentieth century are set out in the introduction and first chapter of this thesis. In the five remaining chapters, I have identified secondary threads of historical influence, scrutinised alongside poems that developed in that context, including the rise of Freudian and related psychologies; the experience of modern warfare; American national politics; first- and second-wave feminism; and anxiety surrounding poetic belatedness. Although modern American versions of epic have been recognised in recent scholarship on the reception of Classics in twentieth-century poetry in English, no comprehensive account of the extent of the phenomenon has yet been attempted. The foundation of my arguments is a catalogue of almost 400 poems referring to Homer and Virgil, written by over 175 different American poets from 1914 to the present. Using a comparative methodology (after T. Ziolkowski, Virgil and the Moderns, 1993), and models of reception from German and English reception theory (including C. Martindale, Redeeming the Text, 1993), the thesis contributes to the areas of classical reception studies and American literary history, and provides a starting point for considering future steps in the evolution of the epic genre.
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Dawkins, Thom. "Rejoice in Tribulations: The Afflictive Poetics of Early Modern Religious Poetry." Case Western Reserve University School of Graduate Studies / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=case1562630899327406.
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Malone, Jonathan. "Medicine, religion and the passions in early modern poetry and prose." Thesis, Queen's University Belfast, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.707825.
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This thesis investigates the use of medical terminology in the expression of religious selfhood in the late sixteenth and early seventeenth centuries. Concentrating on the period between 1590 and 1640, I examine how the diffusion of medical learning and its key vocabularies into wider cultural contexts offered writers new ways in which to interpret the body’s functions in relation to religious doctrine. Focusing on the physiology of the humoral system and the physical and religious ‘passions’, I explore how an increased use of medical terminology can support or problematize the individual’s relationship with their own body and the religious doctrine to which they adhere. Through extensive use of primary medical and religious texts, I show that knowledge of medical terminology is employed with greater specificity than has previously been considered, evidencing a lively correspondence of ideas for writers working towards a systematic understanding of the religious significance of the body.
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Lingenfelter, Andrea Diane. "A marked category : nine women of modern Chinese poetry, 1920-1997 /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11129.
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Bond, Kellie Anne. "All things counter : the argument of forms in modern American poetry /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3061932.
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Idrees, Najma Abdullah. "The concept of death and its development in modern Arabic poetry." Thesis, SOAS, University of London, 1987. http://eprints.soas.ac.uk/28537/.
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This thesis examines the treatment of the concept of death in modern Arabic poetry, and the development of this concept from the turn of the twentieth century up to the seventies. This development is seen as having gone through three major and distinctive stages. The first stage is reflected in the neo-classical elegy. The works of the neo-classicist poets (from the beginning of the century up to the mid-twenties) are generally viewed by critics as an imitation, or at least an attempt at emulating the works of the major classical and medieval poets. The elegy, practically the only poetic composition at this time in which the concept of death was treated, is no exception to this rule. It did not treat of death as an existential concept, but simply lamented the deaths of particular individuals, and invariably in laudatory terms. The treatment of death in this period is viewed as a form of occasional poetry. The second stage is identified with the romantic movement in Arabic poetry (from the mid-twenties to the late forties). The main influences which are seen as having affected the outlook on death in this period are the works of the great Muslim Sufis, which were gradually becoming available to the general reader. Western romantic poetry, which in the thirties of this century started to be widely read and translated in the Arab world, and some Eastern theosophical doctrines, like the belief in reincarnation, espoused by some prominent and influential Arab authors such as Gibran and Naimy. As the emphasis on the goodness of nature and the coincidence of man with its spirit was a characteristic feature of romantic poetry, both life and death are viewed in this period as two vital elements which, being in harmony with the cycles of nature, constantly maintain the continuity of existence. The third stage is identified with developments in the period between the fifties and the seventies. The Tammuziyyun poets, the avant-garde poets of the period seem unanimously to have utilized in various forms one or other of the ancient myths of death and resurrection. The symbols of this ancient mythology were used to express deep anxieties and fears about the decline of Arab civilization under dire political and social strains, and the hope that the Arab nation would go through a rebirth or a great revival. This hope in particular seemed to find its best expression in the ancient myths which stressed the inevitability of a resurrection after death. Finally the concept of death is examined in Palestinian resistance poetry which is seen as part and parcel of the third stage, but which, because of the special circumstances in which the Palestinians lived and wrote, is treated in a separate chapter on its own.
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Chen, Xin-hui, and 陳欣徽. "Mandarin Classifiers in Modern Poetry." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/09936601026813076478.
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碩士國立中正大學
語言所
97
The studies of Mandarin classifiers have been mainly on the spoken usage of classifiers and temporary measure words. In the previous studies, the rhetorical usage of classifiers has also been discussed mostly from traditional rhetorical angle, but not systematically from the perspective of cognitive linguistics. Among all kinds of literature genres, poetry is more abstract than prose and novel because of the restriction of numbers of words and writing style. Therefore, metaphorical thoughts abound in poetry. The present study aims to explore the metaphorical frames and conceptual integration in Mandarin classifiers and temporary measure words in poetry. Based on metaphor theory by Lakoff & Johnson (1980), poetic metaphor by Lakoff & Turner (1989), mental spaces by Fauconnier(1984) and blending theory by Fauconnier & Turner(2002) respectively, this study analyzes how classifiers and temporal measure words present the mental images. This study found that, in the process of conceptual integration, typical images emerged from classifiers would connect with the images of the collocated words and then blend them together. Mental images of temporary measure words differ from the borrowings of nouns, verbs, or adjectives: when borrowed from noun, its concept operation is similar to classifiers; when borrowed from verb, it hides the dynamic characteristic and highlight the static status of the motion; when borrowed from adjective, it modifies the concept of the collocated word deeply. Even though there are some differences in conceptualization between classifiers and temporary measure words, we can induce four cognitive mechanisms from these metaphorical frames and conceptual integration: "changing conventional category", "double images", "contain" and "create". The association of the image conception of Mandarin classifiers and the image conception of collocated words is through various dimensions. When associated, their shared or relevant features are filtered out – the emergent image is thus created. However, the unconventional usages of these Mandarin classifiers in different contexts follow the metaphorical cognition, which is to realize the abstract from concreteness and the unknowns from known ones. The unconventional uses of Mandarin classifiers in the poems are therefore the products of contexts of modern poems, but not poets'' purposely violation of conventional uses.
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chen, Chen wen, and 陳文成. "“Politics” in Modern Taiwanese Poetry." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/17796896383997723861.
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博士佛光大學
文學系
98
Literature and politics are indispensable, and to argue that literature is non-engage With political realities is itself a political stance. Political ecriture (poetry) is the main concern(s) of this dissertation which takes literary generation/ era as its distinctive divisions and several Taiwanese poets as sample target to dissect their political stance as embedded in their texts. This research asserts that in the domain of political ecriture, the texts examined are embodiments of the poets’s quest for subjectivity and literature cannot exempt itself from its social environment. In addition, the literary arena cannot likewise detach itself from the direct/ indirect influences of ideology and the overall social environment. The so-called pure quest for and implementation of art for art’s sake is just self-deception of unilateral wishful thinking. The text is highly inter-woven with its society. The power relationship often discloses the issues/ subject matter concerned. This can either be as huge as the manipulation of the state machine or as invisible as the awakening of the body/ subject, all of which are indexes for consideration in political writing. The research of this dissertation has discovered that there are four prominent characteristics lying underneath most modern Taiwanese political poetry, namely 1) texts of resistance by the opposition, 2) the narrative tendency in most political poems, 3) satire in the use of imagery, and 4) positiveness in romantic spirit. Implicit under the writing strategy of adopting art for life’s sake, and also under the guiding principles of administration/ governance there emerge the modern poets’ management of language and narration. And these techniques in turn reveal the trendy concerns and mapping of contemporary Taiwanese thinking. We also discover that the poets while writing never forget to forge/ trim and upgrade their skills/ efforts to the realm of artistic objects and aesthetics for appreciation.
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Jennings, Lisa Gay Vitkus Daniel J. "Renaissance models for Caribbean poets identity, authenticity and the early modern lyric revisited /." Diss., 2005. http://etd.lib.fsu.edu/theses/available/etd-04152005-135157.
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Thesis (M.A.)--Florida State University, 2005.Advisor: Dr. Daniel Vitkus, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed June 7, 2005). Document formatted into pages; contains v, 54 pages. Includes bibliographical references.