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Dissertations / Theses on the topic 'Modernist poetry'
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Potter, Rachel Chase. "Unacknowledged legislators : women's modernist poetry." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.625064.
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Dalton, Bridget. "Kindness in modernist American poetry." Thesis, University of East Anglia, 2016. https://ueaeprints.uea.ac.uk/59451/.
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This thesis poses the question, ‘can we find Kindness in modernist American poetry?’ It is a work comprised primarily of detailed and extended close readings that will track Kindness through selections from the works of Gertrude Stein, Ezra Pound, William Carlos Williams, Louis Zukofsky, George Oppen and Charles Reznikoff. Working within an understanding that no interpretation can be naïve, this thesis argues a case for Kindness as a “grammar of reading” that accounts for the readerly experience of the neophyte by considering the notion of “reading in exile”. This is undertaken not only as an ethical step towards accessibility in texts that are conventionally identified as presenting a stark and difficult aesthetics but also with the historical considerations of the relationship between high art and mass culture, with which recent thought on modernism is concerned (Huyssen, Perelman, Jennison). This “grammar of reading” is developed through interpretations of twenty-‐first century theorists such as Derek Attridge (“singularity”), Jane Bennett (“vibrant matter”) and Eve Kosofsky Sedgwick (“reparative reading” and the “paranoid position”). The theoretical work of this “grammar of reading” is based around the notion of “behaviour” as it evinces a potential critical position that can account for naïveté, vulnerability, and not knowing within reading and within poems themselves. The attendant aim of this project then is to explore the potential and implications of identifying a recognizable Kindness in early-‐twentieth century modernist poetry.
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Emara, Mohamed Hamed Hafez. "Modernist Arabic poetry and the English modernists : a comparative linguistic study." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326926.
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Ellis, Toshiko 1956. "The modernist dilemma in Japanese poetry." Monash University, School of Asian Languages and Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/8720.
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Perril, Simon. "Contemporary British poetry and modernist innovation." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309700.
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Forcer, Stephen. "Modernist song : the poetry of Tristan Tzara." Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400622.
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Hercock, Edwin Henry Frederick. "Modernist objects/objects under modernity : a philosophical reading of Discrete series." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/54335/.
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This thesis is the first book-length treatment of the poems in George Oppen's Discrete Series (1934), providing a counterbalance to critical readings of Oppen's work which have to date focused on work published after his return to poetry (i.e. from 1962 onwards). It is a philosophical presentation of the work which argues that the poems are themselves philosophical presentations of objects, and by those objects and that presentation, of the historical circumstances of those objects and the poems themselves. Its method is Adornian in three senses: first, it holds that literature is not only subject-matter for a (sub)subset of philosophy but a potential mode of participation within it; second, the philosophical writing with which the thesis puts the poems into dialogue is not a single authorship nor strictly aesthetic, but a broad range of writings by Kant, Hegel, Marx and Nietzsche (with a special emphasis on Hegel); and third, continual recourse is made to Adorno's own writings on art and objecthood. After a brief account of the pre-history of Objectivism, of Oppen's connection with Ezra Pound, and the circumstances of the work's production and appearance, the poems are analysed in depth alongside more thoroughly institutionally validated works by, among others, Pound and T.S. Eliot. The main focus of these readings is on the physical objects represented: their nature, type, consistency, and the fact and manner of their presentation. These objects are characterised by their resolute materiality – their distinctive hardness and their uniform impenetrable surfaces. These properties are analysed from literary-historical, historical and philosophical perspectives, i.e. in the contexts of modernist hardness and its precursors; industrial production and the individual; and the causes and consequences, in thought, of the experience of bare materiality that the poems present. Finally it considers how the poems, as well as registering a particular mode of object experience, themselves seek to produce it.
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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). Arguably, Purdy was the inaugurator of lyric historiography: in the early 1960s, he experimented with a modernist lyric attentive to a broad vision of Canadian history. Newlove was one of many poets who saw Purdy's lyric historiography as a mode that could be used to provide insight into neglected prairie histories. As part of their search for more intimate connections to history that could sustain longer, narrative poems, McKinnon and Suknaski adapted lyric historiography to explore the familial past. Atwood reimagined lyric historiography as the search for Canadian "foremothers," proto-feminists that could serve as models for the second-wave feminist movement.Addressing the archives, creative writing, and historical contexts of these five writers, this dissertation proposes two primary claims. First, modernism persisted well into the 1970s (and even beyond) and shared with Canadian postmodernism a sophisticated approach to the idea of "history." Second, modernist lyric historiography was a continued investigation into one's ability to claim authority over historical narratives. Many modernists found some measure of such authority by exploring the most intimate connections to the past, which tended to be literal and figurative familial ones.Cette thèse traite de cinq écrivains, qui, entre 1962 et 1981, ont créé des modèles de poésie historiographique, qui ont guidé leurs contemporains modernistes. Al Purdy, John Newlove, Barry McKinnon, Andrew Suknaski et Margaret Atwood ont été les figures principales d'un mode littéraire que nous appelons «l'historiographie lyrique moderniste». Ce terme désigne une poésie lyrique moderniste et méditative, qui est autocritique, réticente à revendiquer une quelconque autorité sur l'histoire et méfiante de cette autorité lorsqu'elle est invoquée, ainsi que fondamentalement historiographique. Au début des années 1960, Purdy expérimente avec la poésie moderniste sur l'histoire du Canada. Newlove considérait l'historiographie lyrique de Purdy comme une manière d'écrire qui pourrait offrir une nouvelle façon de voir le passé négligé des prairies. McKinnon et Suknaski ont adapté l'historiographie lyrique en examinant le passé de leur famille. Atwood a réinventé l'historiographie lyrique en tant que recherche des «aïeules» canadiennes, des proto-féministes qui pourraient servir de modèle à la deuxième génération de féministes. En tenant compte des archives, de l'écriture et des contextes historiques de ces cinq écrivains, cette thèse propose deux idées principales. Premièrement, nous affirmons que le modernisme a persisté durant l'après-guerre et qu'il partageait avec le postmodernisme canadien une approche sophistiquée et critique de l'histoire. Deuxièmement, nous soutenons que l'historiographie lyrique moderniste consistait en un questionnement persistant sur la capacité de revendiquer une certaine autorité concernant un récit historique. Plusieurs modernistes ont trouvé une certaine autorité en explorant les liens les plus intimes avec le passé, qui avaient tendance à être des liens familiaux littéraux et métaphoriques.
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Mann, Jonathan David. "Intertextual poetics : the modernist poetry of Anthony Burgess." Thesis, Manchester Metropolitan University, 2013. http://e-space.mmu.ac.uk/332121/.
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This dissertation offers a series of exegetical readings of short and long poems by Anthony Burgess, with the aim of establishing the extent to which this poetry participates in Modernist and Postmodernist traditions. Beginning with Burgess's poems of the 1930s, the thesis discusses all of his major poetic works until 1993. Making extensive use of unpublished manuscript material, this is the first thesis to treat poetry and verse drama (including translations) as a discrete area of Burgess's literary production. As such, the thesis significantly extends the critical enquiries of previous scholars. Having identified specific poetic influences, the thesis addresses the poetic effects of the intertextual techniques used by Burgess. His poetry and writing about poetry are accounted for chronologically, and a selection of longer texts are discussed in detail. Influential Modernist poets are found to practice a range of techniques which Burgess parodies and pastiches with serious intent. Burgess is found to use Modernist techniques throughout his literary career, and to apprehend tradition through a conservative version of Modernism. Burgess's later poetry is shown to be self-reflexive and formalist in ways which are identifiably Postmodern. In texts such as Byrne, St. Winefred's Well and The End of Things, Burgess reassesses his relationship with Modernism, and intertextuality itself becomes a key preoccupation. Arguing the case for Burgess as a transitional late Modernist poet, the thesis charts the development of Burgess's engagement with Modernism and Postmodernism, and proposes that the two are interdependent rather than antithetical.
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Au, Chung-to, and 區仲桃. "Shifting ground: modernist aesthetics in Taiwanese poetry since the 1950s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2554939X.
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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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Goodland, Giles. "Modernist poetry and film of the Home Front, 1939-45." Thesis, University of Oxford, 1992. http://ora.ox.ac.uk/objects/uuid:cbc4f071-0e64-4a07-866d-ba83359262cb.
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This thesis is an exploration of the links between modernist literature and film and society at a period of historical crisis, in Gramscian terms a moment of national 'popular will'. In general, these works are informed by a greater organicity of form, replacing the previous avant-garde model of a serial or mechanical structure. This organicity, however, maintains an element of disjunction, in which, as with filmic montage, the organicity is constituted on the level of the work seen as a totality. Herbert Read's aesthetics are shown to develop with these changes in the Thirties and the war years. The work of H.D. and T.S. Eliot is explored in the light of these new structural elements, and the formal questioning of the subject through the interplay of 'we' and montages of location and address in the poems. The pre-war years are portrayed in these works as a time of shame, and the war as a possible means of redemption, perhaps through suffering, or through the new subjectivity of the wartime community. The documentary movement provides an opportunity to trace these formal changes in a historical and institutional context, and with the work of Dylan Thomas, the relations between mass and high culture, film and poetry, are investigated, as well as the representation of the Blitz, in which guilt is sublimated into celebratory transcendence. These aspects, and the adaptation of a European avant-garde to meet British cultural needs, are examined in the work of the Apocalyptic movement. The last structure of feeling is reconstruction, which is related to Herbert Read's thought, but shown to inform all these other works and to be a linking-point between ideology and the structure of the text, formed as an organic unity that promises a reconstructed post-war society.
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Cole, Merrill Grant. "The erotics of masculine demise : homosexual sacrifice in modernist poetry /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/9510.
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Lee, Gregory Barry. "Dai Wangshu : the life and poetry of a Chinese Modernist." Thesis, SOAS, University of London, 1985. http://eprints.soas.ac.uk/28535/.
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Dai Wangshu as a poet and a personality made a controversial and lasting impact on the Chinese literary world of the 1930s and 1940s. Since the 1950s, however, many literary figures of the time have suffered neglect because they are not easily categorized as belonging to the orthodoxies of Left or Right. This has been so in Dai Wangshu's case. Moreover, there is also genuine confusion about Dai's political and literary beliefs. This thesis aims to revaluate Dai's position in the canon of modern Chinese literature and, by chronicling his literary, political and personal life, to present a comprehensive picture and correct current misconceptions. There is a biographical emphasis as a result of much new information uncovered in the course of the author's research. The approach is chronological and covers Dai's early involvement in poetry and politics in late 1920s Shanghai, the process of intellectual sophistication and expansion in Europe, his anti-Japanese stance during the war period in Hong Kong and the final years of poetic silence leading up to his premature death in Peking, in 1950. Dai's poetry is treated in terms of theme, language and form to reveal the poet's growth and progression of style. The extent of the poet's retention of classical Chinese poetic elements and the assimilation of Western post-Symbolist and other poetic influences are assessed in order to arrive at the essence of the poet's style, to examine its effectiveness as a modern medium for the expression of poetic thought and to decide the appropriateness of the label 'Modernist'. The definition of Modernism is thus broached and discussed. Previously unconsulted material such as letters, diary fragments and manuscripts have been exploited and in the discussion of Dai's poetry and the literary and political questions of his day, extensive use has been made of correspondence and interviews conducted in China.
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Carrillo, Yolanda. "El ékfrasis en la Poesía De Manual Machado." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc67965/.
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Manuel Machado is known as one of the most innovative Spanish modernist poets of the twentieth century. Despite his recognition as a literary figure in Spain, the mimetic descriptions in Machado's poetics are interpreted as mere innovations in Spanish poetry. Those mimetic descriptions are examples of ekphrasis in Spanish literature. Ekphrasis is both a literary and representational art. The mimetic dimension in Machado's poetry is ignored or misinterpreted by the critics of his poetics. This study written in Spanish investigates the use of ekphrasis in terms of Machado's poetic style. An analysis of Manuel Machado's ekphrastic poems will determine: ekphrastic poetry is a representational art; how visual and acoustic aspects of Machado's poems create enargeia; and the manifestation of ekphrasis in Spanish verse. In using Machado's poems, this project will contribute to future explorations of ekphrasis in Spanish literature.
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Asad, Mariam. "Making it difficult: modernist poetry as applied to game design analysis." Thesis, Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/39617.
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The process of reading a modernist poem is just as much a process of deconstructing it: the language is designed to make meaning through inefficient means, like the aforementioned fragmentation and assemblage. The reader must decode the text. This is what I want to extract as a point of entry to my videogame analysis. The process of reading is not unlike the process of playing. Instead of linguistic structures, a player must navigate a game‟s internal rule system. The pleasure for both the reader and player comes from decoding the poem and game, respectively. I am not making claims that relationships between modernist poetry and videogames are inherent or innate. Similarly, I am not providing a framework to apply one medium to the other. Instead I want to investigate how each medium uses its affordances to take advantage of its potential for creative expression. I do not consider poetry or literature to be superior to videogames, nor am I invoking the argument that videogames should imitate earlier media. My goal is to compare specific modernist poems and videogames to see how each medium makes meaning through its respective processes.
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Parkinson, Isabelle Lucy. "Whose Gertrude Stein? : contemporary poetry, modernist institutions and Stein's troublesome legacy." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/24719.
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This thesis is an examination of the ways in which, in what Bourdieu theorises as the 'space of literary or artistic position-takings', Gertrude Stein has been continually positioned and repositioned, constructed and reconstructed: by writers in her own period, in modernism scholarship, and, particularly, by writers staking their claim as the literary avant-garde of the late 20th and early 21st Centuries.1 Since her recuperation by the Language Poets in the 1970s, and in the literary histories proposed by Marjorie Perloff and others, Stein has been positioned as the originator of an alternative avant-garde genealogy which has resisted the 'institutionalised' modernism of the New Critics. This legacy continues to the present day in claims by writers like Kenneth Goldsmith that she is a precursor for Conceptual Writing. Because they are predicated on Stein's resistance to the institution of modernism, and hinge on her removal from its history, none of these arguments discuss in any detail Stein's relationship to the historical movement which is the immediate context for her work - to the institution of modernism itself or to the institutions with which it engages. My thesis challenges the removal of Stein from her milieu by showing how her textual production must be read alongside her activity on her contemporary scene and her representation of and by other modernists. In the thesis, I re-read Stein's work as a series of explicit interventions in the institutions which form the context of the cultural production of the early 20th Century. In doing so, I consider the motivations for the reconstructions and repositionings of Stein, tracing the historiography of her presentation as an exceptional figure dislocated from her context.
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Bellew, Paul. "Ephemeral Arrangements: Materiality, Queerness, and Coalition in U. S. Modernist Poetry." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18538.
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This dissertation searches for a body of queer modernist poetry while at the same time attempting to rework the definition of “queer.” In chapter I, I use a reconceptualization of queerness not as an abstract, theoretical rendering of the breakdown of identity categories but in its fundamental, historical sense: a political coalition made up of individuals with different subjective sexual identities who are similarly marginalized in decidedly sexual terms. Thus, this project seeks to locate texts that demonstrate moments of empathy, intersection, and cooperation between LGBT speakers, characters, or editors and people with different sexualities, races, or abilities. In this project, I avoid traditional, well-known texts of modernism in favor of recovering forgotten work by non-heterosexual authors who have been at one time or another marginalized in the canon and in society at large—Amy Lowell, Langston Hughes, and Hart Crane. In order to rediscover this overlooked work by formerly forgotten poets, the project utilizes archival research and a material methodology in which I analyze poems not just in the abstract but in their original, ephemeral locations and venues: archival manuscripts, little magazines, and book-length collections. In chapter II, I uncover an experimental editorial method that Lowell pioneered in her Some Imagist Poets anthologies in which, rather than selecting and editing the selection as a traditional editor, she offered equal space to each contributor to choose and arrange their own suite of poetry. In chapter III, I analyze Hughes’ “A House in Taos” in both its first publication in a Mexico-based literary journal then in one of his own understudied collections, arguing that the poem represents an interracial, bisexual triad. In the chapter on Crane, I analyze several versions of a poem about a young man with a cognitive disability with whom Crane was acquainted while vacationing in Cuba, showing that, when the poem is set outside of the U. S. border, the speaker evinces a deep empathy for the marginalized young man.
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Elliott, Mark C. "German poetry beyond the boundaries of the Nazi era : the modernist legacy." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432085.
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Rosenow, Cecilia L. "Pictures of the floating world : American modernist poetry and cultural translations of Japan /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055709.
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Thesis (Ph. D.)--University of Oregon, 2002.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 176-199). Also available for download via the World Wide Web; free to University of Oregon users.
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Stone, Alison Jane. "Contemporary British poetry and the Objectivists." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/30174.
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This thesis examines a neglected transatlantic link between three post-war British poets – Charles Tomlinson, Gael Turnbull and Andrew Crozier – and a group of Depression-era modernists: the Objectivists. This study seeks to answer why it was the Objectivists specifically, rather than other modernists, that were selected by these three British poets as important exemplars. This is achieved through a combination of close readings – both of the Americans’ and Britons’ poetry and prose – and references to previously unpublished correspondence and manuscripts. The analysis proceeds via a consideration of how the Objectivists’ principles presented a challenge to dominant constructs of ‘authority’ and ‘value’ in post-war Britain, and the poetic is figured in this sense as a way-of-being as much as a discernible formal mode. The research concentrates on key Objectivist ideas (“Perception,” “Conviction,” “Objectification”), revealing the deep ethical concerns underpinning this collaboration, as well as hitherto unacknowledged political resonances in the context of its application to British poetries. Discussions of language-use build on recent critical perspectives that have made a case for the ‘re-forming’ potential of certain modernist poetries, particularly arguments about ‘paratactic’ versus ‘fragmentary’ modernisms, and as such the three British poets’ interest in the Objectivists is interpreted as a response to a need for restitution following the trauma of World War II. Ultimately, it is argued that this interaction (which this thesis figures in explicitly transatlantic terms) was a challenge to the emphasis placed on collective and normative viewpoints in much post-war British poetry, many of which were located in an organic conception of ‘nation.’ This study claims that the Objectivists’ example posited a contrasting poetic, foregrounding individual agency and capacity for thought as the only viable means for the poet to re-connect with and make meaningful statements about society and the world.
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Ekblad, Rachel Christine. "The Dislocated Spectator's Relationship to Enchanted Objects in Early Film and Modernist Poetry." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6697.
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In the early 1900s, industry and new technologies dislocated our sense of selfhood. Since the Industrial Revolution, the world had become increasingly crammed with material objects, leading up to when the invention of radio and the rise of electricity perpetuated and evidenced an interest in the immaterial. A similar fascination with magic as expressed in cultural forms such as the traveling show and the séance pointed to our new relationship to the object world: the self, dislocated from the body, could relocate in objects, forming a circuitous relationship akin to electricity. This phenomenon is encapsulated by the representation of enchanted objects in the poetry and film of this era. T.S. Eliot’s The Wasteland (1922) and The Love Song of J. Alfred Prufrock (1915) make a natural pairing with the films of French Impressionism, particularly Dimitri Kirsanoff’s Ménilmontant (1926) and Jean Epstein’s Coeur Fidèle (1923), because these works all depict central characters whose selfhood extends beyond themselves and projects into objects, animating them and imbuing them with autonomous, lifelike characteristics in a manner analogous to an electrical current. Humans function increasingly like objects and objects begin to take on the qualities of living people, emphasized by both the formal and thematic elements of these poems and films. However, rather than isolating human beings in a soulless world of objects, this projection has the potential to introduce a new form of intersubjective and interobjective connectivity.
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Birch, Alannah. "A study of Roy Campbell as a South African modernist poet." Thesis, University of the Western Cape, 2013. http://hdl.handle.net/11394/4823.
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>Doctor Literarum - DLitRoy Campbell was once a key figure in the South African literary canon. In recent years, his poetry has faded from view and only intermittent studies of his work have appeared. However, as the canon of South African literature is redefined, I argue it is fruitful to consider Campbell and his work in a different light. This thesis aims to re-read both the legend of the literary personality of Roy Campbell, and his prose and poetry written during the period of “high” modernism in England (the 1920s and 1930s), more closely in relation to modernist concerns about language, meaning, selfhood and community. It argues that his notorious, purportedly colonial, “hypermasculine” personae, and his poetic and personal explorations of “selfhood”, offer him a point of reference in a rapidly changing literary and social environment. Campbell lived between South Africa and England, and later Provence and Spain, and this displacement resonated with the modernist theme of “exile” as a necessary condition for the artist. I will suggest that, like the Oxford dandies whom he befriended, Campbell’s masculinist self-styling was a reaction against a particular set of patriarchal traditions, both English and colonial South African, to which he was the putative heir. His poetry reflects his interest in the theme of the “outsider” as belonging to a certain masculinist literary “tradition”. But he also transforms this theme in accordance with a “modernist” sensibility.
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Gilbert, Matthew. "Fir-Flower Petals on a Wet Black Bough: Constructing New Poetry through Asian Aesthetics in Early Modernist Poets." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3588.
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Critics often credit Ezra Pound and his Imagist movement for the development of American poetics. Pound’s interest in international arts and minimalist aesthetics of cross-cultural poetry gained the attention of prominent writers throughout Modernist and Post-Modern periods. From writers like Wallace Stevens and Gertrude Stein to later poets like Jack Kerouac and Gary Snyder, image and precise language has shaped American literature. Few critics have praised Eastern cultures or the Imagist poets who adopted an East-Western form of poetics: Amy Lowell and William Carlos Williams. Studying traditional Eastern painting and short-form poetry and interactions with personal connections to the East, Lowell and Williams adapt then progress aesthetic fusions Pound began and abandoned through his interpretation of Eastern art. Like Pound, Lowell and Williams illustrate a mix of form, free-verse language, and modernized poetics to not only imitate Eastern art but to create poetics of international discourse which shape American Modernism.
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Richards, Alan. "Not the way you thought it was, a paradoxical modernist aesthetic in Canadian poetry." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ60338.pdf.
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Terblanche, Juan Etienne. "E.E. Cummings : the ecology of his poetry / J.E. Terblanche." Thesis, Potchefstroom University for Christian Higher Education, 2002. http://hdl.handle.net/10394/438.
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E.E. Cummings' modernist poetry roots itself in nature. That it has not received overt
ecosemiotic ("ecocritical") attention is surprising. This thesis reads Cummings' poetic
oeuvre as found in his Complete Poems (1994) with a view to its ecological (whole,
naturally interpenetrating) scope and dynamics.
It builds upon existing criticism of Cummings' natural view and nature poetry
(Norman Friedman). Although it mainly adheres to a close reading of the poems
themselves, it also makes use of secondary sources such as Cummings' prose, notes,
painting, and letters, in support of the ecological argument. It also draws from a broad
basis of sources including various strands of ecological discourse: especially
"ecocriticism" (William Howarth) as well as cultural ecology, deep ecology, and -- on
an interdisciplinary basis -- ecology proper (Michael Begon). The thesis incorporates
texts on modernist orientalism (Eric Hayot) since it argues that Cummings' ecology
and his unique version of Taoism radically inform one another. Because relatively few
sources exist that relate modernist poetry to nature (Robert Langbaum) the thesis
consults a variety of modernist criticisms (Jewel Spears Brooker) with a view to the
relations between the modernist sign and its outside natural context.
Drawing upon sources further a field (Umberto Eco) the thesis offers a theoretical
overview of the complication of natural context in the modem mindset as found in
mainstream modernist discourse, structuralism (A.J. Greimas), and post-structuralism
(Jacques Derrida). Amounting to a "semiotic fallacy", such a broad semiotic
complication of sign-nature relations accentuates the importance of Cummings'
poetry which remains at once modern and deeply connected to nature.
Against this broad background, and in exploration of a zone of between-ness --
between opposites such as culture versus nature and East versus West -- Cummings'
poetry is read hermeneutically to infer its various ecological dynamics. The main
questions that the thesis examines are: What is the scope of Cummings' poetic
ecology? What are its dynamics? How did critics respond to it? What reciprocal light
does it shed on the poetic ecologies of the mainstream modernist poets T.S. Eliot and
Ezra Pound?
The thesis demonstrates that the extent of Cummings' poetic ecology is considerable:
it involves his various poetic categories (such as lyricism, satire, and visual-verbal
poems) from early to late in his career, as well as a gradual Taoist crisis in his
development (more or less from the 1930s to the 1950s). A sequence of ecological
dynamics from Lao Tzu's Tao Te Ching are applied to Cummings' poetry, including
humility (smallness and earthiness), flexibility (an osmotic semiosis), serendipity (or
synchronicity), a singular ideogrammatic style (Nina Hellerstein), iconicity (Michael
Webster), an open-ended cross-stitching of oppositional expectations, and "flow" or
signs that open out contextualizing possibilities faster than the reader can close them
down.
As the thesis further shows, these dynamics ultimately centre on Cummings' third
dimension or voice beyond static and entrenched opposites of the relational and
oppositional mind. The exploration concludes with a concise examination of
additional instances of the third voice such as a yin tendency (restoration of
femaleness), followed by an ecosemiotic analysis of two key ecological poems, the
leaf poem (“l(a”) and the hummingbird poem (“I/ never"). The latter acts as an
osmotic mandala that carries the modernist sign into active and complete earth, with
the reader acting as the creative and collaborating intermediary.
The focus then shifts to the critical reception of this poetic ecology, and finds that
influential critics (R.P. Blackmur) tended to misappropriate it as a form of non-intellectuality.
For example, Cummings' ecological flexibility was perceived as
childish sentimentality. The boundaries of Cummings' poetry were perceived not to
be "hardened" or "objective" enough. These receptions were based on a particular
mainstream modernist view of the intellect, informed by Eliot's objectified and
ambivalent early stance. Due to this, critics tended to overlook or dismiss that central
value of Cummings' poetry -- its ecology -- in favour of a more predominant and
dualistic alienation from and even cynicism towards natural integrity. These in-depth
revisitations reveal that Cummings' major minor status embodies an ecological
achievement: his poetry managed to move between and beyond the overall dualistic
mainstream modernist ecological dilemma that is marked by the major versus minor
categorization.
Based on this thorough exploration of the elusive ecological dynamism of Cummings'
poetry and its critical reception, the thesis turns its focus to Eliot's and Pound's
poetry. The early, major works such as The Waste Land (1922) are read from the
perspective of Cummings' poetic ecology, informed by the knowledge that a deep-seated
double-ness towards ecology would be expected in these major works. An
analysis of the mainstream modernist objectification of the sign with its concomitant
and sealed-off alienation from its outside context and nature follows - the focus is on
selected texts such as "Prufrock", "Tradition and the Individual Talent", and the
Cantos.
Eliot's and Pound's respective searches for and achievements of a third voice are
subsequently examined, as found (for example) in the DA sequence of The Waste
Land, 'The Idea of a Christian Society", the Four Quartets, Cathay, and the "Pisan
Cantos". Centring on this prevalent and underemphasized third voice, the thesis posits
an ecological reconfiguration of Cummings', Eliot's, and Pound's respective
modernist projects. It demonstrates that Cummings' poetic ecology is central to the
other two poets in terms of this voice. In provisional conclusion the thesis calls for a
critical shift towards a more intense engagement with "smaller" modernist poetries
such as Cummings', with a view to an increasing understanding of the ubiquitous,
complex, and sometimes complicating "green" layer of the modernist poetic
palimpsest.Thesis (Ph.D. (English))--Potchefstroom University for Christian Higher Education, 2003.
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Lang, Anouk Elise. "Radical paradigms : reading nation, race and gender in Canadian and Australian modernist poetry, 1925-1985." Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.613739.
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Fletcher, Martin John. "The view from The Waste Land : how Modernist poetry in England survived the Great War." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/149526.
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O poema icônico de T. S. Eliot The Waste Land, publicado em 1922, é indiscutivelmente o texto principal de poesia moderna em inglês. Eliot residia em Londres no momento da sua composição, e embora o poema contenha numerosas citações literárias e culturais, The Waste Land não é considerado como tendo sido influenciado por nenhum dos poetas ingleses que foram contemporâneos de Eliot. Pelo contrário, o poema é tido como um afastamento radical e uma reação contra, a poesia inglesa escrita antes e durante a Primeira Guerra Mundial (1914-1918). Neste artigo, eu argumento que The Waste Land contém ecos da obra dos poetas ingleses Harold Monro e Herbert Read, ambos os quais conheciam Eliot bem. Olhando retrospectivamente a partir de 1922, tendo The Waste Land como meu texto modernista base e ponto de partida crítico, eu conduzo uma reavaliação da cena poética inglesa do período 1910- 1922, a partir dos Georgian Poets do pré-guerra até o aparecimento, no pós-guerra, da obraprima de Eliot. Ambos Monro e Read foram influenciados pelo movimento radical 'Imagism' de Ezra Pound, que formou um elemento central na cena da poesia progressiva de Londres nos anos que antecederam a guerra. Portanto, utilizo ambos The Waste Land e os experimentos 'Imagist' de Pound como modelos de prática modernista através dos quais comparar e contrastar a obra dos Georgian Poets (especificamente Wilfrid Gibson), a poesia produzida durante a Primeira Guerra Mundial, e a obra de Monro e Read. Os princípios orientadores da minha abordagem analítica são dois: em termos de prática poética, eu avalio o trabalho de Eliot e seus contemporâneos, comparando as suas abordagens quanto à forma, a fim de demonstrar como a forma poética não apenas define o conteúdo, mas também revela mudanças nos valores culturais. Em segundo lugar, minha abordagem teórica é baseada nos conceitos mutantes da função estética da poesia, buscando demonstrar como valores estéticos estão historicamente relacionados a, e determinam, a produção e a recepção da poesia, expondo como os experimentos modernistas de Eliot e Pound estão historicamente relacionados com princípios estéticos românticos.T. S. Eliot’s iconic poem The Waste Land, published in 1922, is indisputably the key Modernist poetry text in English. Eliot was living in London at the time of its composition, and although the poem contains numerous literary references, The Waste Land is not thought to have been influenced by the poetry of Eliot’s English contemporaries. On the contrary, the poem is regarded as a radical departure from, and reaction against, the English poetry being written before and throughout the Great War (1914-1918). In this paper, I argue that The Waste Land contains echoes of the work of English poets Harold Monro and Herbert Read, both of whom knew Eliot well. Looking back retrospectively from 1922, with The Waste Land as my exemplary Modernist text and critical starting point, I carry out a reassessment of the English poetry scene from 1910 to 1922, from the pre-war Georgians to the post-war appearance of Eliot’s masterpiece. Both Monro and Read were influenced by Ezra Pound’s radical ‘Imagism’ movement, which formed a central plank in the progressive London poetry scene in the years leading up to the war. I therefore employ both The Waste Land and Pound’s ‘Imagist’ experiments as models of Modernist practice by which to compare and contrast the work of the Georgians (particularly Wilfrid Gibson), the poetry produced during the Great War, and the work of Monro and Read. The guiding principles of my analytical approach are twofold: firstly, in terms of poetic practice, I evaluate the work of Eliot and his contemporaries by comparing their approaches to form, assessing how poetic technique both defines content and offers insight into shifts in cultural values; secondly, my theoretical approach is based on changing concepts of the aesthetic function of poetry, revealing how aesthetic values are historically relative to, and determine, the production and reception of poetry, ultimately exposing how Eliot and Pound’s Modernist experiments are historically related to Romantic aesthetic principles.
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Jones, Neil. "Remaking it New: The Reorientation of Modernist Poetics in the Early Poetry of Louis MacNeice." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487121.
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This thesis challenges the critical distinction that is often made between modernist and British 1930s poetry, and it argues that the aesthetic, politicaL and ideological concerns of both modes are more deeply interrelated than has been acknowledged. Concentrating on the earlier writings (1924-1935) of Louis MacNeice and considering uncollected and previously unseen poems and prose from private correspondence, notebooks, and literary journals alongside the poet's collected workl the influence of Modernism is shown to be integral to understanding MacNeice's poetic growth during this period. MacNeice's earliest writing from the 19205 is firmly rooted in the context of modernist experimentation in the arts and yet his poetry also encountered serious creative problems resulting from his attempts to follow the practices ofhis modernist predecessors. The need to overcome these difficulties forced MacNeice in the early 19305 to redirect certain aspects of the modernist aesthetic into new channels and it was this process of experimentation that led to the emergence of MacNeice's mature and distinct style of poetry with the publication of his first collection from that decade, Poems (1935). The gradual shift in MacNeice's poetry away from the underlying oneness of reality towards a celebration of plurality, the elevation of poetic incompleteness above aesthetic unity and closure, and the preservation of identity not through stability and separation but through the opening of the self to the uncertainties of its communal and historical contexts all demonstrate how Modernism contains the seeds of its own transformation into an aesthetic approach we now recognise as postmodernist. This thesis concludes with a discussion of MacNeice's greatest work of the decade, Autumn Journal (1939), and shows how this is the culmination and justification of the engagement with Modernism that characterizes the formative stage of MacNeice's writing career.
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Ramos, Joranaide Alves. "Ascenso Ferreira: um poeta-cantador da cultura pernambucana." Universidade Federal de Alagoas, 2013. http://www.repositorio.ufal.br/handle/riufal/1809.
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This study examines the work Catimbó, written by Ascenso Ferreira (1895-1965), seeing it, especially as a poetic expression of the northeast popular culture, observing the affinities that the poetic diction of this pernambucano author remained with the modernists precepts of the 1922 Modern Art Week. The first chapter describes the cultural environment in Recife, noticing some socio-economic aspects that marked the region; examines the way the paulista modernism arrives to Pernambuco and, simultaneously, the intensification of regionalist´s ideas. Still in this first chapter, we begin the reading of poems ("Desespero", "A casa-grande de Megaípe", "Noturno", "O Samba", "História pátria", "Catimbó", "Minha terra", "Dor" and "Sertão") by Ascenso Ferreira, showing how the Pernambucana culture is poetized by the author of Catimbó. In the second chapter we considered Ascenso Ferreira as a regionalist-modernist poet, showing how the pernambucano has joined the stylistic innovation of modernism to the recovery of the traditions of his land, through the poems "Os engenhos da minha terra", "Tradição", "Vamos embora, Maria", "Quadrilha de Caetano Norato", "A pega do boi", "A rua do rio", "Graf Zeppelin", "O meu poema de São Francisco" and "Oropa, França e Bahia". In the third chapter, we point to Catimbó as a book thematically linked especially to popular culture, presenting the reading of poems of this book that deal poetically with the nordestinidade ascensiana through verses which reveal the cultural components of his land and its people, as "A cavalhada", "Carnaval do Recife", "Meu carnaval", "Senhor São João", "Natal", "Mês de Maio", "Reisado", "Bumba-meu-boi" and "Maracatu".Fundação de Amparo a Pesquisa do Estado de Alagoas
Este estudo examina a obra Catimbó, de Ascenso Ferreira (1895-1965), vendo-a, sobretudo, como uma expressão poética da cultura popular nordestina, observando as afinidades que a dicção poética do autor pernambucano manteve com os preceitos modernistas da Semana de 22. O primeiro capítulo descreve o ambiente cultural Recifense, verificando alguns aspectos socioeconômicos que marcaram a região; examina o modo como o Modernismo paulista chega a Pernambuco e, simultaneamente, a intensificação das ideias regionalistas. Ainda neste primeiro capítulo, iniciamos a leitura de poemas (“Desespero”, “A casa-grande de Megaípe”, “Noturno”, “O samba”, “História pátria”, “Catimbó”, “Minha terra”, “Dor” e “Sertão”) de Ascenso Ferreira, mostrando como a cultura pernambucana é poetizada pelo autor de Catimbó. No segundo capítulo consideramos Ascenso Ferreira como um poeta regionalista-modernista, mostrando como o pernambucano uniu a inovação estilística do modernismo à valorização das tradições de sua terra, através dos poemas “Os engenhos de minha terra”, “Tradição”, “Vamos embora, Maria”, “Quadrilha de Caetano Norato”, “A pega do boi”, “A rua do rio”, “Graf Zeppelin”, “O meu poema de São Francisco” e “Oropa, França e Bahia”. No terceiro capítulo, apontamos para Catimbó como o livro de temática ligada especialmente à cultura popular, apresentando a leitura de poemas deste livro que tratam poeticamente a nordestinidade ascensiana através de versos que revelam os componentes culturais de sua terra e do seu povo, como “A cavalhada”, “Carnaval do Recife”, “Meu carnaval”, “Senhor São João”, “Natal”, “Mês de maio”, “Reisado”, “Bumba-meu-boi” e “Maracatu”.
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Romon-Alonso, Mercedes. "H.D. : sublimity and beauty in her early work (1912-1925)." Thesis, Durham University, 1998. http://etheses.dur.ac.uk/4691/.
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The purpose of this thesis is to study the poetry written by H.D. between 1912- 1925 in relation to two Romantic categories: beauty and sublimity. I shall attempt to show how H.D. subverts and revises the Romantic sublime offering alternatives that can be identified with a "female sublime". A direct consequence of such revision will be her commitment to beauty, which acts in her poems as a generative drive. Her understanding of beauty will be shown to have its roots in Sappho, Plato and the Victorian Hellenists, among others, and to have undergone analogous transformations to those of sublimity. Chapter I reopens the debate around Imagism and Imagist poetry showing that the problem of defining what Imagism is or was originates in the overwhelming authority of theory versus praxis. My goal is to deconstruct the critical fallacies on which Imagism has been built and to free the poetry which it represents. This allows me to question the myth of H.D. as "Imagiste" and to open her early poetry to new readings and interpretations. In Chapter n, I review the theoretical background to the aesthetics of the sublime represented by Longinus, Burke, Kant and Wordsworth. I also establish the critical frame within which this research will take place, drawing on Thomas Weiskel, Patricia Yaeger and Joanne Diehl. I initiate a study of sublimity in H.D.'s first volume, Sea Garden, and show the alternative treatment that this Romantic genre receives from this female poet. H.D.'s revisions of the Romantic sublime take us in Chapter m to a study of her poetics, as presented in her essay "Notes on Thought and Vision". I discuss a variety of sources for the composition of these "Notes", such as Havelock Ellis' influence, H.D.'s letters to John Cournos and her friendship with D.H. Lawrence. I show how H.D. understands artistic and poetic creativity as 'vision' and how the recovery of the abject female body allows her to formulate a notion of creativity that transcends gender. Chapter IV, pursues H.D.'s transformations of the Romantic sublime in Hymen, and presents Sappho as a model for the fusion of sublimity, love and eroticism in the poems of this volume. Chapter V begins with a theoretical discussion surrounding the aesthetics of the beautiful in relation to Chapter II. It continues with H.D.'s understanding of beauty within her essays, in particular, "Responsibilities", "Notes on Thought and Vision" and "Notes on Euripides, Pausanius and Greek Lyric Poets". In the light of recent work on Pater's masculine model of Hellenic beauty, I discuss H.D.'s own configuration of beauty.
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Irish, Bradley J. "Hieronimo in The Waste Land." Thesis, Boston University, 2005. https://hdl.handle.net/2144/32870.
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Thesis (B.A.)--Boston University. University Professors Program Senior theses.PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-01
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Han, Gül Bilge. "“Distantly a part”: Wallace Stevens and the Poetics of Modernist Autonomy." Doctoral thesis, Stockholms universitet, Engelska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-119700.
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This dissertation explores the social and political dimensions of aesthetic autonomy as it is given formal expression in Wallace Stevens’s poetry of the 1930s and the early 1940s. Whereas modernist claims to autonomy are often said to rest upon an ideological assertion of art’s detachment from socio-historical concerns, I argue that, in Stevens’s work, autonomy is conceived in relational terms, which gives rise to new lines of interconnection between his poetry and its cultural situation. Written over a period when the political efficacy of literature became a staple of discussion among a myriad of writers and critics, Stevens’s poetry offers an understanding of autonomy not as an escape from, but as a productive condition for imagining alternative forms of engagement with the historical crisis with which it has to reckon. In taking into account the cultural context from which Stevens’s poetics of autonomy emerged, my study aims to highlight the significance of the concept to the poet’s exploration of the tension between aesthetic and social domains, to his imaginative formations of collective agency, and to the vexed relationship between poetic and philosophical modes of thinking. By transposing the theoretical discussion of autonomy into the register of historical scrutiny, I hope to pave the way for a rethinking of autonomy and its relevance to the period’s radical and modernist writing, literary debates, and cultural politics. For this purpose, I draw on recent theories, such as those offered by Jacques Rancière and Alain Badiou, on poetry, politics, and (in)aesthetics, which serve to complicate the working definitions of modernist autonomy as literature’s immunity from the world, and to indicate an alternative path for analyzing its critical and contextual implications.
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Niven, Alex F. "Basil Bunting's late modernism : from Pound to poetic community." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:c6d887a6-0e63-440d-9959-0791168bce5b.
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This study examines Basil Bunting's development as a poet from his meeting with Ezra Pound in Paris in 1923, through his collaborations with Pound, Louis Zukofsky, and other members of the Objectivist circle in the 1930s, up to his meeting with Allen Ginsberg and Tom Pickard in 1960s Britain against a backdrop of social activism and modernist revival. In particular, it seeks to query the critical commonplace that Bunting was a sceptic interested solely in the autotelic form of poetry, and to argue that his revival at the time of the long poem Briggflatts in the sixties should be read historically - as a case study that shows the Poundian tradition of praxis and orality acquiring a newly communitarian, leftist emphasis in the context of post-war Anglo-American poetry. The study draws extensively on unpublished manuscripts and letters held at the Basil Bunting Archive, Durham University, the Harry Ransom Center, University of Texas (Austin), and the Beinecke Rare Book and Manuscript Library, Yale University.
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Kim, Heejung. "THE OTHER AMERICAN POETRY AND MODERNIST POETICS: RICHARD WRIGHT, JACK KEROUAC, SONIA SANCHEZ, JAMES EMANUEL, AND LENARD MOORE." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1523964596644369.
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Junior, Jose Ferreira de Lucena. "Discurso erótico em três poetas modernistas: Manuel Bandeira, Carlos Drummond de Andrade e João Cabral de Melo Neto." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-24082009-162714/.
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Esta dissertação versa sobre a análise do discurso da poesia erótica de Manuel Bandeira, Carlos Drummond de Andrade e João Cabral de Melo Neto. A pesquisa usa a teoria desenvolvida pela escola francesa de análise do discurso mais especificamente a Semântica Global, termo proposto por Dominique Maingueneau para a integração de sete planos básicos de um discurso. A semiótica, o estilo e o conceito de ethos discursivo ajudam a complementar esta pesquisa cujo objetivo é mostrar como o erotismo é visto por cada autor.Esta dissertação versa sobre a análise do discurso da poesia erótica de Manuel Bandeira, Carlos Drummond de Andrade e João Cabral de Melo Neto. A pesquisa usa a teoria desenvolvida pela escola francesa de análise do discurso mais especificamente a Semântica Global, termo proposto por Dominique Maingueneau para a integração de sete planos básicos de um discurso. A semiótica, o estilo e o conceito de ethos discursivo ajudam a complementar esta pesquisa cujo objetivo é mostrar como o erotismo é visto por cada autor.
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George, Anita Christina. "The new Alexandrians, the modernist revival of hellenistic poetics in the poetry of T. S. Eliot and Ezra Pound." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ27929.pdf.
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Steinle, Larissa Fernanda [UNESP]. "Variações rítmicas e literatura de tradição oral na poesia de Manuel Bandeira." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/154375.
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A pesquisa propõe o estudo da presença da cultura popular na poesia de Manuel Bandeira, por meio da análise do modo como ritmos de textos criados pelo imaginário popular são incorporados à poesia de autoria do poeta modernista. Sendo assim, partimos inicialmente do levantamento de poemas que evocam explicitamente a literatura popular de tradição oral para, em seguida, analisar os aspectos formais que constituem o nível rítmico dos poemas, visando a sempre estabelecer uma ligação entre aspectos rítmicos e semânticos, ao estudo não apenas da estrutura, mas da função exercida por ela no poema. Para tanto, utilizamos como fundamentação teórica as lições sobre ritmo e análise de poemas presentes em O estudo analítico do poema (2006), de Antonio Candido; os ensinamentos sobre fonologia, expressos por Roman Jakobson, em Seis lições sobre o som e o sentido (1977), dentre outros estudos. Sobre a obra do poeta, Manuel Bandeira, consultamos obras críticas como Humildade, paixão e morte (2009), de Davi Arrigucci Jr. e Manuel Bandeira: verso e reverso (1987), livro organizado por Telê Porto Ancona Lopes. O caráter popular da poesia de Bandeira é abordado por meio de diversos estudos e registros da cultura e da música populares brasileiras realizados por Mário de Andrade e de obras como Literatura oral no Brasil (1984), de Luis da Câmara Cascudo. Foram selecionados seis poemas, distribuídos em quatro livros do poeta, sendo que dentre eles encontramos diferentes tipos de composições populares, sendo elas cantigas infantis, acalantos e orações. Espera-se assim, compreender o papel da cultura popular na obra de Manuel Bandeira.
This research intends to study the presence of the popular culture in Manuel Bandeira’s poetry, through the analysis of the manner in which the rhythms of the texts created by the popular imaginary are incorporated into the modernist author’s works. Thus, we start by the selection of poems that explicitly evoked the popular literature of oral tradition to, in sequence, analyze the formal aspects that constitute the rhythmic level of the poems. In so doing, we seek to establish a connection between the rhythmic and the semantic aspects, in order to study, not only the structure, but also the role it plays in the poem. For this purpose, we use as theoretical basis the lessons about rhythm and poem analysis present in O estudo analítico do poema (2006), by Antonio Candido and the teachings about phonology expressed by Roman Jakobson in Seis lições sobre o som e o sentido (1977), among others. About Manuel Bandeira’s works, we will consult critical works such as Humildade, paixão e morte (2009) by Davi Arrigucci Jr. and Manuel Bandeira: verso e reverso (1987), a book organized by Telê Porto Ancona Lopes. The popular aspect of Bandeira’s poetry is approached through several studies and registers of Brazilian’s popular culture and music by Mário de Andrade, works such as Literatura oral no Brasil (1984), by Luís da Camara Cascudo. We selected six poems distributed among four of the author’s books, among which we find different kinds of popular compositions, like children’s songs, lullabies, prayers, among others. Thereby, we hope to comprehend the role played by popular culture in Manuel Bandeira’s works
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Jost, Levi James. "LINES THAT BIND: DISABILITY’S PLACE IN THE MODERNIST WRITINGS OF WILLIAM FAULKNER, AMY LOWELL, LANGSTON HUGHES, AND EZRA POUND." OpenSIUC, 2017. https://opensiuc.lib.siu.edu/dissertations/1365.
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This dissertation explores the effects disability had on the aesthetics of American modernist writers like Langston Hughes, William Faulkner, Amy Lowell, and Ezra Pound at a time when eugenics' insistence on a superior and uniform humanity dominated social thought and how their writings complicate generalized conclusions espousing ablist tendencies in modernist literature, demonstrating that such generalizations can be complicated with careful attention to a broad range of modernist texts. The introduction highlights important ideas and events in the development of disability studies and applies the theory to Emily Dickinson’s “Safe in their Alabaster Chambers” to demonstrate how scholars have largely overlooked even well-known authors’ engagement with disability. The first chapter interrogates Faulkner's The Sound and the Fury to demonstrate that, rather than reify disability, Faulkner questions the idea of norms that imply a stable identity by alluding to and investigating ideas relevant to important events and conceptions of the time such as Henry H. Goddard’s The Kallikak Family and the U.S. Supreme court case of Buck v. Bell. Chapter two’s analysis of Langston Hughes's Fine Clothes to the Jew identifies a tendency in the poetry to enact Tobin Sieber’s concept of disability masquerade to assume but play against the intellectually disabled identity forced on Blacks at the time, rather than attempting to distance himself from the label as disability theorists such as Douglas Baynton posit generally occurs when racialized groups are associated with disability. In the third chapter, Robert McRuer’s concept of compulsory able-bodiedness is identified as a source for Amy Lowell’s fall from popularity and she is considered alongside conceptions of the freak to identify a source for her creativity most evident in the "polyphonic prose" of Can Grande's Castle, her invention to free poets of the restrictions of traditional cadenced verse. The final chapter offers a reading of Pound's Drafts & Fragments that, while highlighting this often neglected collection's importance because of the social awareness brought to it through Pound's twelve and a half years in a mental institution, also explores the limitations of readings that assume that his disabled status guided this poetry. Concluding the dissertation is an analysis of Sherman Alexie's Pulitzer prize winning young adult novel, The Absolutely True Diary of a Part-Time Indian, that demonstrates disability’s continued applicability after eugenics’ fall from grace and highlights Alexie’s use of humor to get readers to stare as a part of considering the serious topics he writes into the novel, instigating what Rosemarie Garland-Thomson calls the "good stare" that welcomes identification between staree and starer. Together, these chapters attempt to further expand the inclusivity of discussions of modernism and complicate long-standing understandings of disability.
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Cain, Christina. "Between the Waves: Truth-Telling, Feminism, and Silence in the Modernist Era Poetics of Laura Riding Jackson and Muriel Rukeyser." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5419/.
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This paper presents the lives and early feminist works of two modernist era poets, Laura Riding Jackson and Muriel Rukeyser. Despite differences of style, the two poets shared a common theme of essentialist feminism before its popularization by 1950s and 60s second wave feminists. The two poets also endured periods of poetic silence or self censorship which can be attributed to modernism, McCarthyism, and rising conservatism. Analysis of their poems helps to remedy their exclusion from the common canon.
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Hultsberg, Peter. "Därför berör oss fåglarnas liv : Lennart Sjögrens poetiska livsförståelse." Doctoral thesis, Växjö universitet, Institutionen för humaniora, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-2017.
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This dissertation examines Lennart Sjögren’s conception of life as revealed through his poetry and other written documents. Light is shed on his writings in three chapters, with an Introduction that opens the investigations, and a Conclusion that sums up the findings. His collection of poetry Ur männisovärlden (2008, From the world of the living) is commented upon in an epilogue. Chapter Two analyses the collection Havet (1974, The Sea), focussing on Sjögren’s view of nature and his imagery. A religious tone can be apparent throughout the poems. In earlier centuries, poems about migratory birds often gained in authenticity via their Christian context. In a secularised age, ecological insights add to the credibility of the poems. Chapter Three is an analysis and interpretation of Sjögren’s collection of poems Fågeljägarna (1997, The Bird Catchers), as well as of the intra- and intertexts that the reader meets in his writings and that, for various reasons, serve to make Sjögren’s poetic voice so distinctive. In a series of subsections the uniqueness of Fågeljägarna is defined by means of a comparison with ecology, secularisation (secularism), nihilism, religion and mythology. In addition, there is a discussion of the “poetry of place” and a final analysis of what unites and divides Sjögren and K. E. Løgstrup, regarding a poetic understanding of life. Independent of the ideological direction that is identi-fied, this cycle of poems is marked by an elegiac mood. The poem “Dagen före plöjarens kväll” (1984, “The Day before the Plough-man’s Evening”) from the eponymous collection of poems is an example of an ekphrasis (a transformation of images). Chapter Four makes a close reading of this poem, for which Pieter Bruegel the Elder’s picture “Landscape with the Fall of Icarus” is a model. Four interpretative hypotheses are advanced: a moral, ontological, theological and a folkloristic one. The interpretation of the poem points out that the dialogue is not merely the poet’s private affair – the reader is also invited to take an active part in the discussion, now with the picture and the ekphrasis as prerequisites. The chapter contains a further three analyses of ekphrasis dealing with other poems from the collection Dagen före plöjarens kväll.
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Trub, Simon Dominique. "Late modernist quest for a human community in post-1945 epic poetry : reading David Jones's The Anathemata, William Carlos Williams's Paterson, and Charles Olson's The Maximus Poems with Georges Bataille's Summa Atheologica." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23481.
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Reading David Jones’s The Anathemata, William Carlos Williams’s Paterson, and Charles Olson’s The Maximus Poems as epics, this doctoral dissertation challenges the old but persistent notion that epic poetry ceased being written at a particular point in the past and instead examines the particular formal, philosophical and political difficulties writers of this genre had to confront in the second half of the twentieth century. Twentieth-century epic poetry will primarily be defined in terms of its purpose or function, which is the representation of the identity of a ‘community’, while the literary period beginning with the end of the Second World War will be defined as late modernism. Chiefly inspired by Anthony Mellors’s Late Modernist Poetics: From Pound to Prynne, late modernism will be discussed as an aesthetico-political challenge with which writers had to come to terms in the wake of twentieth-century European totalitarianism. Georges Bataille’s philosophy of community, it will be argued, paradigmatically illustrates these aesthetico-political difficulties in philosophical terms, and the discussions of the three epic poems are therefore preceded by an analysis of Bataille’s Summa Atheologica, which constitutes the core of his philosophy of community.
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Ramstetter, Anthony F. Jr. "Small Gods & Orbital Bodies: A Thesis." Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1371567335.
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Thomas, Chloé. "Gertrude Stein : une poétique du réalisme." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA090/document.
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Gertrude Stein (Allegheny, Pennsylvanie, 1874 – Paris, 1946), figure centrale du modernisme américain, est souvent saluée pour avoir porté très loin une expérience linguistique et grammaticale, au sein d’une œuvre très vaste explorant tous les genres – romans, nouvelles, poèmes longs et courts, essais et conférences, pièces de théâtre, livrets d’opéra, biographies et autobiographies. L’objet de ce travail est d’analyser le rapport que la langue de Gertrude Stein entretient avec le réalisme : comme tradition littéraire d’abord, en réinvestissant l’héritage naturaliste et en l’américanisant par le remplacement de Claude Bernard par William James comme figure tutélaire de la méthode expérimentale ; comme déplacement du réel dans la langue elle-même qui échoue toujours à se réifier tout à fait ; comme injonction à la véracité enfin, dans des fictions plus tardives qui mettent en scène leur propre mauvaise foi et font de l’Amérique le territoire idéal et idéel de l’iréel. Parallèlement, nous tentons de mettre au jour la dynamique des genres qui se joue dans cette conversation renouvelée avec le réalisme, où chaque déplacement au sein d’une poétique mouvante devient une nouvelle façon de mettre la langue à l’épreuve du monde et de sa capacité à le viser. À partir de deux œuvres du début de sa carrière (les trois nouvelles de Three Lives et le long roman The Making of Americans), de sa poésie dite descriptive (les « portraits »), des Stanzas in Meditation et de deux œuvres en prose plus tardives (Four in America et Ida a Novel) nous essayons de comprendre la façon dont Stein envisageait les partitions génériques, notamment entre prose et poésie, et le rôle qu’elle leur donnait dans son parcours artistique et esthétiqueGertrude Stein (Allegheny, Pennsylvania, 1874 – Paris, 1946) is a central figure of American modernism. She is celebrated for the radical experiments with language and grammar she conducted throughout a literary career in which she tried her hand at all genres: novels, novellas, long and short poems, essays, conferences, plays, opera librettos, biographies and autobiographies. The present dissertation analyzes the connections of Stein’s language to realism. The notion will be understood, first, as a literary tradition, which Stein reinterprets by americanizing it (through the replacement of Claude Bernard by William James as her mentor in the experimental method); second, as a displacement of the “real” within language itself, despite its consistent failure to become just a thing among others; third, as a call to veracity, in later works of fiction which stage their own disingenuousness and make America the ideal territory of the unreal. It will be argued that this constantly evolving conversation between Stein’s work and realism also implies a renewal of generic issues: each shift within an unstable generic system is a new way to test the ability of language to account for the world. Focusing on two early works (the three novellas of Three Lives and the long novel The Making of Americans), pieces of “descriptive” poetry (the “portraits”), the Stanzas in Meditation and two later prose works (Four in America) and (Ida a Novel), this dissertation will try to show how Stein understood generic boundaries, including that between poetry and prose, and what part they played in her aesthetic development
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Cardoso, Ana Paula. "Fotografias verbais entre artes: Pau Brasil, Feuilles de Route e desenhos de Tarsila." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-21052007-141537/.
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A dissertação trata de Pau Brasil, de Oswald de Andrade, e Feuilles de Route: I. Le Formose e II. Sao-Paulo, de Blaise Cendrars, e pretende verificar como a cidade de São Paulo - em sua condição particular no contexto da modernidade brasileira - é transformada em matéria poética nessas obras. Em contraponto aos elementos do cosmopolitismo da metrópole, apresenta-se a vida rural no ambiente das fazendas do interior do Estado. Com base na análise das obras, procuro avaliar a poética dos autores em suas relações com a metrópole, considerando ainda temáticas associadas a outras questões da modernidade, como o progresso x a natureza e o tema da viagem. Na recomposição dos projetos poéticos dos autores nas obras estudadas, os desenhos elaborados por Tarsila do Amaral para ambas produções poéticas serão considerados como um ponto-chave.This dissertation examines Oswald de Andrade´s Pau Brasil, and Blaise Cendrars´ Feuilles de Route: I. Le Formose and II. Sao-Paulo, and intents to verify how São Paulo has been - in its particular condition in the context of Brazilian modernity - transformed in poetic subject in these works. In contrast to the elements of metropolis´ cosmopolitism, presents the rural life in inner state farms. Based on work analysis, I attempt to evaluate the authors´ poetic in their relationship with the metropolis, considering also a subject matter associated to other modernity issues, like progress x nature and the travelling theme. In rearrangement of poetic projects from the authors in the studied works, the drawings created by Tarsila do Amaral for both poetic produtions are considered key-points.
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Nickerson, Anna Jennifer. "Frontiers of consciousness : Tennyson, Hardy, Hopkins, Eliot." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/277879.
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‘The poet’, Eliot wrote, ‘is occupied with frontiers of consciousness beyond which words fail, though meanings still exist’. This dissertation is an investigation into the ways in which four poets – Alfred Tennyson, Thomas Hardy, Gerard Manley Hopkins, and T. S. Eliot – imagine what it might mean to labour in verse towards the ‘frontiers of consciousness’. This is an old question about the value of poetry, about the kinds of understanding, feeling, and participation that become uniquely available as we read (or write) verse. But it is also a question that becomes peculiarly pressing in the nineteenth- and early twentieth-centuries. In my introductory chapter, I sketch out some of the philosophical, theological, and aesthetic contexts in which this question about what poetry might do for us becomes particularly acute: each of these four poets, I suggest, invests in verse as a means of sustaining belief in those things that seem excluded, imperilled, or forfeited by what is felt to be a peculiarly modern or (to use a contested term) ‘secularized’ understanding of the world. To write poetry becomes a labour towards enabling or ratifying otherwise untenable experiences of belief. But while my broader concern is with what is at stake philosophically, theologically, and even aesthetically in this labour towards the frontiers of consciousness, my more particular concern is with the ways in which these poets think in verse about how the poetic organisation of language brings us to momentary consciousness of otherwise unavailable ‘meanings’. For each of these poets, it is as we begin to listen in to the paralinguistic sounds of verse that we become conscious of that which lies beyond the realms of the linguistic imagination. These poets develop figures within their verse in order to theorize the ways in which this peculiarly poetic ‘music’ brings us to consciousness of that which exceeds or transcends the limits of the world in which we think we live. These figures begin as images of the half-seen (glimmering, haunting, dappling, crossing) but become a way of imagining that which we might only half-hear or half-know. Chapter 2 deals with Tennyson’s figure of glimmering light that signals the presence, activity, or territory of the ‘higher poetic imagination’; In Memoriam, I argue, represents the development of this figure into a poetics of the ‘glimpse’, a poetry that repeatedly approaches the horizon of what might be seen or heard. Chapter 3 is concerned with Hardy’s figuring of the ‘hereto’ of verse as a haunted region, his ghostly figures and spectral presences becoming a way of thinking about the strange experiences of listening and encounter that verse affords. Chapter 4 attends to the dappled skins and skies of Hopkins’ verse and the ways in which ‘dapple’ becomes a theoretical framework for thinking about the nature and theological significance of prosodic experience. And Chapter 5 considers the visual and acoustic crossings of Eliot’s verse as a series of attempts to imagine and interrogate the proposition that the poetic organisation of language offers ‘hints and guesses’ of a reality that is both larger and more significant than our own.
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Alves, Leonardo. "A profusão metapoética em Faustino." reponame:Repositório Institucional da FURG, 2009. http://repositorio.furg.br/handle/1/2923.
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Dissertação(mestrado) - Universidade Federal do Rio Grande, Programa de Pós-Graduação em Letras, Instituto de Letras e Artes, 2009.Submitted by Cristiane Silva (cristiane_gomides@hotmail.com) on 2012-10-08T14:13:56Z No. of bitstreams: 1 leonardoalves.pdf: 642276 bytes, checksum: c4c91818e3b356fe583a36edba05ce06 (MD5)
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Made available in DSpace on 2012-12-02T12:09:19Z (GMT). No. of bitstreams: 1 leonardoalves.pdf: 642276 bytes, checksum: c4c91818e3b356fe583a36edba05ce06 (MD5) Previous issue date: 2009
Nesta dissertação, realizo uma análise da obra poética do autor piauiense Mário Faustino, à luz de textos teóricos que tratam de questões relacionadas à lírica. Dessa forma, busco destacar as temáticas e os procedimentos mais significativos adotados em sua consecução artística. Além do exame do conjunto de sua produção, constituída de O homem e sua hora e Outros Poemas, traço um levantamento de sua fortuna crítica e o recorte temático da metalinguagem, uma configuração recorrente na sua produção.
Analysis of the work of brazilian poet Mário Faustino from Piauí, in the light of theoretical texts that deal with the issue of aiming to highlight the lyrical and thematic procedures adopted in its artistic achievement. In addition to considering all of its production consisting of O Homem e sua Hora e Outros Poemas, We also consider his critical fortune and thematic focus of the metalanguage, recurring process in his production.
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Huet, Marie. "L'image dans la poésie moderniste." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL183.
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La poésie française de l’entre-deux-guerres présente bien souvent un visage désuni, entre des groupes d’avant-garde à la parole théorique forte, qui renouvèlent en profondeur la pensée et la pratique de la poésie (surréalistes, dadaïstes ou poètes de la modernité bohème sous l’égide d’Apollinaire et de Reverdy), et des poètes sans affiliation, qui laissent une œuvre parfois orpheline de théorie (Claudel, Jouve, qui placent leur œuvre sous le signe de la spiritualité chrétienne, Saint-John Perse ou Fargue, qui recherchent la modernité loin de l’agitation des mouvements littéraires). Ce travail entend proposer une catégorie historiographique susceptible d’offrir une vue cohérente de la poésie de la période, à travers le concept d’image, tel que le développent notamment Reverdy et Breton dans leurs écrits théoriques. L’image et l’analogie sont au cœur des écrits théoriques de l’entre-deux-guerres : elles donnent à la poésie moderne la possibilité de se redéfinir hors des critères désuets du vers et de la rime, de s’identifier à l’expression de la pensée intuitive, dans le vis-à-vis de la rationalité portée par le positivisme. À travers elles, apparait également l’unité esthétique de la poésie de la période, marquée par le goût de l’imaginaire et du merveilleux, la tentation de l’hermétisme. Le concept d’image permet donc d’unifier la poésie de l’entre-deux-guerres, par-delà les divergences qui existent entre ces auteurs, et d’articuler celle-ci à sa théorie et à sa place dans l’histoire des idéesFrench poetry of the interwar years often presents an uneven complexion, between groups of the avant-garde that deeply renew both how to think of, and to practice poetry, thanks to their assertive theoretical discourse (surrealists, dadaïsts, or poets belonging to the bohemian modernity under the aegis of Apollinaire and Reverdy), and poets without affiliation, who leave behind them works that are sometimes devoid of theoretical parentage (Claudel, Jouve, whose writing is inspired by Christian spirituality, Saint-John Perse or Fargue, whose quest for modernity unfolds far from the frenzy of literary movements). This thesis wishes to construct a historiographical category liable to give a coherent view of the poetry produced during this period, through the concept of the image, as developed by Reverdy and Breton, particularly in their theoretical writings. The concepts of the image and the analogy are the heart of the theory written during the interwar years : they give modern poetry the possibility of redefining itself outside the obsolete criteria of rhyme and verse, of identifying itself to intuitive thinking as opposed to the rationality carried in positivism. Through them, there appears an aesthetic unity of poetry, characterised by a taste for the imaginary and the marvellous, and the temptation of hermeticism. The concept of the image thus makes it possible to unify interwar poetry, beyond the differences that exist between these authors, and to articulate poetry with its theory and its position in the history of ideas
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Vizoso, Pedro Jose. "Madrid Modernista: Espacios Urbanos Madrilenos en la Literatura Bohemia del Modernismo Espanol." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/195069.
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This study offers an analysis of the interaction between urban spaces and bohemian literature in Madrid around 1900. I argue that bohemianism and bohemian literature are actually part of a very well structured cultural discourse--a discourse of social resistance--and must be studied as such. At the same time, the obvious urban nature of this phenomenon is a deciding aspect of it. In order to know how the bohemian discourse evolved in Madrid from 1850s to 1920s--from Realism to Modernismo--we have to study the core and reciprocal relationship between bohemianism and the city. This issue has not yet been explored within Hispanism, in spite of the fact that it provides a very useful perspective for considering the period as a synthesis of intellectual and artistic matters.In my dissertation I engage the essential aspects of bohemianism in the turn of the twentieth century Spanish literature. I focus on the characterization and use of space in the bohemian discourse of Peninsular Modernismo. My starting point is the description and characterization of such a discourse as it has been constructed, analyzing how it takes form in a variety of different kind of texts. I study the construction and evolution of its "cartographic imaginary" (David Harvey), an image of the city that bohemian literature uses to resist the bourgeois order imposed on Madrid's urban spaces and the capitalistic process that supports it. I argue that bohemianism was taken by the peninsular version of Hispanic Modernismo as its central aesthetic discourse. Consequently, and because of the subaltern and marginal nature of it, Modernismo could never position itself at the central stage of the 1900s Spanish culture.
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Stubbs, Tara M. C. "'Irish by descent' : Marianne Moore, Irish writers and the American-Irish Inheritance." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:bf87b5ea-4baa-4a46-9509-2c59e738e2a1.
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Despite having a rather weak family connection to Ireland, the American modernist poet Marianne Moore (1887-1972) described herself in a letter to Ezra Pound in 1919 as ‘Irish by descent’. This thesis relates Moore’s claim of Irish descent to her career as a publisher, poet and playwright, and argues that her decision to shape an Irish inheritance for herself was linked with her self-identification as an American poet. Chapter 1 discusses Moore’s self-confessed susceptibility to ‘Irish magic’ in relation to the increase in contributions from Irish writers during her editorship of The Dial magazine from 1925 to 1929. Moore’s 1915 poems to the Irish writers George Moore, W. B. Yeats and George Bernard Shaw, which reveal a paradoxical desire for affiliation to, and disassociation from, Irish literary traditions, are scrutinized in Chapter 2. Chapters 3a and b discuss Moore’s ‘Irish’ poems ‘Sojourn in the Whale’ (1917) and ‘Spenser’s Ireland’ (1941). In both poems political events in Ireland – the ‘Easter Rising’ of 1916 and Ireland’s policy of neutrality during World War II – become a backdrop for Moore’s personal anxieties as an American poet of ‘Irish’ descent coming to terms with her political and cultural inheritance. Expanding upon previous chapters’ discussion of the interrelation of poetics and politics, Chapter 4 shows how Moore’s use of Irish sources in ‘Spenser’s Ireland’ and other poems including ‘Silence’ and the ‘Student’ reflects her quixotic attitude to Irish culture as alternately an inspiration and a tool for manipulation. The final chapter discusses Moore’s adaptation of the Anglo-Irish novelist Maria Edgeworth’s 1812 novel The Absentee as a play in 1954. Through this last piece of ‘Irish’ writing, Moore adopts a sentimentality that befits the later stages of her career and illustrates how Irish literature, rather than Irish politics, has emerged as her ultimate source of inspiration.