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Relevant bibliographies by topics / Performance poetry / Dissertations / Theses

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Dissertations / Theses on the topic 'Performance poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Vernon, Jenifer Rae. "Making community with the deep communication of popular live poetry in San Diego, California at the Millennium." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3330317.

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Thesis (Ph. D.)--University of California, San Diego, 2008.<br>Title from first page of PDF file (viewed November 19, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 233-241).

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2

Kridler, Jamie Branam. "Justus Troupe Performance Poetry Group." Digital Commons @ East Tennessee State University, 2004. https://dc.etsu.edu/etsu-works/5863.

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3

Phillips, Tom. "Pindar's library : performance poetry and material texts." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:fb9b6bcc-0a2e-486e-94c4-f74a30d8cae8.

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4

Davis, Nameer. "The existential subject of concrete performance poetry." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/35868/1/35868_Davis_1996.pdf.

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This dissertation is a claim for the act of Concrete Performance Poetry (and the Poet) as the "bridge" between existence and experience. I have structured the argument to locate the theory I have drawn on, and the practice of Performance Poetry, in three specific areas. "The Performance" (Chapter One); "The Concrete" (Chapter Two); and "The PoeU Poetry" (Chapter Three). Chapter One. The Performance provides a circumstance for the PHENOMENOLOGICAL rapport between the PERFORMER and LANGUAGE deriving from John Austin's SPEECH-ACT and Maurice Merleau-Ponty's EMPIRICAL and EXISTENTIAL speech. I a

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5

Haas, Benjamin David. "Autobiographical Performance Poetry as a Philosophy of [Authenticity]." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/273.

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This thesis begins the process toward a concept of [authenticity] that is both fragmented and performative. I outline a history in philosophy and performance studies where authenticity has been deployed, and demonstrate how it is often tied to modernist ideologies. I then offer "[authenticity]," with brackets, as a means to allow for this term to challenge these modernist conceptions of the self. I then track the ways in which "[authenticity]" opens the possibilities for a new approach to performing by exploring my performance of the poem, "Hydrangeas."

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6

Virtanen, Juha. "Innovative poetry & performance 1950-1980: event/effect." Thesis, University of Kent, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.592019.

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This thesis takes three related observations as its point of departure. Drawing upon recent comments from lain Sinclair and Robert Sheppard, I initially present it as an investigation that intends to bring hitherto 'invisible' histories to a more tangible o field. Specifically, the histories in this thesis address the interactions between innovative poetry and performance. While this field of research has already produced several significant monographs and anthologies, they often focus almost exclusively on American poetry. Moreover, many of these studies seek to analyse the macroscopic phenom

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7

Willey, Stephen. "Bob Cobbing 1950-1978 : performance, poetry and the institution." Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8307.

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Bob Cobbing (1920-2002) was a poet known for his performances and as an organiser of poetry events, as a participant in the British Poetry Revival, as a late-modernist and as a sound and concrete poet. This thesis seeks to reconfigure our view of Cobbing as a performer by considering his performances across a range of institutions to argue that this institutionalised nature was their defining aspect. It maps the transition from Cobbing’s defence of amateurism and localism in the 1950s to his self-definition as a professional poet in the mid 1960s and his attempt to professionalise poetry in th

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8

Bean, Heidi R. "Poetry 'n acts: the cultural politics of twentieth-century American poets' theater." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/638.

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"Poetry 'n Acts: The Cultural Politics of Twentieth-Century American Poets' Theater," focuses on the disciplinary blind spot that obscures the productive overlap between poetry and dramatic theater and prevents us from seeing the cultural work that this combination can perform. Why did 2100 people turn out in 1968 to see a play in which most of the characters speak only in such apparently nonsensical phrases as "Red hus the beat trim doing going" and "Achtung swachtung"? And why would an Obie award-winning playwright move to New Jersey to write such a play in the first place? What led to the f

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9

Hall-Downs, Liz. "My arthritic heart : a collection of poetry; and, Making a writer : poetry, fiction, performance and illness /." [St. Lucia, Qld.], 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16739.pdf.

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10

Aiello, Traoré Flavia. "Continuitiy and change in Zanzibari Taarab performance and poetry." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91009.

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Taarab in contemporary Zanzibar currently experiences great changes since the Nineties with the emerging and growing success of modern taarab. This has shocked the fans of the traditional style (taarab asilia) with musical and instrumental innovations, including powerful amplifiers and more danceable rhythms, but also textual innovations, using in their songs, commonly called mipasho, a sort of language and poetical imagery very open and non-disguised (Khamis 2002: 200). The perception of a split between the two musical and poetical styles is widely shared among the artists and fans of tradit

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11

Aiello, Traoré Flavia. "Continuitiy and change in Zanzibari Taarab performance and poetry." Swahili Forum 11 (2004) S. 75-81, 2004. https://ul.qucosa.de/id/qucosa%3A11490.

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Taarab in contemporary Zanzibar currently experiences great changes since the Nineties with the emerging and growing success of modern taarab. This has shocked the fans of the traditional style (taarab asilia) with musical and instrumental innovations, including powerful amplifiers and more danceable rhythms, but also textual innovations, using in their songs, commonly called mipasho, a sort of language and poetical imagery very open and non-disguised (Khamis 2002: 200). The perception of a split between the two musical and poetical styles is widely shared among the artists and fans of tradit

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12

Ferreira, Annemari. "The politics of performance in Viking Age skaldic poetry." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:1aa55225-8e44-4fea-a9ff-55f72209e590.

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This thesis examines the political functions of the performance of skaldic poetry during the Viking Age. It aims to establish the vital role that skaldic verse plays in the establishment and maintenance of power, as well as the importance of skaldic performance in the negotiation of that power in the inter-community relations between various courts both within and outside of Viking Age Scandinavia. The first chapter provides a contextual understanding of Viking Age power structures by considering the central ideological constructs surrounding the concept of óðal (ancestral property). Óðal-de

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13

Borstlap, Mari. "Poësie performances : ‘n ondersoek na die moontlikhede vir poësie performance." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20064.

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Thesis (MDram)--Stellenbosch University, 2012<br>ENGLISH ABSTRACT: Poetry performance as a universal phenomenon is a performing art form. The aim of this study is to explore the diverse nature of this art form. The different types are investigated according to their nature and the reasons provided as motivation for the way in which these types are presented. This study focuses on the following types: poetry found in ritual, poetry readings, poetry recitals, poetry as part of word art (woordkuns), sung poetry, the verse drama and drama’s based on poetry. Under each of these categories r

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14

Sheppard, Victoria. "Contesting voices : authenticity, performance and identity in contemporary British poetry." Thesis, University of Southampton, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438041.

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15

Schmid, Julie Marie. "Performance, poetics, and place: public poetry as a community art." Diss., University of Iowa, 2000. https://ir.uiowa.edu/etd/189.

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This dissertation refuses the assumption that poetry is a dying art form. In this study, I focus on poets Marc Smith, David Hernández, Patricia Smith, and Bob Holman. I place the work of these four poets within the context of the contemporary performance poetry movement and argue that from their position on stage, in the recording studio, or in front of the camera, they use the performance to forge bonds across racial, ethnic, class, and gender divides. Throughout this study, I trace the evolution of the contemporary performance poetry movement from the local to the national, the embodied to t

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16

Randall, D'Arcy Clare. ""Adam and his mother" : maternal performance in late twentieth-century American women's poetry /." Digital version:, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008425.

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17

Lamb, Justin. "Escape Artist." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2621.

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This poetry manuscript explores themes of family and addiction, education and New Orleans, and fear and escape in the span of three parts. Its preface examines the poet’s background and influences, his relationship with performance and humor, and the levity he hopes to create in his work.

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18

Walker, Joanna Sara. "Nancy Spero : An Encounter in Three Parts- Performance, Poetry and Dance." Thesis, University College London (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499230.

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19

Madden, P. S. "The Seamus Heaney Centre digital archive : the public performance of poetry." Thesis, Queen's University Belfast, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546384.

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20

Hokama, Rhema. "Poetry, Desire, and Devotional Performance From Shakespeare to Milton, 1609-1667." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:23845451.

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Poetry, Desire, and Devotional Performance from Shakespeare to Milton, 1609-1667 documents and analyzes the ways post-Reformation devotional and worship practices inflected early modern English poetic conceptions of erotic desire and intimacy. My study focuses on two specific Reformation religious developments—the official Anglican ceremonialism of the state church and the popular Reformed predestinarianism—each of which enjoyed a widespread following during the roughly sixty years bracketed by the lives of Shakespeare and Milton. While religious historians often treat state-sanctioned worship

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21

Orlová, Jana. "Černá žena." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232423.

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22

Kalmbach, Courtney Nicole Kalmbach. "Vamp Sans Amp." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1470248833.

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23

Bird, Noele. "I'm dangerous with sound, a performance project of sound, poetry and movement." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0020/MQ57910.pdf.

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24

Barry, Frances. "How to do things with poetry : notions of performance in language writing." Thesis, University of Sussex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426190.

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25

Lindeman, Harriet. "Spoken Resistance: Slam Poetry Performance as a Diasporic Response to Discursive Violence." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1032.

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This project foregrounds the work and perspectives of spoken word poets of Middle Eastern and North African (MENA) descent in connection to the NYC slam poetry scene. I trace the parallel racialization of MENA diaspora communities in the US and the development of slam poetry as a space for raising “othered” voices. Through ethnographic analysis, I consider slam poetry as a site of intersectional struggle, arguing that the engagement of MENA diaspora poets with this scene reveals the ways in which poetry both constitutes resistance to discursive violence through representation and works to mobi

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26

Demir, Aylin. "Oral Poetry And Weeping In The Case Of Dersimli Women." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12612858/index.pdf.

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This thesis analyzes the issue of performing self in the genres of oral poetry and weeping, which are performed by Dersimli women in the course of their everyday life practices. This study focuses on the case of Dersim (Tunceli) which is located in the east part of Turkey where Zazaki-speaking and Kurdish-speaking Alevi people constitute the majority of the population. I deal with these performances as repetitive actions, occurring in the course of everyday life. I focus on the narratives in the songs and issues related to giving voice with respect to acceptability, respectability, and experie

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27

De, Simone Cristina. "Proféractions ! : poésie en action à Paris (1946-1969)." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100089.

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Cette étude propose une histoire des pratiques qui, à Paris, entre 1946 et 1969, ont lié poésie et performance et fait de la profération leur champ d’investigation principal. À partir de l’observation des manifestations publiques d’Antonin Artaud en 1946-47, de l’irruption en ces mêmes années du mouvement lettriste à Saint-Germain-des-Prés, de l’arrivée de la Beat Generation à la fin des années 1950, et des différents événements organisés par Jean-Jacques Lebel, Jean-Clarence Lambert et Henri Chopin durant les années 1960, cette thèse analyse les pratiques qui ont agité le champ artistique dur

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28

Manning, Joanne Melissa. "Subversive voices a study of text and performance in the interpretation and realisation of experimental poetry /." Phd thesis, Australia : Macquarie University, 2005. http://hdl.handle.net/1959.14/47260.

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"March 2002".<br>Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2005.<br>Bibliography: p. 324-344.<br>Introduction: framing the texts -- Subversive voices -- Formulating a theoretical position -- Performance: a complete process -- On second thoughts: rewriting contemporary culture -- Performing On second thoghts -- Dialogic voices: Amanda Stewart and # -- Performing # -- Voices of desire: Ania Walwicz and Soft -- Performing Soft -- Marginal voices: Hazel Smith and Poet without language -- Performing Poet without language -- Conclusions: interpreting subversi

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29

Cardoso, Glaucio Varella. "Poesia lida, poesia falada: poesia, performance e recepção: aspectos teóricos e práticos." Universidade do Estado do Rio de Janeiro, 2009. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1067.

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O presente trabalho tem como foco analisar o caráter de oralidade presente na poesia, demonstrando com o mesmo é apreendido mediante os atos de performance do texto poético. Buscou-se apontar que o recalque do aspecto oral da poesia em face da escrita tem provocado uma interpretação incompleta das manifestações poéticas em todas as culturas. A falta de estudos sobre o tema gera uma carência de nomenclaturas que buscou-se sanar mediante o estabelecimento de uma tipologia capaz de abranger, senão em totalidade, ao menos a maior parte dos atos de performance poética. Dado o caráter efêmero da per

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30

Kyser, Tiffany S. "Folked, Funked, Punked: How Feminist Performance Poetry Creates Havens for Activism and Change." Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2192.

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Thesis (M.A.)--Indiana University, 2010.<br>Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).

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31

Hussain, Nasser. "Embodiment in contemporary North American performance poetry from David Antin to Christian BoÌˆk". Thesis, University of York, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.445468.

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32

Harden, Sarah Joanne. "Self-referential poetics : embedded song and the performance of poetry in Greek literature." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:69380265-1014-4965-bc6a-32dbc244721a.

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This thesis is a study of embedded song in ancient Greek narrative poetry. The introduction defines the terminology (embedded song is defined as the depiction of the performance of a poem within a larger poem, such as the songs of Demodocus in Homer’s Odyssey) and sets the study in the context of recent narratological work done by scholars of Classical literature. This section of the thesis also contains a brief discussion of embedded song in the Homeric epics, which will form the background of all later examples of the motif. Chapter 1 deals with embedded song in the Homeric Hymns and Hesiod’

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33

Hassert, Joseph. "The Collaborative Performance of Open Mic Poetry and the Art of Making Do." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/820.

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Open mic poetry events are representative examples of a widespread and socially significant performance phenomenon--the relational and dialogic art and activism of the sustained encounter as a demonstration of the possibility for new social relations. Open mic performances center the pleasure of creating and sharing art and relationships in a manner that works against the value systems of capitalistic exchange and enterprise. I conduct an autoethnographic study of the Transpoetic Playground--a reoccurring open mic poetry event in Carbondale, Illinois. This study mixes performative writing, poe

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34

Gräbner, Cornelia Marianne Else. "Off the page and off the stage: the performance of poetry and its public function." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2007. http://dare.uva.nl/document/49097.

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35

Gregory, Helen Fiona. "Texts in performance : identity, interaction and influence in U.K. and U.S. poetry slam discourses." Thesis, University of Exeter, 2009. http://hdl.handle.net/10036/84703.

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This thesis aims to provide a close analysis of poetry slam in the United Kingdom and United States, using the tools of ethnography and discourse analysis to produce an in-depth account, which is sensitive to the discursively constructed, situated meanings of slam participants. The aim is to explore how slam is understood by its participants, producing a partial ethnography, rather than a definitive history, defence or critique of slam. The thesis is based predominantly on research conducted in four key sites (Bristol and London in the U.K. and Chicago and New York in the U.S.), and considers

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36

Pieterse, Annel. "Language limits : the dissolution of the lyric subject in experimental print and performance poetry." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71855.

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Thesis (PhD)--Stellenbosch University, 2012.<br>ENGLISH ABSTRACT: In this thesis, I undertake an extensive overview of a range of language activities that foreground the materiality of language, and that require an active reader oriented towards the text as a producer, rather than a consumer, of meaning. To this end, performance, as a function of both orality and print texts, forms an important focus for my argument. I am particularly interested in the effect that the disruption of language has on the position of the subject in language, especially in terms of the dialogic exchange between lo

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37

Curtis, Lauren. "On with the Dance! Imagining the Chorus in Augustan Poetry." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10991.

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This dissertation investigates how Augustan poetry imagines, redefines and reconfigures the idea of the chorus. It argues that the chorus, a quintessential marker of Greek culture, was translated and transformed into a peculiarly Roman phenomenon whereby poets invented their relationship with an imagined past and implicated it in the present. Augustan poets, I suggest, created a sustained and intensely intertextual choral poetics that played into contemporary poetic debates about the power of writing versus song and the complexity of responding to performance culture through multiple layers of

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38

Holmquest, Heather. "Structure, Musical Forces, and Musica Ficta in Fourteenth-Century Monophonic Songs." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18703.

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This study provides insight into the compositional features of the monophonic ballata, a genre developed in the early to mid-fourteenth century in northern Italy. In analyzing the formal structure, melodic contour, application of musica ficta, and relationship between text and melody, I suggest ways in which performers of this repertoire can highlight the exceptional qualities of this music while remaining rooted in a historically-informed tradition of early music performance practice. Using principles of Schenkerian ideas of prolongation, Salzerian approaches to constructing voice-leading ana

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39

Acker, Tristan D. "CONFESSIONS OF A HIP-HOP HIPPIE." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/60.

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This Statement of Purpose does not give a history of hip-hop or hip-hop poetry but rather how this particular poet fits into the current phase of hip-hop and performance poetry. In it, I discuss and explain the new pro-working class hip-hop performance poetic. This includes extensive discussion of how rap poetry conveys meaning through sound. Also discussed is the socioeconomic context for the suburban southwestern topics found in the manuscript. This statement is a parallel piece to the manuscript itself in that it explains a brown kid from San Bernardino’s journey of connecting words and mus

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Schroeder, Angela. "Susan Botti's Cosmosis: A Conductor's Analysis with Performance Considerations." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3617/.

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In 2005, composer Susan Botti won the coveted Prix de Rome in musical composition and spent eleven months in residency at the American Academy in Rome. That same year, the University of Michigan Wind Symphony, under the direction of Michael Haithcock, premiered her exciting new work Cosmosis at the College Band Directors National Association Conference in New York City. The bi-annual conference is a venue for the premiere of new works for wind ensembles and bands, and the 2005 conference saw the world premiere of nine works for winds and percussion, many of which were performed in the legenda

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41

Clarke, Rebecca. "What feels true? : sifting through belongings." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/54666/1/Rebecca_Clarke_Thesis.pdf.

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This practice-led research project explores how, after a successful first experience writing a poetic solo theatre work derived largely from autobiography, I sought to find personal connection and satisfying ‘authenticity’ in the writing of a more difficult, nonautobiographical second work. Via reflections on practice, through an autoethnographic narrative, the project also evokes a practitioner’s struggle to self-educate, survive personal, life-changing loss, and manage heightened professional stakes. In doing so, it reveals essential lessons in acknowledging, accepting and following ‘what fe

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42

Tomba, Diogo Amevi Christine Cerena. "Étude d'un genre de la littérature orale : la devise (kûmbù) chez les Punu du Gabon." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015INAL0022/document.

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Cette recherche est axée sur la langue et la littérature orale des Punu du sud du Gabon. Elle explore le champ littéraire punu et plus particulièrement la devise qui n’a que très rarement été étudiée. Définie comme une formule de louange que l’individu déclame pour s’identifier, elle lui permet de se distinguer et d’exprimer sa vision du monde. Cette thèse se divise en cinq chapitres et dresse un essai théorique sur ce genre dans la société. En prenant la notion de performance comme critère définitoire, elle met en évidence les propriétés discursives ainsi que les fonctions de la devise. A cel

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43

Goursaud, Bastien. "Du spoken word à la parole publique : inscrire la performance dans la poésie britannique contemporaine." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL132.

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Depuis les années 1980, la poésie britannique contemporaine se caractérise par l’émergence de voix minoritaires et la diversité des formes et des pratiques. Cette expansion de la carte poétique est souvent lue à l’aune de ce que Sean O’Brien a décrit comme une dérégulation, en référence aux changements politiques et sociaux qui ont affecté la société britannique depuis le thatchérisme. Cette thèse se propose d’examiner un facteur essentiel de ce phénomène, à savoir la centralité accrue d’une conception du poème comme parole publique. En s’appuyant sur un corpus de poètes présentant des voix mi

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44

AMARAL, LUIZ EDUARDO FRANCO DO. "THE VOICE OF BOATO: SPOKEN POETRY, PERFORMANCE AND COLLECTIVE EXPERIENCE IN THE 90S IN RIO DE JANEIRO." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30208@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>Etnografia afetiva do Boato, coletivo de artistas que atuou por onze anos no Rio de Janeiro. Partindo da poesia falada e estendendo sua atuação a diversas expressões artísticas, o Boato é caso original no cenário cultural carioca. Elemento importante na criação do CEP 20.000 – o Centro de Experimentação Poética do Rio de Janeiro, que desde 1990 realiza eventos em torno da poesia – o grupo praticou experimentações artísticas em diversas linguagens, tais como teatro, cinema, música, vídeo, dança e performance. A tese reconstrói a trajetória d

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45

Taylor, Helen Louise. "Adrian Henri and the Merseybeat movement : performance, poetry, and public in the Liverpool scene in the 1960s." Thesis, Royal Holloway, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.590669.

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The thesis focuses on the Merseybeat movement and its manifestations in Liverpool in the 19605, with particular emphasis on the work of Adrian Henri. The Merseybeat movement - centred upon Adrian Henri, Roger McGough, and Brian Patten - was a site-specific confluence of the alternative avant-garde and the British populist tradition of art, and deserves exploration as both a literary and a cultural phenomenon. The thesis argues that the dismissal of Merseybeat as 'pop poetry' has come from using the wrong critical tools: it is better viewed as a 'total art' movement, encompassing not only poetr

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Meyer, Julianne. "Words Carried in with the Tide: Boundaries of Gender in FisherPoetry." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19723.

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The FisherPoets Gathering is an annual event where expressive art performed exposes the explicit and implicit gender dynamics of the occupation of commercial fishing. Through these performances, women tackle gender issues that bridge the gap between the fishing industry and the event. Through performance and interactions with fellow female FisherPoets, the women validate themselves as fishermen and comment on the behavior of their male colleagues. These performance-based expressive art forms enable them to address the fishing industry’s gender power dynamics and begin to make social change.

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Papantoniou, Nowak Stéphane. "Le livre. Dedans / Dehors. Autour des éditions Al Dante : la question du medium : Livre, transmédialité et intermédialité. Contemporanéité et avant-garde. Questions de création littéraire et artistique. L'édition comparée." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSEN002.

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Cette thèse se propose d’étudier des pratiques poétiques dans et hors du livre à partir de parcours de poètes « passés » par les éditions Al Dante. Il s’agissait de questionner en particulier la notion de « performance », souvent réduite à une dimension scénique. Ou encore l’idée d’avant-garde, trop souvent limitée à une histoire politique close. L’idée d’avant-garde n’apparaît plus comme principe de structuration du groupe, mais comme spectralité agissante, conduisant à mêler des enjeux politiques — critique des institutions, critique de la langue dominante, contestations des places assignées

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Bacon, Julie Louise. "Recollecting the poetry and politics of archival spaces : an exploration of performance and installation art in the museum." Thesis, University of Ulster, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431003.

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Xie, Dongni. "A Performance Guide to Wu Yiming's "A Poem Carved in Stone"." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752372/.

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A Poem Carved in Stone, a work for piano solo by Washington DC-based Chinese composer Wu Yiming was composed in Spring 2020 and is dedicated to the author of this dissertation. The piece is inspired by the poetry of Han Shan, a recluse who lived during the Tang Dynasty (618-907 A.D.). His poetry is in Chan (Zen) tradition. Wu depicts the imagery and philosophy in Han Shan's poetry through highly complex rhythms, extreme sound effects and pitches, tone clusters, and extended piano techniques. This dissertation provides practical instructions for achieving these effects and executing the unconv

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Cembrone, Kátia Pellicci. "Ode marítima: do atual ao inaugural a poesia como poiesis e performance." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/14678.

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Made available in DSpace on 2016-04-28T19:58:42Z (GMT). No. of bitstreams: 1 Katia Pellicci Cembrone.pdf: 18447270 bytes, checksum: 121241adc401cae7b8a83434755a9686 (MD5) Previous issue date: 2011-10-07<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This work aims to demonstrate the reason why Ode Marítima is considered the most important poem of the Sensacionism Moviment, created by Fernando Pessoa and Mário de Sá-Carneiro in the early twentieth-century, by establishing a connection between actual and original, modern and primitive, time and no-time dimensions, chronologi

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