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Thoms, Gary Stewart. "Poetic language : a minimalist theory." Thesis, University of Strathclyde, 2010. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=14360.
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Santos, Jesse dos. "The poetic language of cinema." reponame:Repositório Institucional da UFSC, 2017. https://repositorio.ufsc.br/xmlui/handle/123456789/182801.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2017.Made available in DSpace on 2018-01-23T03:17:44Z (GMT). No. of bitstreams: 1 349597.pdf: 1805429 bytes, checksum: 48be1a1d638cdb16420a9bb50d092c67 (MD5) Previous issue date: 2017
Abstract : This study has as main objective to analyze the representations of water, from a poetic perspective, in the documentaries Elena, directed by Petra Costa, 2012, and To the Other Shore, directed by Jeni Thornley, 1996. In order to do so, I examine some sequences that present water both in the image and sound tracks, and interlace it with the contexts of each story. The first chapter focuses on theoretical questions, drawing discussions on documentary, the poetic mode, poetics and poetic image, metaphor, film studies and, mainly, studies on representations of water. The second and third chapter present, respectively, an analysis of the representations of water in the films Elena and To the Other Shore. The last chapter presents the final considerations about the work developed in thesis and, based on the analyses, it approaches succinctly both films.
Este estudo aborda os filmes documentários Elena, dirigido por Petra Costa, ano de 2012, e To the Other Shore, lançado em 1996, com direção de Jeni Thornley, com o intuito de realizar uma análise das representações da água nos filmes sob uma perspectiva poética. Para tanto, são consideradas, especialmente, algumas sequências de tais filmes as quais denotam o uso da água enquanto elemento imagético e, também, quando esse uso é percebido por meio de efeitos sonoros, em entrelaçamento com os contextos de cada história. O primeiro capítulo da dissertação se debruça sobre questões de cunho mais teórico, das quais se destacam discussões sobre documentário, o modo poético, o poético e a imagem poética, metáfora, estudos fílmicos e, principalmente, estudos sobre representações da água. O segundo e o terceiro capítulo apresentam, respectivamente, uma análise das representações da água nos filmes Elena e To the Other Shore. Já o último capítulo apresenta as considerações finais acerca do trabalho desenvolvido nesta tese, abordando sucintamente aspectos de ambos os filmes com base nas análises apresentadas.
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Nykyforuk, T. M. "Poetics of poetry works by Sydir Vorobkevych (meta-language, poetic syntax, versification)." Thesis, БДМУ, 2020. http://dspace.bsmu.edu.ua:8080/xmlui/handle/123456789/18274.
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Mehta, R. (Rajesh). "Metaphor in Ricoeur's hermeneutics of poetic language." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61170.
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Ricoeur advances a theory of metaphor as discourse. The notion of metaphor as event and as meaning is complicated by the form of written discourse and the distanciation which inscription engenders. By specifying the autonomy of the text in relation to the author's intention, the original audience, and the original context, Ricoeur argues that metaphor refers to its own world. Suggesting that the metaphorical arises from a "seeing-as" which contains a non-verbal element, he contends metaphors indicate a extra-linguistic mode of existence. The possibility of conceptualization lies for Ricoeur, at the core of the dynamism of the metaphorical. It is proposed in this thesis that Ricoeur's defence of the autonomy of speculative discourse is inadequate.
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Lloyd, J. F. "Geoffrey Hill and British poetry 1956-1986 : an analysis of poetic language and poetic voice." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358538.
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Lee, Su-Yong. "The aesthetic politics of poetic language : language and representation in Shelley's dramatic poetry." Thesis, University of East Anglia, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396616.
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Barry, K. M. "Language, music and the sign : A study in aesthetics, poetics, and poetic practice form Collins to Coleridge." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377253.
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Carnegie, F. L. "Language theory and urban design." Thesis, University of Westminster, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323128.
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Hanley, Fiona Marie Cecelia. "Towards a language of inquiry : the gesture of etho-poetic thinking." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/30991.
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This thesis presents a recollection of the relation of “being” and thinking through an articulation of the gesture of etho-poetic thinking. Part I marks out a path towards such a thinking through an encounter with Martin Heidegger’s “sketch” of the self as Dasein, where his description of being-there is read as an originary language of inquiry – one which attempts to respond to the issue of being, to the questionability and groundlessness of existence stemming from simply being-in-the-world. Part I follows out a description of this language of inquiry as a pre-conceptual, pre-cognitive, attuned, bodily understanding, through chapters which unfold this sketch of Dasein. This language of inquiry is construed as a two-fold action of being begun, being sketched, and beginning, sketching-out. The final chapter of part I connects Heidegger’s articulation of “Care” to the ancient practice of “care of the self” and the transformative, etho-poetic potentiality of thinking. As the thesis proffers, it is this pre-conceptual language of inquiry which must be repeated in a resolute thinking, as Heidegger articulates it in Being and Time, seeking not to objectivise the world, to represent it, but to resonate with it. In this sense, the “purpose” of thinking is not so much the obtainment of knowledge as it is an attempt to come back into “Care” for the questionability of one’s existence. As the thesis gestures to in the conclusion, part of the attempt of the thesis is, thus, an implicit critique of the contemporary situation and discourse on thinking with its emphasis on outcomes and outputs. The thesis itself follows the two-fold structure of the language of inquiry. Whilst part I depicts Heidegger’s sketch of this originary language of inquiry, part II sketches-out this language, seeking to articulate how an etho-poetic language of inquiry can occur in writing by bringing the sketch of part one into conversation with other etho-poetic thinkers; Walter Benjamin, Henri Meschonnic, Jan Zwicky, Giorgio Agamben, Lisa Robertson. In this way, through the textual composition of the writing, the thesis presents itself as the primary example of such a language of inquiry, making it not an investigation which objectifies an etho-poetic thinking, but makes an attempt at its own performance of it.
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Yeung, Cindy K. L. "Multimodal close reading as currency : transmediating poetic language through artistic design." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/12548.
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This Master’s thesis explores the use of artistic design in a senior high school English class to teach the stylistic analysis of poetry. As a reflective, critical inquiry into my own classroom practice, this paper follows primarily the methodology of teacher research. A less prominent but equally important methodology is the autobiographical living inquiry of a/r/tography.
My research features a poetry project for an English 12 class in a fine arts mini-school. Students conducted a close reading of a poem and then communicated their interpretation and analysis by creating an original artistic work in a non-textual mode. The students also articulated their own process of design. By exploring parallels between the poem and their artistic work, they developed a descriptive metalanguage to analyze the rhetorical connections between different modes of communication.
This paper draws on the research areas of multiliteracies pedagogy and aesthetic education to investigate the implications of transmediating poetic texts. The study of the classroom project is framed within my overarching inquiry into the value of teaching literary close reading in an age when literacy educators face increasing obligations to prepare students for the world of the globalized knowledge economy. I use the notion of currency, both as monetary worth and as fluidity, to argue that the stylistic analysis of literature—which is usually not perceived as utilitarian—can indeed be useful outside the English language arts classroom. A project in which students explore literary close reading through multimodal design can help them develop critical and creative skills that do have value and can therefore be considered currency in the students’ social and economic futures.
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Bugnon-Mordant, Michel. "Strange power of speech : Coleridge and the poetic use of language /." Fribourg : M. Bugnon-Mordant, 1990. http://catalogue.bnf.fr/ark:/12148/cb355044767.
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Westover, Daniel, and William Wright. "The World Is Charged: Poetic Engagements with Gerard Manley Hopkins." Digital Commons @ East Tennessee State University, 2016. https://www.amzn.com/1942954204.
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The discovery of Gerard Manley Hopkins's poetry in the twentieth century was a revelation for postwar poets, who discovered in both Hopkins's style and subject matter a voice seemingly bottled for their own time. This influence has not faded in the twenty-first century; in fact, it has grown all the more pervasive as poets from many backgrounds and nations have found, in the voice of this nineteenth-century Jesuit, a revolutionary way of addressing contemporary concerns relating to human imagination, ecology, "green" ethics, the role of art, and individual spirituality. The poets collected in The World Is Charged: Poetic Engagements with Gerard Manley Hopkins engage with Hopkins in diverse ways. Some mention Hopkins or address some aspect of his life. Others channel his innovative poetics or address important Hopkinsian themes. All demonstrate the centrality of his influence in contemporary poetry. Unfortunately, critics have mostly neglected the importance of Hopkins as a contemporary model, instead pinning his influence to the early twentieth century. In a climate where high modernism, Whitmanic free verse, and the confessional lyric are often held up as contemporary poetry's dominant forerunners, this book proposes a more complex genealogy, tracing back to Hopkins and his influential early admirers current strands of emotional and spiritual openness, pleasure in word play and sonic textures, and veneration of the dynamic material world.https://dc.etsu.edu/etsu_books/1156/thumbnail.jpg
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Cook, Devon S. "Burke's Poetic Metaphor and Obama as Poet." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/4437.
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At the end of Permanence and Change, Kenneth Burke calls for a new orientation toward life and social action which he refers to as “the poetic metaphor” (261). This essay connects Burke's briefly used poetic metaphor with his theories on the use of “poetic” language in the essay “Semantic and Poetic Meaning.” What results from this synthesis is a critical tool for rhetorical analysis which allows for the discussion of style as a vehicle for communication about ethics and morals in public discourse. Obama's The Audacity of Hope is used as the example of a text which uses “poetic” language in order to discuss moral and ethical issues in a national arena. Obama ultimately dramatizes his own synthesis of values, putting himself in the position of a trusted intermediary. This analysis provides clarity on Burke's thinking at the end of Permanence and Change and helps us understand his contribution to the study of rhetoric and cooperation.
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Marsh, Richard St John Jeremy. "Liturgy, imagination and poetic language : a study of David Jones's The Anathemata." Thesis, Durham University, 1991. http://etheses.dur.ac.uk/1482/.
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Keim, Robert. "Words That Weave a Reality Reborn: Performative Language and the Theory of Poetic Translation." Youngstown State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1607547589681778.
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Todd, Kate Zazie. "Mapping poetic space : a psychological study of differences between tropes." Thesis, University of Nottingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325710.
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Abu, El-Shaer Yardy Afaf Mizel. "Trends and developments in the poetic language of Bilād al-Shām, 1967 -1987." Thesis, Durham University, 1995. http://etheses.dur.ac.uk/5117/.
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This study examines the development of poetic language in modem Arabic poetry through discussion of a selection of twelve poems from Bilād al-Shām (Syria, Lebanon, Jordan and Palestine), applying a method of analysis and evaluation based on a close study of the text itself rather than on critical sources. A practical method of analysis is used to examine elements of poetic language, namely rhythm, theme and structure, the poet's voice, word-association, metaphor and symbol, all of which form the text. The study is introduced by a brief review of the development of modem Arabic poetry, of previous studies of poetic language in modem Arabic poetry, and an analysis of the poetic language in four outstanding poems of the post-second world war period. The four poems were chosen since they are typical of die changes, renewal or departure from classical poetic language. These poems embody new forms in both expression and ideas, and express the Arab identity by discussing Arab social and political problems. The four poems may not be the best poems of their time but each one clearly exhibits a different use of elements of poetic language current at the time. These poems, which are written before and during 1967, are still effective and influential today. Their poetic language is still the criterion by which to examine and compare the twelve selected poems in part two. The poems were chosen from those composed in Bilād al-Shām after the events of 1967. This choice was made to enable die writer to investigate die effect of the war upon poetry, to illustrate pan-Arabism and nationalism, and to examine the poetic language in these poems. In both part one and part two my concern is to present facts rather than arguments. My intention is also to make a brief comparison and conclusion. These conclusions - drawn from the discussion - are found in part three. This study deals with the following: the identification of common factors and differences in the poems discussed; the existence, or lack, of creative trends in the use of language; the degree of influence of the four poems upon the twelve selected poems; and whether die twelve poems imitate ideas, concepts, words and symbols derived from the four poems. It also traces the development of poetic language as it approaches the prose style and as it establishes a different use of metaphors and symbols.
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Missuno, Filip. "'Shadow' and paradoxes of darkness in Old English and Old Norse poetic language." Thesis, University of York, 2012. http://etheses.whiterose.ac.uk/3158/.
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This thesis confronts, explores, and attempts to meaningfully interpret a surprising nexus of stimulating cruces and paradoxes in Old English poetry and prose and Old Norse skaldic and Eddic poetry. The study focuses on the complex linguistic and literary manifestations of darkness, a complex and long-underestimated phenomenon for which the most appropriate term is ‘shadow’. Rather than operating with modern categories and traditional dichotomies (light/darkness), I attempt to approach the evidence on its own terms, working from the words, their collocations, and narrow contexts up to larger literary assessments. Furthermore, the comparative Old English/Old Norse approach can provide both contextualisation for the findings and control over what we can and cannot infer from them. Reflecting these methodologies (presented in Chapter 1), the core part of the thesis (Chapters 2-5) unfolds from semantics and style to texts and literary traditions, alternating at both stages between Old English and Old Norse. Chapters 2-3 provide an in-depth examination of the formal and stylistic features and the immediate textual environments of ‘shadow’, enabling the reconstruction of semantic values and associations. In Chapters 4-5, I conduct close readings of the most relevant and revealing Old English and Old Norse texts. My case studies are further contextualised by enlarging the focus of enquiry and correlating the deployment of ‘shadow’ with questions of manuscript context, medium (prose/verse), form (skaldic/Eddic), genre (mythological/heroic/religious), and wider literary-historical links. Chapter 6 brings together the evidence for the existence, nature, and function of a ‘shadow’ theme, or themes, in Old English and Old Norse poetic language. Evaluating the significance of the parallels between the two traditions as well as within them, I recontextualise ‘shadow’ in relation to chronology, history, inheritance, contact and influence, and society and culture. The findings also afford new perspectives that can reshape our understanding of the underlying poetics.
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Papa, Jason M. "Trauma Institute - Detroit Michigan community realized through poetic architecture /." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1212168896.
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Thesis (Master of Architecture)--University of Cincinnati, 2008.Advisor: Vincent Sansalone (Committee Chair), Jay Chatterjee (Committee Co-Chair). Title from electronic thesis title page (viewed Feb. 8, 2009). Includes abstract. Keywords: poetic; architecture; experiential; socialization; language; built environment. Includes bibliographical references.
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Wilt, Brian David. "Geofon Deathe Hweop| Poetic Sea Imagery as Anglo-Saxon Cultural Archetype." Thesis, Truman State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1564553.
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The oceans and seas play a fascinating role in human culture and literature. This thesis examines the sea imagery in several Anglo-Saxon poems in order to gain a deeper understanding of the function the sea plays in the Anglo-Saxon literary psyche. These texts include Beowulf, Andreas, Exodus, as well as the shorter "Seafarer" and "Whale" poems. The first part of this thesis focuses on sea imagery at the word level, analyzing Anglo-Saxon morphology and lexical compounding as a key to the metaphorical content of sea-kennings. The second part expands this focus to a textual level, examining the symbolism of sea imagery in Anglo-Saxon literature as an anthropomorphic will-power, a habitat of the monstrous, and a place of heroic action. Finally, the last part will argue for an underlying cultural archetype of the sea, based on parallel passages and common themes involving the sea in Anglo-Saxon poetry.
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Sourgen, Gavin Oliver. "'Artlessness and artifice' : Byron and the historicity of poetic form." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:c5487012-3205-483f-9a98-4e679662a74d.
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This thesis examines the conscious amalgamation of conflicting forms in Byron’s verse, and how these forms strain to create meaning in the processes of his poetry. Through a series of close readings and critical engagements with other Romantic poets, I endeavour to show how Byron’s poetry is often a rich site of contention between revolutionary and conservative impulses; both in its style and subject matter, and more often than not, in the complicated relationship between them. Beginning with Byron’s problematic place in the English Romantic canon, I attempt to lay a foundation for my claims that for all his mistrust of closed systems and predetermined positions there remained an urging desire to reconcile definitive artistic contour with internal form-developing process in many of his most intense poetic engagements. In his efforts at reconciling an awareness of the ever-moving provisional nature of subjectivity with a deep-rooted demand for evaluative permanence, Byron habitually employs a hybrid poetic idiom which seeks to be both timeless and time specific. In many of his most distinctive compositions, Byron holds a so-called ‘High Romantic’ lyrical mode, in which meaning is immersed in a persistent flowing rhythm, in tension with an eighteenth-century rhetorical style in which the careful placement of weighty words offsets its continuity to striking effect. By bookending my enquiry with Byron’s penetrating discursive conflicts with the naïve lyrical impulses of Wordsworth’s blank verse and what he perceived as the rhetorical appropriations of Keats’s poetry, I wish to demonstrate that Byron’s poetry enacts a curious meeting of nature and culture by a refusal to cleave them.
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Thomas, Daniel. "Spatial dialectics : poetic technique and the landscape of Old English verse." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:b5a24b89-9912-40fa-a5f1-9ef55e5433d4.
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This thesis examines the role of spatial representation in Old English poetry. Focusing on the presentation of setting and spatial relationships in narrative poetry, it argues that sensibility towards the creative potential of spatial representation within a conventional tradition constitutes a significant element of Old English poetic technique. It emphasizes the importance of intertextual reading practices which recognize the dialectics of text and tradition underlying spatial representation in individual examples. Chapter one introduces the subject, outlining the relevant critical contexts in which the thesis stands and describing the methodology that is followed in the subsequent chapters. It also describes the connection between the representation of space and critical assumptions regarding vernacular poetic composition. Chapter two focuses on poetic accounts of the angelic rebellion. The presentation of this event as a territorial and spatial conflict establishes a contrast between vertical and horizontal spatial relationships which relates to concerns prevalent throughout the Anglo-Saxon period over conflicting models for power relationships. The prominence of vertical spatial relationships in these accounts serves to legitimize hierarchical power structures. Chapter three considers territorial conflict in Old English battle poetry. Similarities in the use of setting and the construction of a sense of place in these texts suggest the influence of established poetic conventions. However, poetic artistry is evident in the ways in which spatial representation contributes to the wider thematic and artistic concerns of these texts. Chapter four examines poetic representations of the prison. Whilst such representations do partially reflect conceptualizations of the prison current in Anglo-Saxon England, they also demonstrate a deeper interest in the valence of enclosed space. The chapter extends the intertextual approach of the thesis to consider the possibility of direct borrowing between poems. Chapter five clarifies the argument of the thesis regarding the relationship between spatial representation and poetic technique and identifies some directions for further work.
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Haraldsson, Kim. "The Poetic Classroom : Teaching Poetry in English Language Courses in Swedish Upper Secondary Schools." Thesis, Högskolan i Halmstad, Sektionen för lärarutbildning (LUT), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-15732.
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This study aims at shedding some light on teachers’ attitudes and views on poetry as a part of English language studies. More specifically, it intends to explore whether there is support for the generally preconceived idea that poetry’s role in today’s language studies has diminished. This essay presents previous research regarding the development of poetry teaching in classrooms and the importance of reading poetry. Thereafter it includes a smaller qualitative survey, which was sent out to teachers in Swedish upper secondary schools, on their views concerning poetry and its incorporation in their courses, as well as reasons behind their choices. Although the study did not receive enough answers to warrant general conclusions on how teachers in Halland view poetry, the results do show tendencies toward a view of poetry as being strenuous to work with due to students’ resistance and negative attitudes. Moreover, that poetry is one area of English language studies that the majority of teachers view as less important. Furthermore, the results reveal that a teacher’s personal interest in poetry, or lack of interest, affects the amount of time and focus placed on poetry in the classrooms.
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Foley, Laura-Jane Maria. "Lucian Freud portraits : curatorial ekphrasis in contemporary British poetic practice." Thesis, Kingston University, 2013. http://eprints.kingston.ac.uk/28205/.
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This PhD presents a new term for contemporary ekphrastic poetry: curatorial ekphrasis. The thesis is composed of two elements, a critical essay followed by a collection of poetry that informs and is informed by the former, Entitled 'Curatorial Ekphrasis in Contemporary British Poetic Practice', the critical essay challenges established critical approaches to ekphrastic poetics by revealing a curatorial practice currently being undertaken by a number of contemporary poets writing about artworks. Chapter One identifies and evaluates key critical texts about ekphrasis and its role in the relationship between word and image and highlights how theorists have failed to account for the work of ekphrastic poets with a heightened interest or background in art- Chapter Two presents and defines the term curatorial ekphrasis. The chapter discusses the emergence of the contemporary curator in the art world and discusses how the term 'curator' can be appropriated for use in a literary context The following chapters analyse the work of contemporary poets who I argue are writing curatorial ekphrasis, Chapter Three analyses Roger Hilton's Sugar (2005), a poetic sequence by Kelvin Corcoran (b.1956). Chapter Four analyses Paul Klee's Diary (1995), a long poem by Peter Hughes (b.1956). Chapter Five analyses De Chirico's Threads (2011), a verse-drama with soundscape by Carol Rumens (b.1944). The conclusion summarizes my research and also anticipates the creative work, which follows, by highlighting elements in the analysed texts that resonate with my own poetry. The conclusion also suggests areas for future research by both critical and creative practitioners. The critical essay is followed by the creative component of the PhD, a collection of curatorial ekphrasis entitled 'Lucian Freud Portraits'. The poetry collection is sectioned into five rooms, reflecting the layout of an exhibition at an art gallery, The collection includes twenty-nine poems and a poem-libretto. The collection is precede-d by a Preface, which introduces the work, and is followed by a section of notes, The appendix of the thesis includes reproductions of the artworks referred to in the poetry collection, a chronology of Lucian Freud's life, a catalogue raisonne of his entire works and an extensive bibliography of material written about the artist and his works. This information is provided in a similar manner to the wall notes, exhibition guides and catalogues which are offered to visitors of a traditional art gallery. They are not prescribed reading material, but they may prove of interest to the reader seeking further information.
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Manalo, Paolo Marko. "Part 1, The balance of where we are : a theory of poetic composition in relation to cognitive poetics ; Part 2, The secret uncles : poems." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2121.
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Part 1 of the thesis, ‘The Balance of Where We Are: A Theory of Composition in Relation to Cognitive Poetics’, considers a compositional theory of poetry, with particular attention to the creative process, the poetic line, and trope. Drawing on from the disciplines of creative writing and cognitive poetics, this thesis asserts basic and important considerations for writing poetry. Chapter One seeks a model for the creative process that will aid in sustaining poetic composition but without dictating a specific method of writing. In presenting several theories of creativity it discusses ways of understanding these mental processes in preparation for the actual poem. It suggests an approach to poetry that will keep the writer focussed and aware of his or her limitations. Chapter Two establishes what it means to be writing poetry in an ‘age of cognitive science’ where some literary scholars have made a ‘cognitive turn’, by explaining the field of cognitive poetics. It considers specifically the cognitive poetics of Reuven Tsur as an important theory to enhance poetic composition. It connects some of Tsur’s discussions on poetic elements to enhance the craft-oriented approach to poetry. Chapter Three examines the poetic line as the basic unit of a poem which any compositional theory must consider. It reiterates the neural theory of the line as a ‘carrier wave’ of conceptual information that is both pleasing to the ear and the mind. It then re- evaluates specific poetic experiments concerning the line, and suggests a method of scanning to help the contemporary reader’s awareness of poetic rhythms. Chapter Four examines trope, specifically poetic metaphor in relation to the assumption of conceptual metaphor theory that poetic metaphors are extensions of everyday metaphors. It welcomes an alternative cognitive-literary explanation by re-iterating metaphor theories from Reuven Tsur and Don Paterson. Finally, it argues that the practitioner is always writing the variation of the ‘one’ poem that he or she has discovered. Part 2 of the thesis, ‘The Secret Uncles: Poems’, consists of my own poems.
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Parker, Louise Jane. "Shadows, struggles and poetic guilt : Glyn Jones, his literary doubles and the Welsh-language tradition." Thesis, Swansea University, 2011. https://cronfa.swan.ac.uk/Record/cronfa42983.
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An 'Anglo Welsh' writer who emerged in the 1930s to considerable acclaim in Wales and London, Glyn Jones was a contemporary and friend of Dylan Thomas. An innovative Welsh Modernist, he found the genres of poetry and the short story best suited to the exhibition of his concise, imagist and often grotesque experimentalism. Unlike Thomas, he wrote two novels, was a 'gentle' satirist of Welsh culture, and was deeply embroiled in the 'post-colonial' cultural conflicts of his nation. Jones struggled to find expression between two languages and worked insistently (often antagonistically) in the Welsh literary scene throughout its most controversial century, when it fought to save the Welsh language and resolve its conflicting cultural factions into a consolidated national identity. Jones was, to adopt the rubric of Bhabha, stranded in the cultural margins at the intersection of the English and Welsh languages, and this thesis situates itself accordingly. The first of six chapters examines the ways in which the Welshlanguage culture of Wales engaged Glyn Jones, and explores how a liminal voice can establish its cultural validity via rewriting autobiography into a 'mythical' history. The second chapter adopts Harold Bloom, the concept of intertext and psychological notions of the 'other', to address Jones's conflicted relationship with Dylan Thomas. The third attempts to analyse his twentieth-century dialogue with Dafydd ap Gwilym as he seeks affirmation from his fourteenth-century double. The fourth continues this 'othering' of Welsh ancients and considers how Wales is refracted in some of his work through the literary excavation of Llywarch Hen, tenth-century defender of his princedom, but willing forfeiter of his sons. The fifth chapter considers how Jones inherited but re-invented the role of the cyfarwydd (storyteller), and the sixth explores how Hen Benillion (Welsh folk poetry) fostered his peculiarly Welsh Modernism.
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Somers, Kathleen Emerald. "Pierced Through the Ear: Poetic Villainy in Othello." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2436.
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The paper examines Othello as metapoetry. Throughout the play, key points of comparison between Iago and Shakespeare's methodologies for employing allegory, symbolism, and mimetic plot and character construction shed light upon Shakespeare's self-reflexive use of poetry as an art of imitation. More specifically, the contrast between Shakespeare and Iago's poetry delineates between dynamic and reductive uses of allegory, emphasizes an Aristotelian model of mimesis that makes reason integral to plot and character formation, and underscores an ethical function to poetry generally. In consequence of the division between Iago and Shakespeare as unethical and ethical poets respectively, critical contention concerning the play's representation of race and gender receive commentary. While Iago authors reductive narratives that lead to stereotypes, Shakespeare's narrative critiques and condemns the works of his villain to argue against common opinion and customs which deny justice by replacing individuality with generalizations about groups of people. Moreover, as he demonstrates Iago's conscious, manipulative creation of such reductive narratives for his own purposes, Shakespeare draws attention to the construction of narratives both within and without poetry, and, in so doing, he defends poetry against the Puritan condemnations from his day by showing that these condemnations cannot be restricted to poetry alone. Ultimately, reading the play as metapoetry offers a perspective on Iago's characterization which blurs the typical classifications made by modern critics, challenges the notion of a reason/ imagination dichotomy wherein reason stands outside of or even in opposition to poetic imagination, and exposes the shortcoming of the critical view that Iago represents reason and the play Shakespeare's own concerns about its limitations.
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Smith, Timothy Lawrence. "The Language of Paradox and Poetics: A Comparative Study of Zhuangzi and Kierkegaard." Miami University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=miami1225338360.
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Ballieu, Kristen. "Decanting the Rabelaisian Casks: Democratizing Neoplatonic Poetic Fury in Baudelaire's “L’âme du vin”." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/3955.
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The following document is a meta-commentary on the article "Decanting the Rabelaisian Casks: Democratizing Neoplatonic Poetic Fury in Baudelaire's 'L’âme du vin'," co-authored by Dr. Robert J. Hudson and myself, which will soon be submitted for publication. It contains an annotated bibliography of all our primary and secondary sources and an account of the genesis of the argument and the writing of the article. Our article is based upon an analysis of "‘L’âme du vin," the threshold poem of "Le Vin," the central section of Charles Baudelaire's celebrated volume Les Fleurs du Mal. As we demonstrate, previous scholarship on this section is sparse and while certain poems within in have received attention from distinguished scholars, the integral part that it plays in the larger work has been downplayed, if not entirely neglected. Our reading of the poem allows for an explanation of the structure of the entire collection, illuminates Baudelaire's intended internal architecture, and elucidates his theory of poetic creation and aesthetic ideals more generally. As we demonstrate, the transition from the Parisian commoner in "Tableaux parisiens" to the transcendent poet in "Fleurs du mal" requires the transformation provided by the intoxication in "Le Vin" which lends itself to divine fury and attainment of transcendence in and ascension to the sonnets of the "Fleurs du mal." Our development of this conclusion comes through a study of Baudelaire's employment of Neoplatonic theories and images and adoption of Rabelais' Gallic codification of these Neoplatonic tropes. "‘L’âme du vin" illustrates the essence of Baudelaire's progressive populist thought previous to the Revolution of 1848, by rendering permanent the inversion of social order found in the Rabelaisian/Bakhtinian carnavalesque. The Neoplatonic ladder to transcendence, based on Plato's four stages of divine fury, and systemized by Renaissance thinkers Marsilio Ficino and Pontus de Tyard, is tipped, or thrown, on its side in Baudelaire's work, demonstrating not only the overthrow of the hierarchy of the Old Regime, but the solidification of the humanization of the common, working man, the premier venu or homme de la rue, and the ability of the least of society, rather than the members of the nobility or leisured class of centuries past, to access divine fury and poetic transcendence by imbibing, integrating, and appreciating the soul of wine.
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Maloney, Leslie Don Bellinger W. H. "A word fitly spoken poetic artistry in the first four acrostics of the Hebrew psalter /." Waco, Tex. : Baylor University, 2005. http://hdl.handle.net/2104/3002.
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Bell, William. "In Search of the Grail: The Poetic Development of T.S. Eliot." TopSCHOLAR®, 1985. https://digitalcommons.wku.edu/theses/2151.
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In Poets of Reality, Joseph Hillis Miller seeks to establish T.S. Eliot as a precursor of the modern movement towards romantic. subjectivism. By applying his phenomenological critique, Miller claims that several major modern writers, including Eliot, adopt aesthetics based on various forms of philosophical monism.
The point underlying this thesis is that Eliot stands opposed to any such position and, until 1930, breaks with philosophy, monistic or otherwise. His art from this period is instead characterized by a search for solution in poetic artifice, a pure art. However, with "Ash Wednesday," the poet once again enters fully into the realm of ideas, and by Four Quartets has achieved a synthesis of art and idea that is clearly dualistic in nature and affirms the importance of a progressive, and not destructive tradition. All of this he finally undergirds with a logocentric belief in language as a vehicle to be purified, far from the linguistic nihilism of Miller's "Yale School" colleague, Jacques Derrida.
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Argyropoulou, Christina. "The Language of the poetry of Hector Kaknavatos: the grammar, the functions of the poetic language and text-linguistic analysis of some poems." Doctoral thesis, Universite Libre de Bruxelles, 1997. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212193.
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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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Hinchliffe, Dickon. "Histories of luminous motion : the space, language and light of Jesus Gardea's 'Placeres'." Thesis, King's College London (University of London), 1999. https://kclpure.kcl.ac.uk/portal/en/theses/histories-of-luminous-motion--the-space-language-and-light-of-jesus-gardeas-placeres(aca7e324-a010-4b91-a5e0-32a62bf3208b).html.
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Huddleston, Clarity. "History, Power, and Meaning: Refusing Heaven and Jack Gilbert's Poetic Career." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1117.
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Murphey, Darcy Renee. "The Feminine Poetic Voice in the Rymes of Pernette du Guillet." PDXScholar, 1993. https://pdxscholar.library.pdx.edu/open_access_etds/4686.
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This thesis examines Pernette du Guillet's Rymes, focusing of her feminine poetic voice and her merit as a Neoplatonist Renaissance poet. In a time when literary endeavors were almost exclusively the domain of men, women presenting themselves as writers were often judged on the appropriateness of women writing as well as the quality of their work. Women had to forge their own identity as writers and find their own voice within a ~patriarchal society and literary community. The Introduction provides a social and literary framework for Pernette's work and presents pertinent ideas on using feminist literary criticism in the analysis of medieval and Renaissance literature. Modern criticism can often be a hindrance to unbiased reading of medieval and Renaissance literature when it is used to support modern concerns instead of illuminating the original value of these works. This Introduction offers some solutions to such a conflict. Renewed interest in women's work, for example, is one of the positive repercussions of feminist criticism. The literary canon is expanding to include more women as a result of feminist concerns. Feminism should not, however, negate the original value of a work because modern readers want to impose new interpretations over the original intent. The first half of this thesis explores Pernette's Neoplatonism in contrast to the Petrarchism of her mentor, Maurice Sceve and the third member of L' Ecole Lyonnaise, Louise Labe. Pernette's association with Sceve provides the necessary context for an examination of her poetry because their poetic correspondence and their romantic relationship provide many of the themes found in Rymes. This relationship also allows a comparison between Sceve's poetry and the work of his student, Pernette, who develops into a mature poet during the course of her apprenticeship. Louise Labe's style offers a sharp contrast to Pernette's and Labe' s means of establishing her feminine poetic voice furnish an essential comparison for comprehending Pernette's more subtle technique. The second part of this thesis examines individual poems from Rymes, analyzing Pernette' s choice of theme and her manipulation of vocabulary. Pernette's feminine poetic voice is a combination of the obvious grammatical manifestations of her female gender as well as the more subtle indications of the breadth of her voice. She demonstrates that she is aware of societal limitations, but refuses to let stereotypical roles dictate her poetic persona. Pernette uses her relationship to the more famous Sceve in order to build a framework for her own work. Her adeptness as a poet lies in her ability to maintain her role as a lover and a student while conveying a proficiency that belies her reticent demeanor.
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Mikko, Evelina. "Bolts of Melody : The Poetic Meter and Form in Poetry of Emily Dickinson." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-36462.
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This essay analyses a selection of poems written by the American poet Emily Dickinson. The essay aims to explore the function of the meter in Emily Dickinson’s poetry. Earlier studies have combined Emily Dickinson’s poetry with meter, but the research of metrical pattern and form has not been sufficient enough to show Emily Dickinson’s full potential with the different meters. The purpose of this essay is to analyse how the metrical patterns are used by the poet as metrical strategies to impact the reader’s perception. One assumption is that structure and form are fundamental to her writing style. It justifies the reading of her poetry in relation to meter. The main focus was the physical structures of the poems, such as line length, metrical patterns, and systematic rhymes. The second most important aim was to analyse her other poetic devices, such as dashes and capitalizations. The findings were analysed together with the vocabulary and figurative language. The analysis shows Emily Dickinson’s poetic artistry in meter and rhyme and clarifies how she creates poetry with lyrical qualities. The result is important because it also shows that she can create poetry with metrical patterns, without in that sense being bound to meter.
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Williams, Emily Allen. "Tropical Paradise Lost and Regained: The poetic protest and prophecy of Edward Brathwaite, Claire Harris, Olive Senior, and David Dabydeen." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1997. http://digitalcommons.auctr.edu/dissertations/476.
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This dissertation examines the poetry of four Caribbean poets: Edward Brathwaite, Claire Harris, Olive Senior, and David Dabydeen. A presentation of the background issues which shape their voices of protest and prophecy, stemming from the colonization of the Caribbean region, governs the discussion. While the African ancestry of the poets Brathwaite, Harris, and Senior provides the cohesion of this critical analysis, Dabydeen, of East Indian ancestry, fits within the matrix of this analysis due to the thematic centering of his poetry on the issues of dislocation and dispossession surrounding the colonization of the Caribbean region. This analysis is organized into six chapters. Chapter One, the introduction, presents a historical overview ofthe Caribbean region and the scope of this dissertation. Chapters Two through Five are devoted to an analysis of selected works of each poet. Finally, Chapter Six synthesizes the powerful notes of protest and prophecy sounded by each of these poets in their quest for a home which empowers and embraces its people, a Paradise Regained.
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GarciÌa, Omar A. "Towards an interpretation of the poetic text : language and thought in the poetry of JoseÌ AÌngel Valente." Thesis, Queen Mary, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251927.
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Jan, Rabea. "Re-creating literature : translation in the English-language poetic tradition, with reference to Pope's Iliad and Pound's Cathay." Thesis, University of Exeter, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296232.
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Taskesen, Bengu. "Sense Through Nonsense Reading Difficult Poetry." Master's thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/12605178/index.pdf.
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This thesis analyses the difficulties in reading modern poetry that arise out of not the references but the unconventional use of language, and presents them in a theoretical framework based on Julia Kristeva&rsquos semanalytic theory and Melanie Parsons&rsquo
s application of it to a comparison of Nonsense literature and twentieth century poetry. Then aspects of the works of G. M. Hopkins, Dylan Thomas and Edith Sitwell are discussed and poems by these poets are analysed within this framework.
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SANTOS, JANAINA DE OLIVEIRA. "POETRY AS A LANGUAGE OF REALITY: THE POETIC REFERENCES OF PIER PAOLO PASOLINI AN IDEA OF ITALIAN DIALECTAL POETRY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=26951@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEm 1960, Pier Paolo Pasolini publicou pela editora Einaudi seu livro de ensaios poéticos, intitulado Passione e Ideologia. Essa obra reflete a relação afetiva e intelectual do autor com a poesia dialetal italiana. Partindo do recolhimento dos cantos dialetais feitos por folcloristas do Oitocento, tais como Pitrè, Tommaseo e Nigra, Pasolini elucubrou a poesia dialetal como a poesia popular italiana por excelência. Nesse sentido, pretende-se demonstrar como Pasolini, mediado pela leitura dos trabalhos dos críticos Benedetto Croce e Gianfranco Contini, promoveu um mapeamento das principais referências que justificariam as possíveis afinidades da poesia em dialeto com a poesia dita popular. Autores como Dante, Vico, Rousseau, Herder e Giovanni Pascoli foram mobilizados por ele dentre aqueles que pensavam a poesia como sendo a primeira linguagem entre os homens, sendo ela proveniente do vulgo e, sobretudo, como fruto de uma atividade sentida e imaginada.
In 1960, Pier Paolo Pasolini published by Einaudi publishing his book of poetic essays entitled Passione e Ideologia. That work reflects the emotional and intellectual relationship of the author with the Italian dialectal poetry. Starting from the gathering of dialectal songs done by folklorists of the Italian Oitocento such as Pitrè, Tommaseo and Nigra, Pasolini thought over the dialectal poetry as a popular Italian poetry par excellence. In this sense, we intend to demonstrate how Pasolini, refereed by reading the works of the critics Benedetto Croce and Gianfranco Contini, promoted a mapping of the main references that justify the possible affinities of poetry in dialect with a alleged folk poetry. Authors such as Dante, Vico, Rousseau, Herder and Giovanni Pascoli were mobilized by him among those who thought poetry as the first language of men, coming from the vulgar, and above all, as the result of a felt and imagined activity.
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Hall, Kira Ann. "How Can We Know The Poet from The Poem?: Cross-examining the Poetic Process." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556238425343561.
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Teusch, Jacqueline Aquino. ""Making Ourselves Over in the Image of the Imagery": Overcoming Alienation Through Poetic Expressions of Experience." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4131.
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My focus for this essay is on understanding the rhetorical process that occurs when people come together despite their differences—that is what rhetoric is all about. Kenneth Burke argues that this process, for alienated people especially, happens poetically, more than semantically because there are too many differences to overcome semantically between alienated people and the dominant community. This essay is about how the rhetorical process of identification as described by Burke helps us to explain how we cross barriers that divide people who are different to create moments of mutual understanding—identification. In this essay, I look at the experience of reading Gloria Anzaldúa's work from the rhetorical perspective that Burke's theory of rhetorical identification provides. In the case of Borderlands, Anzaldúa helps us understand how an alienated person can prompt a momentary, present space of shared experience through poetic language.
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Miller, Rachel Marie. "THE EMOTIONAL WEIGHT OF POETIC SOUND: AN EXPLORATION OF PHONEMIC ICONICITY IN THE HAIKU OF BASHŌ." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1447.
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This paper proposes that SOUND SYMBOLISM, and more specifically PHONEMIC ICONICITY, plays a role in conveying emotional weight in the context of poetry. Previous research has indicated that the ratio of plosives to nasals in poetry predicts overall perception of emotional affect, with plosives designating activity and pleasantness, and nasals designating inactivity and unpleasantness (Auracher, Albers, Zhai, Gareeva, & Stavniychuk 2010); however, this research has ignored the influence of such potentially mitigating factors as orthography and lexical meaning. The current study involves naive English L1 speakers listening to recordings of selected haiku from Matsuo Basho's Oku No Hosomichi (`Narrow Road to the Deep North') in the original Japanese, and as such, the potential of orthography and lexical meaning to influence perception of emotion is eliminated. After listening to each haiku twice, subjects were asked to rate the appropriateness of eight emotion words that ranged from active and positive to inactive and positive, and from active and negative to inactive and negative, on a five-point Likert scale. Emotion words were chosen on the basis of their respective positions on the Circumplex Model of Affect, in which each emotion is conceptualized in terms of its location along two intersecting axes measuring valence (negative - positive) and arousal (inactive - active) (Russell 1980). The selected words occupied regularly spaced positions along this two-dimensional circular model. Results indicate that plosive to nasal ratio may indeed play a role in the perception of emotion in poetry, particularly in the case of poems with high plosive to nasal ratios, which were perceived as markedly more active and positive than other poems. Wider implications of the discernible patterns of perception of emotional affect based on plosive to nasal ratio include the possibility that phonemic iconicity plays a role in general language processing. As this research involves Japanese L2 phonemic perception by naÃ&hibar;ve English L1 listeners, current L2 phonological perceptual theory is discussed, and taken into account in the analysis of the results. Specific consideration is given to the potential of English L1 speakers to perceive the Japanese rhotic /r/, which does not appear in English, as the plosives /t/ or /d/, and the Japanese affricate /ts/, which commonly appears syllable-initially in Japanese, but is much rarer in this position in English, as /s/ (Nozawa 2008). Future research on English L1 speakers' underlying perceptual categorizations of targeted sounds in Japanese is also proposed.
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Hurst, Rebecca Eldridge Hurst. "Spiritual Quest as Poetic Sequence: Theodore Roethke's "North American Sequence" and its Relation to T S Eliot's "Four Quartets"." W&M ScholarWorks, 1997. https://scholarworks.wm.edu/etd/1539626121.
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Peterson, Bellay Catrin. "The language borrowers : a study of how French-English bilingual children borrow phrases from musical, audio-visual, poetic, and narrative input." Nantes, 2015. http://www.theses.fr/2015NANT3012.
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Cette étude de cas longitudinale porte sur les productions langagières de quatre enfants dans un contexte d'acquisition bilingue ( français-anglais) simultanée en famille, et plus particulièrement leur utilisation des séquences tirées des récits, comptines, et supports audiovisuels. Le phénomène observé est défini en tant qu'emprunt ; nous proposons une conceptualisation de l'emprunt comme phénomène langagier susceptible d'avoir lieu au sein d'une même langue, et non seulement entre deux langes différentes. Un « emprunt verbatim » est une séquence empruntée mot pour mot et insérée dans le discours. Un « emprunt adapté » est une séquence dont quelques éléments du texte source ont été changés de manière à l'adapter à sa nouvelle utilisation. On distingue aussi entre « emprunt référentiel » et « emprunt non-référentiel ». Trois types d'éléments discursifs ou linguistiques peuvent déclencher un emprunt : un énoncé antérieur, une conversation, ou le contexte général rapellent une séquence ou un texte source. Grâce à l'expérience répétitive et interactive du partage des textes sources, l'enfant mémorise des séquences fixes et apprend à identifier et à manipuler les éléments variables des constructions. Il établit des liens sémantiques et pragmatiques entre les séquences des récits et chansons et des situations de communication réelles. Cette étude souligne le rôle avantageux que peuvent jouer des récits, des chansons, et des supports audiovisuels pour l'acquisition et le maintien de la langue minoritaire en situation d'acquisition bilingueThis dissertation reports on a longitudinal case study of four children's acquisition of two first languages (French and English) in the home. Specifically, it examines their use of phrases from songs, stories, and audio-visual media, a phenomenon which we have labelled borrowing. We propose a new definition of borrowing as a linguistic phenonmenon which can occur within languages as well as across languages. A "verbatim borrowing" is an exact repetition of a source phrase inserted into discourse. A "rephrased borrowing" contains elements which have been adapted to suit its use in a new context. We also distinguish between "referential borrowing" and "non-referential borrowing. " Three types of linguistic or discursive triggers can cause borrowing to occur : a preceding utterance, an ongoing conversational routine, or the general context can trigger a memory of a phrase from a source text. Thanks to repeated and interactive shared experience of these linguistically and culturally rich source texts, children memorise fixed formulas and learn to identify variable slots in constructions. When borrowing phrases, they not only demonstratethe mapping of semantic and pragmatic meanings onto phrases, but also the ability to perform the syntactic operations required for the production of their own creative variations of source texts. This study highlights the beneficial role that songs, stories, and audio-visual media can play in the acquisition and maintenance of the minority language in a context of child bilingualism
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Liebig, Natasha Noel. "writing/trauma." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6303.
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In writing/trauma, I address the association of trauma with knowledge, language, and writing. My discussion first works to establish the relationship between trauma and knowledge. I argue that trauma does not fit into the traditional Enlightenment model of scientific knowledge or the ontological model of what Michele Foucault calls the ‘truth-event.’ Rather, I contend that trauma is unique embodied knowledge, different from that of praxis and normal memory. In general, embodied knowledge is a matter of prenoetic and intentional operations. The body schema and body image maintain a power of plasticity and adjust to new motilities in order to re-establish an equilibrium when disrupted or threatened. In line with this, embodiment involves a sense of temporality, agency, and subjectivity. But in the case of extreme disruption, such as trauma, these fundamental aspects of embodiment are compromised to the point that there is a corruption of the “embodied feeling of being alive.” Physical pain, to some extent, produces this phenomenon. However, the distinctive function of the repetition compulsion within trauma distinguishes it as an exceptional embodied experience unlike physical pain or analogous phenomena. In the case of trauma, an equilibrium is not maintained, similar to the ontology of the accident. Instead, at best, we can say that what takes place is a destructive plasticity, in which the individual is transformed to the point of being a whole new ontological subject.
This phenomenon of destructive plasticity is significant in establishing the relationship of language to trauma-knowledge as trauma is the precise point at which language is ruptured. That is to say, purported within psychanalytic discourse, traumatic experience is observed in a break within the symbolic order. As opposed to physical pain, then, trauma is more akin to the abject, sharing the same resistance to narrative language. Traumatic experience is expressed through semiotic compulsions in the body as a revolt of being. In light of this, I argue that trauma, rather than being treated as a pathology, is a specific embodied knowledge which can be captured in semiotic, poetic language. Moreover, fragmentary writing, the interface of fragmented knowledge and language, captures the disruptive force of traumatic experience. In conclusion, I assert that writing-trauma is valuable, not because it allows for a ‘working through’ of the traumatic experience, but because it is an expression of a distinctly human experience.
My work canvases nineteenth century to contemporary literature on trauma such as Bessel van der Kolk in the neurobiological discipline, literary critics including Cathy Caruth, Dori Laub, Dominick LaCapra, et al, and the psychoanalytic theorists Sigmund Freud and Jacques Lacan. I draw from such literature to analyze the ambiguous impossible-possibility of witnessing and giving testimony of traumatic experience in history and writing, as well as the concern with trauma and language specific to the repetition compulsion and the unconscious. Yet, my primary focus is on the contribution of philosophy to the ongoing discourse of trauma. I look to philosophical thinkers such as Michele Foucault and Friedrich Nietzsche to depict the types of epistemological models traditionally addressed within the history of philosophy. My analysis of phenomenology and embodiment is mainly informed by the works of Maurice Merleau-Ponty and Shaun Gallagher. Additionally, Catharine Malabou’s work on destructive plasticity provides an understanding of the ontology of the accident, one of the most critical pieces to my work. Additionally, the works of Elaine Scarry and Julia Kristeva help to disclose the intimate relationship between language and trauma. I also incorporate the work of Gloria Anzalúa along with Julia Kristeva to describe the multi-dimensionality of poetic language and how this is what allows for an articulation of embodied trauma-knowledge. Finally, Maurice Blanchot’s depiction of the disaster and fragmentary writing best captures writing-trauma as it is, like trauma, a process of fragmenting language and meaning.
My purpose is to make clear the value of poetic language and fragmentary writing in regard to knowing and writing trauma. The significance to philosophy is that my discussion bridges the phenomenological and epistemological perspectives with that of the literary in order to engage in philosophical discussion on the implications and value of traumatic experience for understanding the human condition. It is my observation that the more we experience trauma, the more valuable artistic expression becomes, and the more we are pressed within the philosophical tradition to account for an experience so many individuals suffer.
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Lewis, Abby N. "A Poetic Ethnodrama: Discussing the Impact of the Pressure to Publish on Creative Writers' Production." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3690.
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This study examines the presence of the pressure to publish while in college as an undergraduate or graduate student, and the impact that pressure has on students’ ability to produce creative work. After interviewing participants, the researcher created an ethnodrama to best represent participants’ emotions and unique experiences with publishing while in school. An examination of the literature reveals that master’s-level students are often overlooked in scholarly research on the subject of publishing. This study uses a qualitative research method to identify key emotional experiences from students at the master’s and undergraduate level in the hopes of providing a platform for these marginalized voices.
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Hedengren, Mary L. "National Identity Transnational Identification: The City and the Child as Evidence of Identification Among the Poetic Elite." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3452.pdf.
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