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Dissertations / Theses on the topic 'Poetry (form)'
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Atchley, Rachel. "Memory for Poetry: More than Meaning?" Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1319216131.
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Weber, Joseph John. "A Categorization of Form for Stephen Crane's Poetry." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc501068/.
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This thesis presents four categories of form basic to all of Stephen Crane's poetry: antiphons, apologues, emblems, and testaments. A survey of previous shortcomings in the critical acceptance of Crane as a poet leads into reasons why the categorization of form here helps to alleviate some of those problems. The body of the thesis consists of four chapters, one for each basic form. Each form is defined and explained, exemplary poems in each category are explicated, and specifics are given as to what makes one poem better than the next. The thesis ends with an elevation of Crane's worth as a poet and a confirmation of the merits of this new categorization of form.
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Eby, Lawrence V. "MEMORIC FORM: POEM AS MEMORY." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/52.
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Machinist in the Snow is a narrative long poem, much like a novel in verse that deals with the loss of memory and environmental rebirth. In the book, the narrator exiles himself into a frozen nature and attempts to return the frozen wasteland into its former, flourishing environment. The poems take on the memoric form of memory in a wide range of poetic forms from the traditional sonnet, haiku, or villanelle, to a scattered projective verse. In the center of these poems is an attempt to mimic the mind in the way that it shifts, in its moments of clarity, and in its attempt to dissect and understand the surrounding realities. Through logic patterning, deep image, and introspection, these poems are meant to give insight into what it means to be human in the digital age and to highlight the dwindling connection to the pastoral that is so deeply rooted in American society.
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Fahlström, Susanna. "Form and philosophy in Sándor Weöres' poetry." Doctoral thesis, Uppsala University, Department of Finno-Ugric Languages, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-409.
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This dissertation, by presenting comprehensive analyses of six poems by the Hungarian poet Sándor Weöres, investigates the poetical forms and the poetical philosophies in these texts. The poems represent specific philosophic spheres of Weöres' poetry. The analyses emerge from the formal elements, and aim to shed light upon the structural coherences between the texts and their philosophical contexts. This method of analysis also complies with Weöres' views on the aesthetics of poetics and his method of writing, where form and structure always played an outstandingly important role. The complex methods used in the analyses are very much influenced by the views and methods of a text stylistics that looks at the literary work as a global entity. Taken together, these analyses illustrate the focal points of a remarkable poetical form and a most profound philosophical context in the poems of an outstanding Hungarian poet.
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Fahlström, Susanna. "Form and philosophy in Sándor Weöres' poetry /." Uppsala : Acta Universitatis Upsaliensis, 1999. http://catalogue.bnf.fr/ark:/12148/cb37622175f.
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Skerratt, Brian Phillips. "Form and Transformation in Modern Chinese Poetry and Poetics." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11116.
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Hu Shi began the modern Chinese New Poetry movement by calling for the liberation of poetic forms, but what constitutes "form" and how best to approach its liberation have remained difficult issues, as the apparent material, objective reality of literary form is shown to be deeply embedded both culturally and historically. This dissertation presents five movements of the dialectic between form and history, each illustrated by case studies drawn from the theory and practice of modern Chinese poetry: first, the highly political and self-contradictory demand for linguistic transparency; second, the discourse surrounding poetic obscurity and alternative approaches to the question of "meaning"; third, a theory of poetry based on its musicality and a reading practice that emphasizes sameness over difference; four, poetry's status as "untranslatable" as against Chinese poetry's reputation as "already translated"; and fifth, the implications of an "iconic" view of poetic language. By reading a selection of poets and schools through the lens of their approaches to form, I allow the radical difference within the tradition to eclipse the more familiar contrast of modern Chinese poetry with its foreign and pre-modern others. My dissertation represents a preliminary step towards a historically-informed formalism in the study of modern Chinese literature.East Asian Languages and Civilizations
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Marks, Thomas. "The poetry of architecture : aspects of poetic form from Wordsworth to Thomas Hardy." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540159.
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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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Petrou, T. "Form and love in the poetry of Jacques Roubaud." Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10041895/.
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This dissertation explores the relationship between form and the figuration of love in the poetry of Jacques Roubaud. I begin with Roubaud's decision to institute form at the centre of his poetic practice. While rejecting the freer verse forms associated with Surrealist poetry, Roubaud maintains an ambiguous relationship with the work of Paul Éluard, placing the earlier poet at the heart of his theoretical understanding of an inextricable link between love and poetry, form and memory. I then analyse the particular place of Roubaud's muse within poetic form, and her relation to Roubaud's key concepts of literary constraint and memory. I read parts of Trente et un au cube (1973) through the lens of Lacan's theory of sexual difference and Irigaray's response, finding that the position of Roubaud's poetic beloved in the poems overlaps with that of the reader. Roubaud offers his reader spaces in which to invest her own associations and memory, and to contribute to the productivity of his practice of formal constraint. I go on to consider the differing roles of the Lacanian and Irigarayan sexual disjunction in the relation between the poet and his beloved, particularly expressed through moments of sleep and silence. While it is an ambivalent space, the disjunction may also be the site in which the individuality of both terms in the love relation flourishes, allowing for mobility in that relation. Finally, I reflect on that collaboration between poet and beloved by retracing the journey taken thus far through a selection of subsequent works written as the poet mourns the loss of his wife, Alix Cléo. A key text is Du noir tombe (1985), a poetry collection read here for the first time as relating to Roubaud's loss, and I consider the interaction of Alix Cléo's photography and Roubaud's notion of poetic form.
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Smith, Michael Bennet 1979. "Disparate measures: Poetry, form, and value in early modern England." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11182.
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xi, 198 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.In early modern England the word "measure" had a number of different but related meanings, with clear connections between physical measurements and the measurement of the self (ethics), of poetry (prosody), of literary form (genre), and of capital (economics). In this dissertation I analyze forms of measure in early modern literary texts and argue that measure-making and measure-breaking are always fraught with anxiety because they entail ideological consequences for emerging national, ethical, and economic realities. Chapter I is an analysis of the fourth circle of Dante's Inferno . In this hell Dante portrays a nightmare of mis-measurement in which failure to value wealth properly not only threatens to infect one's ethical well-being but also contaminates language, poetry, and eventually the universe itself. These anxieties, I argue, are associated with a massive shift in conceptions of measurement in Europe in the late medieval period. Chapter II is an analysis of the lyric poems of Thomas Wyatt, who regularly describes his psychological position as "out of measure," by which he means intemperate or subject to excessive feeling. I investigate this self-indictment in terms of the long-standing critical contention that Wyatt's prosody is "out of measure," and I argue that formal and psychological expressions of measure are ultimately inseparable. In Chapter III I argue that in Book II of the Faerie Queene Edmund Spenser figures ethical progress as a course between vicious extremes, and anxieties about measure are thus expressed formally as a struggle between generic forms, in which measured control of the self and measured poetic composition are finally the same challenge Finally, in my reading of Troilus and Cressida I argue that Shakespeare portrays persons as commodities who are constantly aware of their own values and anxious about their "price." Measurement in this play thus constitutes a system of valuation in which persons attempt to manipulate their own value through mechanisms of comparison and through praise or dispraise, and the failure to measure properly evinces the same anxieties endemic to Dante's fourth circle, where it threatens to infect the whole world.
Committee in charge: George Rowe, Chairperson, English; Benjamin Saunders, Member, English; Lisa Freinkel, Member, English; Leah Middlebrook, Outside Member, Comparative Literature
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Dahle, Kaitlyn M. "The Recognition of Micro Poetry as a Literary Art Form Across Time and Culture." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/honors/257.
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My creative thesis, titled, The Recognition of Micro Poetry as a Literary Art Form across Time and Culture, is on micro poetry and its prevalence in the literary world of today and throughout history with examples of writings from past authors, like Emily Dickinson and William Carlos Williams and even as far back as Ancient Greece’s Sappho. Examples of my own micro poetry are included in the thesis. The period followed by two dashes, or .//, mark the beginning of each micro poem I have written. The poems end with one single dash, or /, and each poem is separated by two asterisks and a tilde, or *~*. I have also separated the poems in my thesis by themes. These poems show the relevance of micro poetry and the innovation one can achieve in writing such small works in today’s literature.
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Strobel, Wesley/Kaileigh. "(TRANS)FORM: Spoken Word as Queer and Transgender Testimony." Otterbein University Distinction Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=otbndist1620462465460833.
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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 analyses of early music, and Steve Larson's theory of musical forces as criteria for well-formed melodies, I created a method that shows every note as structural or ornamental at every given level.
The use of these theoretical approaches serves to highlight what about this music is compelling and what can be brought out as 'familiar' in a piece, what repeats, and what connects sections and how. I conclude that counterpoint is behind the organization of these works at the structural level, even as monophonic songs. I acknowledge that there are features we could construe as "tonal," but that information is only useful to a performer familiar with tonal elements, and it is therefore only one of many layers of understanding that should be accessed by the modern performer.
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Bennett, Andrew. "John Keats and the reciprocity of Romantic narrative form." Thesis, University of East Anglia, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329486.
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Gamble, Miriam Claire. "Form, genre and lyric subjectivity in contemporary British and Irish poetry." Thesis, Queen's University Belfast, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491942.
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This thesis engages with the usc of traditional forms, and the role of the lyric subject, in contemporary poetry. It carries out close readings on the work of five contemporary poets (Derek Mahon, Michael Longley, Paul Muldoon, Don Paterson and Simon Armitage) and highlights points of intersection and influence between their various oeuvres. The thesis also challenges critical readings which suggest the existence of significant 'generational' differences in Northern Irish poetry from the 1960s onwards, and reveals, by dose attention to the poems themselves, that the critical perception of a clear barrier existing between the formal 'conservatism' of one generation and the 'experimentalism' of the next is unfounded and incorrect. By linking the formal procedures of Paul Muldoon to pre-existing strategies perceptible in the work of two earlier poets, Michael Longley and Derek Mahon, it reveals a more fruitful pattern of exchange and influence, and highlights ways in which the two earlier writers, via their manipulation of form and subject, may be seen to engage with 'radical' concepts habitually perceived to be beyond their purview. To this end, the thesis also interacts with theories of form, language and subjectivity. Finally, by extending its reach beyond Northern Ireland to include the work of two emergent British poets, Don Paterson and Simon Armitage, the thesis argues that the formal approaches of Northern Irish poetry continue to exert visible intluence on new writing, thus challenging arguments which suggest these techniques to be redundant, retrograde or site-specific. Using the figure of Paul Muldoon as intermediary, it asserts the significance of Muldoon's formal inheritance to his influence on younger writers, and argues for recognition of the means by which Armitage and Paterson straddle the conventional binaries of labels like 'mainstream' and 'experimental.'
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Widger, Eleanore. "Visual form, visible nature : radical landscape poetry and Romantic environmental aesthetics." Thesis, University of Dundee, 2018. https://discovery.dundee.ac.uk/en/studentTheses/a39ef120-02b1-4080-b4f6-108c4e203abc.
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Whilst there is a strong emerging body of criticism on innovative and open form poetries, particularly from ecocritical and environmental perspectives, the related but distinct genre of radical landscape poetry receives little specific attention. Named by Harriet Tarlo, the genre is so far represented by a single anthology, The Ground Aslant, published in 2011, which includes the work of sixteen poets from around Britain. This thesis constitutes the first in-depth critical engagement with radical landscape poetry, and in attempting to unpack some of the genre's particular concerns, argues for the significance of Romanticism's influence on radical landscape poetry's treatment of the environment. I propose that radical landscape poetry warrants extensive critical attention because of its self-reflexive negotiation of visibility at a moment concerned with the ethics of representation; its attention to the land as something that is 'scaped' by acts of looking and representing, as well as its attention to environmental phenomena in their own right; and in addition, because of its interrogation of the relationship between the body and the poetic text. By re-articulating Romantic attitudes, radical landscape poetry reveals the divergences, congruities and continuities which link contemporary eco-ethical thought to earlier poetic and philosophical modes. The treatment of vision, visibility, the body and the environment in the poetry of the Wordsworths, Coleridge, and Clare, and the visual art of Blake, Turner and Friedrich, provides an instructive and illuminating context for reading radical landscape poetry. At the same time, the thematic and formal innovations of radical landscape poets provide fresh perspective on Romantic works. By positioning Romantic and radical landscape poetry in relation to contemporary phenomenological, existential and ecocritical discourses, this thesis offers new insights into both poetries, as well as advancing understandings of their relationship.
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Shafer, Joseph R. "Resistances in bodily form : post-1945 American Poetry and D.H. Lawrence." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/95178/.
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This project alters the field of American Studies and Modern American Poetry. For after Cold War critics of America's Myth and Symbol School had employed D.H. Lawrence for an American exceptionalism, and after Kate Millet's Sexual Politics (1970) had disapproved of Lawrence, the British author has been marginalised by scholars of American Studies and American Poetry. As a result, Lawrence's foundational role within America's countercultural poetry has been overlooked. Robert Duncan, who led the Berkeley & San Francisco Renaissance, has repeatedly testified that Lawrence remains the 'hidden integer' within the poetics of Donald Allen's groundbreaking anthology, The New American Poetry: 1945-1960. This research project asks: how does the transatlantic reception of Lawrence change the tradition of post-1945 American poetry? Within the so-called 'New American Poetry,' queer, black, feminist, and non-academic voices emerged, yet their poetry defined itself by resisting the structures of 'closed-verse' as well. The break into 'open form' had renounced much of the American poetry tradition, especially the intellectualism of high-modernists. In this generational gap, Lawrence's banned writing on the sexual, sensual and political body becomes privileged by countercultural poets, and integrated into open-forms of poetry. Therefore this project also asks: how does the physical body, as found in Lawrence, surface within the disparate literary forms of leading poets and their coteries? Each chapter introduces an undocumented reception of Lawrence within a social network of post-WWII poets and follows a poet's reading of Lawrence's bodily form throughout their formative years. Featured poets include Charles Olson, Robert Creeley, Robert Duncan, and Sylvia Plath. The poets are chosen for their reliance upon Lawrence, but each poet also represents a wider social scene. As a new transatlantic and American literary history is charted, new readings emerge in new American poets and in Lawrence alike. In reinterpreting well-known and unknown poems though this lens, a new hermeneutic is explored wherein a bodily form surfaces within the spatial formations working upon the page.
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Cowdery, Taylor. "The Premodern Literary: Matter and Form in English Poetry 1400-1547." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493299.
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In poetry—so the story often goes—form is more important than content. After all, poets and critics since the early modern period have said so. Samuel Taylor Coleridge once wrote that content and form should be “organic” friends, with form the more important friend of the pair. Philip Sidney thought that the poet should make the “brazen” stuff of nature into better, “golden” forms of his choosing, as God himself might do. How did such an apparent preference for form over content happen? This dissertation suggests that one answer might be found in a study of pre-modern ideas of content, or what, in the literary criticism of the fourteenth and fifteenth centuries, was called matere, or “matter.”
In the later Middle Ages, matere referred at once to a writer’s source materials, her broader topic, and the parchment and ink with which she worked. A thing both physical and metaphysical, matere was seen to possess its own agency and force, and was held to be an equal partner to form in the making of poetry. During the fifteenth and sixteenth centuries, however, these ideas of matter and form shifted. Since the Scholastics, medieval English poetic theory had held to a roughly Aristotelian notion of matter and form, wherein form inhered within matter. Poets could change the appearance of matter, but not its inner essence. An influx of Humanist and Neo-Platonic thought at the end of the fifteenth century, however, led to a different view in the sixteenth. Form came to be seen as an eidos, or “idea,” that was separable from matter—partly, because Humanist theory stressed style over content, and partly because of the renewed influence of these Platonic notions of form.
My dissertation traces these different attitudes towards form, matter, and the literary over the course of four chapters, each focused on a single poet who wrote between 1400 and 1547: Thomas Hoccleve, John Lydgate, John Skelton, and Thomas Wyatt. Where Hoccleve and Lydgate are shown to prioritize matter over form in their visions of poetry, Skelton and Wyatt gradually turn away from matter and towards form in their work. A consideration of each poet’s theoretical attitudes towards matter is paired, in each chapter, with a careful study of his practical treatment of source matter and manuscript materials. My introduction focuses primarily on those broader intellectual historical shifts that may have contributed to evolving conceptions of matter and form during the late medieval and early modern period. Ultimately, the dissertation concludes that, while early modern poetry remains as concerned with matter as it is with form, there is an ideological move away from ideas of materiality in the literary arts during the sixteenth century. This, in short, is the reason that Elizabethan poets claim that their work is, in Sidney’s words, “golden” rather than “brazen.”English
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Ward, Matthew. "The sound of laughter in Romantic poetry." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/6814.
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This thesis offers the first critical examination of the sound of laughter in Romantic poetry. Part one locates laughter in the history of ideas of the seventeenth and eighteenth centuries, and explores the interplay between laughter and key intellectual, aesthetic, ethical, and social issues in the Romantic period. I chart a development in thinking about laughter from its primary association with ridicule and the passions up to the early decades of the eighteenth century, to its emerging symbiosis with politeness and aesthetic judgement, before a reassertion of laughter's signification of passion and naturalness by the end of the eighteenth century. Laughter provides an innovative means of mapping cultural markers, and I argue that it highlights shifts in standards and questions of taste. Informed by this analysis, part two offers a series of historically aware close readings of Romantic poetry that identify both an indebtedness to, and refutation of, earlier and contemporaneous ideas about laughter. Rather than having humour or comedy as its central concerns, this thesis identifies the pervasive and capricious influence of the sound of the laugh in the writing of Robert Burns, William Blake, William Wordsworth, Samuel Taylor Coleridge, Leigh Hunt, Lord Byron, Percy Shelley, and John Keats. I detect the heterogeneous representations of laughter in their work that runs across a diverse range of genres, poetic forms, themes, and contexts. As such, I argue against the serious versus the humorous binary which prevails in literary criticism of Romanticism, and suggest that laughter articulates the interplay between the elegiac and the comic, the sublime and the ridiculous, the solitary and the communal. Moreover, I detect a double-naturedness to the sound of laughter in Romantic poetry that registers the subject's capacity to signify both consensus and dispute. This inherent polarity creates a tension in the poems as laughter ironically challenges what it also affirms. Never singularly fixed, the sound of laughter reveals the protean nature of Romantic verse.
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Garner, Lori Ann. "Oral tradition and genre in old and middle English poetry /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9974631.
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Smith, Aaron Mitchell. "Clothes for Clio? : form and history in the 1930s poetry of Robert Graves, Louis MacNeice and W. H. Auden." Thesis, Queen's University Belfast, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.677277.
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Ziaja, Ursula [Verfasser], Brigitte K. [Akademischer Betreuer] Halford, Weertje [Akademischer Betreuer] Willms, and Christian [Akademischer Betreuer] Mair. "Weaving patterns – the function of form in creative German-English poetry translation." Freiburg : Universität, 2020. http://d-nb.info/1211956555/34.
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Plicque, Ann. "Inside, Outside." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1165.
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Egan, Kelly. "Crossing the threshold of death: James Merrill's exploration in the form of his poetry." Thesis, Boston University, 2007. https://hdl.handle.net/2144/28565.
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Conlon, Rose B. "Toward a New American Lyric: Form as Protest in Claudia Rankine." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1077.
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This thesis argues that Claudia Rankine's two American lyrics destabilize the subject-object dialectic underwriting American lyricism. First, I consider Don’t Let Me Be Lonely’s rejection of spectatorship, insofar as spectatorship objectifies the suffering of the Other. Second, I analyze Citizen’s subversion of the lyric “I”, particularly as it vocalizes the “you”-position traditionally relegated to poetic object. I suggest that both works, by returning power to the object, manifest an aesthetic disruption to the racially-based power dialectic underpinning American lyric tradition. Eventually, I propose that Rankine mobilizes the poem as a future-space for the realization of an ideal politics.
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Hawkins, Heather. "Recovering the rural : form, dialect and society in the poetry of Thomas Hardy." Thesis, Nottingham Trent University, 2018. http://irep.ntu.ac.uk/id/eprint/34660/.
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In this thesis I identify the limited research into Hardy's use of dialect and metre in his poetry. I argue that critics assume a narrow textual approach that disregards Hardy’s broad thematic, linguistic and metrical range. To redress this anomaly, I propose a broader critical methodology which reflects and accommodates the multi-faceted nature of Hardy's poems. I employ a combination of post-colonialism and textual criticism to place Hardy's work in its socio-historic and textual contexts. Intrinsic to this study is an acknowledgement of the cultural and linguistic disparities between Victorian social classes and the cultural subjugation of the rural labouring class by the middle and landowning classes. I conduct an examination of Victorian prosodic and philological debates in relation to Hardy's poetry. I demonstrate that Hardy was familiar with these debates and fuses standard poetic devices and language with the non-standard devices and dialect of his native rural culture. In doing so, Hardy proposes the equality of rural and urban cultures in order to reclaim rural culture from the subjugation of the dominant urban centre. I propose that this fusion reflects increasing nineteenth- century urbanisation and renders rural culture inherent to Victorian social evolution. Conversely, I consider whether Hardy's fusion of cultures articulates growing anxiety expressed by Victorian liberals regarding the morality and maintenance of the British empire. I argue that the increased Victorian interest in philology indicates a middle-class desire to return to pre-imperial identities. I demonstrate that Hardy's poetry assumes an anti-imperialist stance in which he contends that all empires fail and result in the loss of imperial identities. His migration poems provide a detached view of society in which non-fixation of identities becomes possible. My multi-theoretical stance permits Hardy's multi-cultural understanding of society, which he articulates through dialect and standard English, and speaks for all mankind.
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Parker, Tom W. N. "Loving in truth : proportional form in the sonnets of the Sidney circle." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307356.
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Mateo, Decabo Eva Maria. "Politik der kleinen Form." Doctoral thesis, Humboldt-Universität zu Berlin, 2019. http://dx.doi.org/10.18452/19931.
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Im Mittelpunkt der Dissertation „Politik der kleinen Form“ steht die Frage nach der Politizität ‚kleiner‘ Formen in augusteischer Zeit: also der sogenannten Liebeselegie des Properz, Tibull und Ovid sowie der erotischen Dichtung des Horaz. Auf der Grundlage einer Analyse der Gattungs- und Formpolitik ihrer Paraklausithyra und Recusationes wird eine neue Interpretation aufgezeigt. Jenseits von inhaltszentrierten Lesarten, die immer nur den Subversions- oder Affirmationscharakter von Literatur herausarbeiten, schlägt diese Dissertation einen dritten Weg vor: den der Ambivalenz und des Paradoxons.At the centre of the dissertation „The Politics of Small Forms“ is the question of the politicity of ‘small forms’ in Augustan times: of the so-called love elegy of Propertius, Tibullus and Ovid as well as of the erotic poetry of Horace. On the basis of an analysis of the genre and form politics of their paraclausithyra and recusationes a new interpretation is pointed out. Beyond content-centered readings, which work out either the subversive or the affirmative character of literature, this dissertation suggests a third way: that of ambivalence and paradox.
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Papoutsakis, Georgia-Nepheli. "Desert Travel as a Form of Boasting: A Study of Dhu al-Rumma's Poetry." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487037.
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The present thesis focuses on desert travel as a theme of self-praise (fabr) in the work of the Umayyad poet Dhu al-Rumma (ca. 696 - ca. 735), the last great representative of the Bedouin poetic tradition. The study of his dfwan, whose major topics are love poetry and boasting about travelling, can lead to a sounder reading of the travel theme -usually described with the vague term ra~rl- in earlier poetry as well. The aim of the thesis is to study the various motifs associated with desert travelling in Dhu al-Rumma, highlighting the dimension of self-praise, and to trace their antecedents in earlier poetry. The thesis' principal argument is that in early Arabic poetry, down to the end of the umayyad times, travelling was a major theme of self-praise. Besides being a proof of physical strength and stamina, it was seen as an overall testing of a man's character and moral integrity. Requisite as it was in a variety of contexts, travelling was viewed as a means to attain noble ambitions and gain fame, to serve one's tribe and to acquire wealth and improve one's fortune, in order to be able to assist and provide for others. The first chapter gives basic information about the poet and the contents of his . drwan. The second chapter expounds the thesis' main argument, touching upon the broad spectrum of ethical issues related to travelling and the variety of contexts in which the theme occurs. The basic thematic axes ofDhu al-Rumma's boasting about his travels, studied in chapters 3, 4 and 5 respectively, are: a) the desert or, more generally, the lands traversed by the poet in his journeys; b) the poet and his companionfs; c) the poet's and the party's camels.
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McGowan, Catherine-Anne Calhoun. "Contemporary Communication: Discoure and Form in the Poetry of James Merrill and John Ashbery." NCSU, 2004. http://www.lib.ncsu.edu/theses/available/etd-04132004-103021/.
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Although James Merrill and John Ashbery approach poetry from very different stylistic angles, the themes that emerge from their work have numerous similarities. Each poet illustrates how classic form has evolved to fit into contemporary context in poems such as ?Farm Implements and Rutabagas in a Landscape? and ?To a Pocket Calculator,? as well as commenting on this evolution in works such as ?Watching the Dance,? ?Litany? and ?The Songs We Know Best.? After laying the groundwork of formal change, Merrill and Ashbery discuss how this stylistic evolution is mirrored in the day to day life of our fast-paced contemporary society. In poems such as ?Eight Bits? and ?Self-Portrait in Tyvek? Windbreaker,? James Merrill expresses disgust and skepticism with the state of society today, while John Ashbery addresses the need for rebirth in an oppressive landscape in ?It Was Raining in the Capital.? Both poets reveal their own feelings of insecurity and self-doubt in ?Business Personals? and ?Family Week at Oracle Ranch,? poems that are simultaneously nostalgic for the past and optimistic about the future. Exploring these themes sheds new light on postmodernism?s blending of high and low culture. The examination of each poet?s work from a formal and contextual perspective is essential in understanding the need for preservation of both artistic and emotional values of the past in order to have a successful future.
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Jordan, James Anthony. "Experience and its articulation : the question of form in the poetry of Ernst Toller." Thesis, University of Warwick, 1994. http://wrap.warwick.ac.uk/81099/.
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Ernst Toller (1893-1939) wrote a substantial body of poetry which has received negligible critical attention. This thesis argues that the poetic styles he adopted enabled him not only to examine past experiences but also to evolve strategies for the challenges he faced. His early poetry (1908-1915) shows his attempts to come to terms with love and his enthusiasm to participate in the First World War. The poetry provided him with emotional models which were then revised in the light of experience. The early Expressionist poetry (1915-1919) documents his disillusionment with the war and furnishes insights into his growing political awareness. Toller then adopted the sonnet form (1919-1921), principally in order to express the vicissitudes of prison experience in a controlled manner, and this contributed to his adjustment to incarceration. Das Schwalbenbuch (1922-1924) combines this formal control with a growing sensitivity to the potential of Expressionist verse and delivers insights into his metaphysical thinking. Vormorgan (1924) summarises his experience of war, revolution and imprisonment, in verse of considerable richness and suggestivity, indicating the positive values he intended to apply to his life on release. After its publication, Toller practically ceased to write poetry except for a very few isolated examples, one of which ('Am Fluss, an unpublished poem) points to the possibility of a sixth and masterful poetic phase of which, apart from this one poem, there is no record. This study puts forward explanations for the apparent cessation of his poetry writing after 1924, arguing that his lyrical tendencies nonetheless found expression in his writing in other genres. The thesis provides an index of Toller's entire poetic production and a collection of the unpublished poems and those no longer easily accessible.
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Papoutsakis, Nefeli. "Desert travel as a form of boasting a study of D̲ū r-Rumma's poetry." Wiesbaden Harrassowitz, 2007. http://d-nb.info/996982604/04.
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Rawes, Alan Leigh. "To 'endow with form our fancy' : the pull to form and the play of fancy in Byron's poetry 1809-1817." Thesis, University of Liverpool, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364115.
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Serrano, Vincenz. "'Eskinita' and other poems, and, Form, historiography, and nation in Nick Joaquin's 'Almanac for Manileños'." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/eskinita-and-other-poems-and-form-historiography-and-nation-in-nick-joaquins-almanac-for-manilenos(0e55ceea-e7ad-4075-b4a5-3a9a9ace1729).html.
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Eskinita and Other Poems Eskinita and Other Poems is a collection of poems and sequences with Manila as its context and the city walker as its key figure. An eskinita - a Tagalog diminution of the Spanish word esquina, which means "corner" - is a term used to refer to sidestreet so narrow that even a car would find it hard to maneuver there; an eskinita that leads to a dead end, moreover, is called an interior. Grounded in, yet taking flight from, the language and imagery of Manila, the manuscript draws on the city's history and its present moment as it juxtaposes personal experiences and scholarly sources to portray a city whose development - considered in works like Nick Joaquin's Manila, My Manila, Manuel Caoili's The Origins of Metropolitan Manila, and Robert Reed's Colonial Manila - is bound up with political, social, economic, and postcolonial structures. Through this space goes the city walker, a figure considered in literary and theoretical texts like Walter Benjamin's study on the flâneur, Michel de Certeau's analysis of walking, and psychogeographic writings of the Situationists. The poems are concerned with formal strategies that take their cues from Anglo-American Modernism - collages of texts in lyric and prose, serial structures, and line splicings - and aim to express the complex experience of walking in Manila, of writing Manila: juxtapositions and interpenetrations between interior and exterior, scholarly and demotic language, past and present. The long poem Eskinita extends the use of these devices: apart from prose and verse combinations, it incorporates quotation, parataxis, and photography. Although the overt aim is to offer, using the aesthetic resources of poetry, multiple and refracted views of Manila, Eskinita nevertheless endeavours to express - by constraining words, lines, and page layout - a sense of containment and limit. By counterpointing multiple textual and visual modes - and including various sources and formal devices - Eskinita and Other Poems explores and sometimes rejoices in the tensions between polyphonic and disjunctive elements, and the way their structures generate resonance and dialogue between unlikely familiars. Form, Historiography, and Nation in Nick Joaquin's Almanac for Manileños This thesis argues that the Almanac - when contextualised within the long-standing tradition of the almanac genre, and examined using the theoretical underpinnings of Mikhail Bakhtin's notion of heteroglossia, Walter Benjamin's views of fragmentary historiography, and intertwining aspects of literary form and nation formation - expresses the multiple, not singular, temporalities that constitute and complicate the Filipino nation. Produced in 1979, during Martial Law in the Philippines, the Almanac's formal strategy - demonstrated by the accommodation of discrepant genres, compression and correspondence in the calendars, and fragmentation in the essays - is a kind of non-linear historical emplotment. Such an aesthetic - derived in part from Modernism - is distinct from, and critically interrogates, fixed and linear articulations of national history. The focus of the analysis is a reading of the Almanac's calendars and essays. The distinctions and interactions between these subgenres result in a text that is both cohesive and stratified: calendrical entries which are comprised of national and religious elements and have past and future orientations inhabit the same space as temporally disjunctive essays. Despite fragmentation, the Almanac is nevertheless held together by correspondences and associations. The Almanac's oblique and tangential strategy of representing Philippine history - when seen in the light of the obsolescence of a now-moribund but then-vital genre - critiques linear historiography. By accommodating accounts of missed chances and foregrounding seemingly irrelevant details, Joaquin's Almanac interrogates historical narratives which, in the name of progress, fail to incorporate materials that are aberrant and inconsequential.
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Hagnell, Fredrik, and Karl-Axel Zander. "Personalized Poetry Generator : Development of a mobile application for Android called Deleteby Haiku which generate poems in the Japanese poetry form haiku based on user’s SMS-logs." Thesis, KTH, Skolan för informations- och kommunikationsteknik (ICT), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-128524.
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Researchers at Mobile Life Centre are working on a project called “Delete by Haiku - Concept development and visualization of persistence/an SMS log dilemma” (subproject of “Re-Mobiling -breaking apart time and technology”, 2012-). The purpose of that project is to evaluate an approach of handling the growing amount of users’ digital data in phones (especially SMS logs) by trying to create, in the deletion process of old SMS, something potentially meaningful in a playful manner: poems. The students’ project aimed to develop a concretized demo for their idea, an SMS log deleting and poetry generating application, more particularly the Japanese poetry form “haiku” as chosen style, developed on the mobile platform Android. The goal: to give the researchers a basis to proceed with into the user study and demonstration phase of their project. The result of the development process was a full scale working demo application, although naturally left with many improvement and addition possibilities due to the limited time plan for the student project, and presentation of solved solutions of arisen programming and design implementation challenges.Forskare på forskningscentret Mobile Life Centre jobbar på projekt kallat “Delete by Haiku –konceptutveckling och föreställning av behållning/ett SMS-log dilemma” (delprojekt av ”Re-Mobiling – isärbrytning av tid och teknologi”, 2012-). Syftet av det projektet är att utvärdera ett sätt att hantera den växande mängden av användares digitala data i telefoner (speciellt SMS-loggar) genom att försöka skapa, i raderingsprocessen av gamla SMS, någonting potentiellt meningsfullt i lekfull stil: dikter. Studenternas projekt var att utveckla en konkretiserad demo för deras idé, en SMS-log-raderande och poesigenerande applikation, mer bestämt den japanska poesiformen ”haiku” som valt format, utvecklat på den mobila plattformen Android. Målet: att ge forskarna en grund att fortsätta med in i användarstudie- och demonstrationsfasen av deras projekt. Resultatet av utvecklingsprocessen var en fungerande demoapplikation i full skala, emellertid givetvis lämnad med många förbättrings och tilläggsmöjligheter på grund av den begränsade tidsplanen för studentprojektet, och presentationer av lösta programmeringsoch designimplementationsutmaningar.
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Stutesman, Drake. "Do you see what I mean? : an 'inner law of form' in Susan Howe's historicism." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343376.
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Lindqvist, Ursula Anna Linnea. "The politics of form : imagination and ideology in 1930s transnational exhibitions and socially engaged poetry /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3190531.
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Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 295-305). Also available for download via the World Wide Web; free to University of Oregon users.
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Martin, Alexander. "Loosely Bound." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4251.
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I take a poetic approach to graphic design practice. It is a subjectivist approach, which recognizes our human right to willful interpretation. Designers navigate form, culture, and history like poets through language. We are subjective, exploratory engines drawing formal inspiration from figural and analogical associations. Subjectivity in graphic design practice is complex, however. Subjectivity privileges the interaction between object and individual. When we designers interpret the literal world with the poet’s omni-directional sensitivity, we intentionally and intuitively create objects that accrete inexhaustible, extra-literal value for their audience.
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Washington, David. "Facing Sympathy: Species Form and Enlightenment Individualism." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1343758507.
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Auer, Benedict Auer Benedict. "Deus absconditus as muse : an approach to the writing of poetry as a form of contemplative prayer for those who live with the Hidden God /." Dissertation abstract, 1992. http://homepages.stmartin.edu/fac%5Fstaff/auer/other/AbstractofDissertation.HTML.
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Hung, Yat-fung Lucretia. "Introducing poetry into the junior form English classroom a case study in a Hong Kong Chinese medium-of-instruction school /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38709363.
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Moore, William. "Intuition of an Outsider: From Nothing to Voice in George Scarbrough’s Poetry." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3899.
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Long acknowledged as a committed poet of place, this thesis examines tones of outsiderness and alienation that characterize George Scarbrough’s poetry. Scarbrough draws on familiarity with his childhood in southeast Tennessee, and from an outsider’s outlook, a perspective veritably prompted by the rejection he suffered as a homosexual and lover of language, Scarbrough’s poetry addresses the daunting themes of fear and nothingness. Analysis of his poetry also reveals qualities of hope and endurance, a commitment to received forms, and Modern innovation. Through his poetic voice, culminating in the alter ego of Han-shan, Scarbrough provides vital insights into the human experience.
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Moffett, Joe. "The search for origins in the twentieth-century long poem : Sumerian, Homeric, Anglo-Saxon /." Morgantown, W. Va. : West Virginia University Press, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=015671691&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Shepherd, M. "Philippe de Remi's 'La Manekine' and 'Jehan et Blonde' : A study of form and meaning in two thirteenth-century old £TFrench verse romances£T." Thesis, University of Hull, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377407.
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Hung, Yat-fung Lucretia, and 洪一豐. "Introducing poetry into the junior form English classroom: a case study in a Hong Kong Chinese medium-of-instructionschool." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38709363.
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St, Clair-Kendall S. G. (Stella Gwendolen). "Narrative Form and Mediaeval Continuity In The Percy Folio Manuscript: A Study Of Selected Poems." Thesis, The University of Sydney, 1988. http://hdl.handle.net/2123/6143.
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This study examines the continuity of mediaeval literary tradition in selected rhymed narrative verse. These verses were composed for entertainment at various times prior to 1648. At or shortly before this date, they were collected into The Percy Folio: BL. Add. MS. 27,879. Selected texts with an Historical or Romance topic are examined from two points of view: modification of source material and modification of traditional narrative stylistic structure. First, an early historical poem is analysed to establish a possible paradigm of the conventions governing the mediaeval manipulation of fact or source material into a pleasing narrative. Other texts are compared with the result of this analysis and it is found that twenty paradigmatic items appear to summarize early convention as their presence in other poems is consistent — no text agreeing with less than twelve. The second step is the presentation of the results of an analysis of some fifty mediaeval Romances. This was undertaken in order to delineate clearly selected motifemic formulae inherent in the composition of these popular narratives. It is shown that these motifemes, found in the Romances, are also present in the historical texts of The Percy Folio. The findings, derived from both strands of investigation, are that mediaeval continuity exists in the texts studied. The factors which actually comprise this ‘mediaeval continuity’ are isolated: it is then seen that rather than discard tradition as society grew further and further from the early circumstances that gave rise to it, later poets have chosen to contrive modifications designed to fit new requirements as they arise. Such modifications, however, are always within the established conventional framework. In short, no text examined failed to echo tradition, and mediaeval continuity is an important feature of the popular rhymed narrative in 1648 and The Percy Folio.
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St, Clair-Kendall S. G. (Stella Gwendolen). "Narrative Form and Mediaeval Continuity In The Percy Folio Manuscript: A Study Of Selected Poems." University of Sydney, 1988. http://hdl.handle.net/2123/6143.
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Doctor of Philosophy(PhD)Revised September, 2007
This study examines the continuity of mediaeval literary tradition in selected rhymed narrative verse. These verses were composed for entertainment at various times prior to 1648. At or shortly before this date, they were collected into The Percy Folio: BL. Add. MS. 27,879. Selected texts with an Historical or Romance topic are examined from two points of view: modification of source material and modification of traditional narrative stylistic structure. First, an early historical poem is analysed to establish a possible paradigm of the conventions governing the mediaeval manipulation of fact or source material into a pleasing narrative. Other texts are compared with the result of this analysis and it is found that twenty paradigmatic items appear to summarize early convention as their presence in other poems is consistent — no text agreeing with less than twelve. The second step is the presentation of the results of an analysis of some fifty mediaeval Romances. This was undertaken in order to delineate clearly selected motifemic formulae inherent in the composition of these popular narratives. It is shown that these motifemes, found in the Romances, are also present in the historical texts of The Percy Folio. The findings, derived from both strands of investigation, are that mediaeval continuity exists in the texts studied. The factors which actually comprise this ‘mediaeval continuity’ are isolated: it is then seen that rather than discard tradition as society grew further and further from the early circumstances that gave rise to it, later poets have chosen to contrive modifications designed to fit new requirements as they arise. Such modifications, however, are always within the established conventional framework. In short, no text examined failed to echo tradition, and mediaeval continuity is an important feature of the popular rhymed narrative in 1648 and The Percy Folio.
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Edford, Rachel Lynn 1979. "“The Step of Iron Feet”: Formal Movements in American World War II Poetry." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11981.
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x, 237 p.We have too frequently approached American World War II poetry with assumptions about modern poetry based on readings of the influential British Great War poets, failing to distinguish between WWI and WWII and between the British and American contexts. During the Second World War, the Holocaust and the bombings of Hiroshima and Nagasaki obliterated the line many WWI poems reinforced between the soldier's battlefront and the civilian's homefront, authorizing for the first time both civilian and soldier perspectives. Conditions on the American homefront--widespread isolationist and anti-Semitic attitudes, America's late entry into the war, the bombing of Pearl Harbor, the Japanese internment, and the African American "Double V Campaign" to fight fascism overseas and racism at home--were just some of the volatile conditions poets in the US grappled with during WWII. In their poems, war shapes and threatens the identities of civilians and soldiers, women and men, African Americans and Jews, and verse form itself becomes a weapon against war's assault on identity. Charles Reznikoff, Muriel Rukeyser, Gwendolyn Brooks, and Richard Wilbur mobilize and challenge the authority of traditional poetic forms to defend the self against social, political, and physical assaults. The objective, free-verse testimony form of Reznikoff's long poem Holocaust (1975) registers his mistrust of lyric subjectivity and of the musical effects of traditional poetry. In Rukeyser's free-verse and traditional-verse forms, personal experiences and public history collide to create a unifying poetry during wartime. Brooks, like Rukeyser, posits poetry's ability to protect soldiers and civilians from war's threat to their identities. In Brooks's poems, however, only traditionally formal poems can withstand the war's destruction. Wilbur also employs conventional forms to control war's disorder. The individual speakers in his poems avoid becoming nameless war casualties by grounding themselves in military and literary history. Through a series of historically informed close readings, this dissertation illuminates a neglected period in the history of American poetry and argues that mid-century formalism challenges--not retreats from--twentieth-century atrocities.
Committee in charge: Karen Jackson Ford, Chairperson; John Gage, Member; Paul Peppis, Member; Cecilia Enjuto Rangel, Outside Member
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Watanabe, Edna Atsué. "Vozes das formas na poesia concreta do Grupo Noigandres /." São Paulo : [s.n.], 2009. http://hdl.handle.net/11449/86950.
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Orientador: Omar KhouriResumo: A proposta desta dissertação foi estudar as bases teóricas e os princípios formais apresentados no "Plano-piloto para a Poesia Concreta", 1958, que foi publicado em Noigandres 4 pelos poetas Augusto de Campos, Haroldo de Campos e Décio Pignatari, os quais conceberam a poesia como "uma arte geral da palavra" e "o espaço gráfico como elemento constitutivo estrutural do poema". A partir dos conceitos da semiótica desenvolvida por Charles Sanders Peirce, pretendeu-se compreender a forma como uma estrutura em movimento ou isomorfismo estrutural, que foi desenvolvido pelo grupo Noigandres na sua fase ortodoxa, entre 1955 a 1959, quando predominaram a forma geométrica e a matemática da composição. Finalmente, foram analisados cinco poemas representativos da Poesia Concreta Paulista elaborados entre 1955 a 1959.
Abstract: The proposal of this dissertation was to study the theoretical basis and formal principles set forth in the "Pilot-Plan for Concrete Poetry", 1958, published in Noigandres 4 by the concrete poets Augusto de Campos, Haroldo de Campos e Décio Pignatari, who used to conceptualize poetry as the "general art of the word" within which "the graphic space acts as structural agent of poem". On the basis of Charles Sanders Peirce's semiotics, we have hereby undertook to understand the concept of form as structural movement or structural isomorphism that has been worked out by the group Noigandres in their orthodox phase, between 1955 and 1959, when the geometric form and the mathematics of composition used to prevail in their poetry. Accordingly we have analyzed five representative poems by Concrete Poets from São Paulo, that were written by then.
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Machado, Admarcio Rodrigues. "Forma e indeterminação em As metamorfoses de Murilo Mendes." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-11122015-140007/.
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Este trabalho analisa o livro As Metamorfoses, do poeta Murilo Mendes. A perspectiva escolhida é a da invenção por meio da linguagem desse poeta. Reconhecendo que a imagem tem valor inestimável na poesia de Murilo, nossa análise elucida a construção imagética atentando para o modo como a organização das palavras figura o efeito de desorganização semântica que lembra alguns quadros surrealistas. Nesse sentido, a pergunta que norteia este trabalho é: Como o poeta usa a forma para a construção da indeterminação de sentido? Para respondê-la, recorremos, além de textos poéticos e não poéticos de Murilo Mendes, a textos sobre o Surrealismo, o Essencialismo de Ismael Nery e sobre forma e indeterminação semântica, que nos ajudaram a entender melhor o código poético de Murilo Mendes, inclusive entrevendo nesse código um padrão compositivo. Sendo a junção de imagens descontínuas no poema a principal característica do trabalho de montagem em Murilo Mendes, julgamos coerente supor que esse procedimento de composição exige uma performance idiossincrática do leitor. Na condição de obra moderna, a poesia muriliana exige um leitor também moderno. Para constituí-lo textualmente, estudamos também alguns pré-requisitos de leitura que devem ser acionados para a compreensão da proposta artística de Murilo Mendes, recorrendo sistematicamente a textos da estética da recepção.This dissertation analyzes the book As Metamorfoses, by the poet Murilo Mendes. The chosen perspective of analysis are his poetical procedures. Recognizing that images are central in Murilos poetry, our analysis elucidates his imagery construction, focusing on the ways the organization of words features the semantic disorganization effect which reminds Surrealistic paintings. In this sense, the question that guides this work is: How does the poet use the form to build the indeterminacy of meaning? In order to answer it, we use, besides Murilo Mendes poetic and non poetic texts, texts on Surrealism, the Essentialism of Ismael Nery and about form and semantic indeterminacy, that help us to understand Murilo Mendes poetic code, including glimpsing a compositional standard in such code. Since the main feature in Murilo Mendes work is the joining of discontinuous images in the poem, it seems coherent to assume that his composition model requires an idiosyncratic readers performance. Murilos poetry also requires a modern reader. With that in mind, we also studied some reading prerequisites that must be triggered for the understanding of Murilo Mendes artistic proposal, systematically resorting to aesthetics of receptions texts.