Dissertations / Theses: 'Poetry writing'

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Cookson, Jennifer Colleen. "Topographies (Original writing, Poetry)." Diss., Connect to online resource, 2005. http://wwwlib.umi.com/cr/colorado/fullcit?p1425798.

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Bonhomme, Desmond. "Creative Writing Thesis: Poetry." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/563.

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The title of this compilation of my own creative writings is Trees, Breathe, Paper. This unique collection of poetry, short stories and prose contains a range of work, composed from 2002-2012. The thematic goal of this undertaking is to ballast as many implicit and explicit meanings as are comprehensible, and to extrapolate a distinct spectrum of latent and straightforward explanations with discernible psycho-analytical accuracy. We all know poetry is truly formless and based on springs of natural inspiration. Thus, we derive our purest inspiration from the natural world and we prune it in its unfiltered, raw state. Poetry is an externality that materializes from thin air.

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King, Willow. "Yantra: A creative writing thesis (Original writing, Poetry, Creative fiction)." Diss., Connect to online resource, 2005. http://wwwlib.umi.com/cr/colorado/fullcit?p1425764.

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Nguyen, Alina. "Poetry as a Museum." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10262632.

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Poetry as a Museum is a two-part collection of poems that reveals different subject matter from the poet’s view of the world. The first part deals with family and the juxtapositions of life in the United States and Vietnam. The second part is focused on the poet, her voice, and lens outside of family. Both parts cohere as a collection around the idea of a poetry museum, one that curates the various stories, memories, experiences, and interests of family and poet, in Vietnam and the United States. Moreover, the poems rely on their strangeness in image as well as structure.

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Fisher, Matt 1966. "Animated writing." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28047.

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Accompanying materials housed with archival copy.
Using an animation program on a Macintosh computer, I have animated poems, song lyrics and expressions in an experimental way to investigate alternatives to the restrictive poetics of the static medium of paper. Animated Writing is thus the process of enacting, in a visually rich and compelling fashion, the various semantic possibilities of text presented on a screen. While a CD-ROM or Web site would flawlessly display the pristine digital content of the animations which comprise the Creative Writing Master's Thesis, for ease of distribution the thesis is presented on analog VHS videotape. An animated text offers many subtle nuances, doubling of meaning and delicate complexity which are wholly impossible to achieve on paper. This technique of animating words provides for an exciting and intriguing enrichment of both original poetry created specifically for the form, and prose, lyrics or other found text adapted for use.

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Halliday, Simon D. "Intersections : a collection of poetry." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8087.

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Griffiths, David. "Song writing : poetry, Webern, and musical modernism." Thesis, King's College London (University of London), 1993. https://kclpure.kcl.ac.uk/portal/en/theses/song-writing--poetry-webern-and-musical-modernism(eda44e12-79d4-423f-887f-4d0543a03bc9).html.

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Beckerling, Philippa Mary. "Wings into darkness & Poetry - An Essay." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/6938.

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Beaulieu, Derek. "Text without text : concrete poetry and conceptual writing." Thesis, University of Roehampton, 2015. https://pure.roehampton.ac.uk/portal/en/studentthesis/text-without-text(9881aca7-f74a-4f6e-b8d2-58d83c01d7ae).html.

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Concrete poetry has been posited as the only truly international poetic movement of the 20th Century, with Conceptual writing receiving the same cultural location for the 21st-Century. Both forms are dedicated to a materiality of textual production, a poetic investigation into how language occupies space. My dissertation, Text Without Text: Concrete Poetry and Conceptual Writing consists of three chapters: “Dirty”, “Clean” and Conceptual.” Chapter One outlines how degenerated text features in Canadian avant-garde poetics and how my own work builds upon traditions formulated by Canadian poets bpNichol, bill bissett and Steve McCaffery, and can be formulated as an “inarticulate mark,” embodying what American theorist Sianna Ngai refers to as a “poetics of disgust.” Chapter Two, “Clean,” situates my later work around the theories of Eugen Gomringer, the Noigandres Group and Mary Ellen Solt; the clean affectless use of the particles of language in a means which echoes modern advertising and graphic design to create universally understood poetry embracing logos, trademarks and way-finding signage. Chapter Three, “Conceptual,” bridges my concrete poetry with my work in Conceptual writing—especially my novels Local Colour and Flatland. Conceptual writing, as theorized by Kenneth Goldsmith, Vanessa Place and others, works to interrogate a poetics of “uncreativity,” plagiarism, digitally aleatory writing and procedurality. Text Without Text: Concrete Poetry and Conceptual Writing also includes three appendices that outline my poetic oeuvre to date.

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Goodson, R. P. "Writing 'The See-Through Man' : poetry and commentary." Thesis, Nottingham Trent University, 2011. http://irep.ntu.ac.uk/id/eprint/160/.

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'Writing The See-Through Man: Poetry and Commentary' is a Creative Writing thesis in two parts. The first part is a collection of poems called The See-Through Man, written specifically for this project. It comprises thirty short poems (of approximately one page in length) and one long poem, '1969' (approximately sixty pages in length). The second part of the thesis is a personal, critical commentary which reflects on the evolution of the themes in this collection, from an initial desire to write about the male nude in art, to a desire to write about masculinity, to, finally, a desire to write autobiographically on issues of male embodiment. It reflects, retrospectively, on the creative processes behind the writing of the poems, with specific reference to technical experiments undertaken during the writing of key poems. It uses my own contemporaneous journals to piece together their 'histories', from idea to final draft. It also reflects on the influence of other poets and poetic traditions, with particular reference to the long poem, the prose-poem and the sonnet (and how assigning a central place to the sonnet grew out of a translation of Michelangelo). The sonnet, for example, comes to be understood as a metaphor for the Apollonian male body (considered to be a negative construct) and the versions of sonnets in the collection as examples of that form undergoing Dionysian adjustments. The end of the commentary explains how this leads to the formulation of a Queer poetics, one in which texts signify not solely by their apparent themes but also by their 'open' and inter-penetrative forms. The single poem in the collection which best exemplifies this poetics is '1969', although the whole collection is structured in order to demonstrate it. The thesis contributes to the field of Creative Writing and to Queer literary studies.

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Nelson, Walter (Jason). "Digital Poetry Interfaces: Interactive Engines for Digital Writing." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/367030.

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Briefly and simply my PhD was to explore the creation of digital poetry through the lens of interactivity and interface. The result, after many years of part-time study, was to build two dozen new digital poems, each expanding, in their own way, both the field of digital poetry in general and our understandings of the digital interface as a poetic/content, navigation and user/reader experience. Nearly all the works included in this PhD project have already proven themselves through exhibition, reviews and wide acceptance in literary, artistic, gaming and other communities. This exegesis investigates - through a mix of personal narrative, interview, technical and design description, the theoretical framework - the how and why and where of each digital poem and its related interfaces. In many ways, this exegesis mirrors my creative process by being experimental in form, expressive in content, and happily and intentionally and occasionally meandering.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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Banks, Annabel. "Poetry and the archive." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/13328/.

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In 2006 selected Cornish mining areas were validated as UNESCO World Heritage Sites. Here are found numerous remnants of the mining industry that justified Cornwall’s prominence from the Industrial Revolution up to the close of the last major mine in the 1990s. An essential part of that history is the trade of The Boulton and Watt Mining Company, formed when Midlands businessman Matthew Boulton (1728-1809) joined forces with Scotsman James Watt (1736-1819). This partnership influenced the history of Cornish mining and the whole Industrial Revolution. Traces of their endeavours remain on the Cornish landscape and in Cornish identity. Correspondence between the two men and Cornish mine manager Thomas Wilson (1748-1820) is held at the Cornish Records Office and is available online. Creative work began with these letters, seeking moments, words and gestures to resonate with narratives of the Cornish post-industrial landscape. These narratives were gathered through interviews with locals, tourists, students, mining enthusiasts and those who knew nothing of the Cornish industrial past, and were supported by experience and observation of the Cornish landscape. Poetry written from these sources strives to reflect upon contemporary landscape use and promote cultural ownership and understanding. To this aim, readings of the two collections were given in 2013 and the collections subsequently self-published. Responses to the work show that this project not only promoted Cornish industrial heritage but also prompted recognition of how stories of the contemporary Cornish landscape are intertwined with its history. This project’s partner was the King Edward Mine Museum, Troon, near Camborne, and its aims were supported by the Cornwall Record Office, Truro.

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Dymond, Danielle R. "Bitter Soil| Mapping Generational Female Experiences Through Poetry." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10751007.

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Bitter Soil: Mapping Generational Female Experiences Through Poetry is a collection of creative writing made up of a methodological essay and forty-three poems. This collection, produced during my time in California State University, Long Beach’s M.F.A. in Creative Writing program, explores both familial bonds and personal growth. The essay portion of this thesis uproots my family tree for closer inspection as I explain my subject matter, influences, and process, as well as the benefits and challenges of being a woman writer. The forty-three poems within my manuscript specifically focus on my grandmother, my mother, and myself, zeroing in on our experiences as women across three very different generations. These poems are broken into two parts: the first half is about the lives of my grandmother and my mother, and the second half is mostly about my own life, as well as the lives of several other women that have moved me. Essentially, the purpose of my thesis work is to communicate female stories, relationships, and power, using my own relatives as proof in a creative effort to honor the women that I know and inspire those that I do not.

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Wuenstel, Mary Catherine. "The reflective journal the emotions and consciousness states of poets within a transpersonal writing design /." Morgantown, W. Va. : [West Virginia University Libraries], 1999. http://etd.wvu.edu/templates/showETD.cfm?recnum=946.

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Thesis (Ed. D.)--West Virginia University, 1999.
Title from document title page. Document formatted into pages; contains vii, 207 p. : ill. Vita. Includes abstract. Includes bibliographical references (p. 174-193).

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Malby, Mark Edward. "Hong Kong poetry a comparison of the developmental experience of Chinese writers writing in English and native speakers of English writing in English and their works /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38725496.

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Bamburg, Mary. "Votary." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1425.

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Bell, Robert N. "Sharing Control: Emancipatory Authority in the Poetry Writing Classroom." Thesis, Connect to resource online, 2008. http://hdl.handle.net/1805/1859.

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Thesis (M.A.)--Indiana University, 2008.
Title from screen (viewed on June 24, 2009). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen M. Kovacik, Susanmarie Harrington, Robert Rebein. Includes vita. Includes bibliographical references (leaves 77-78).

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Yu, Liwen. "Politicizing poetics the (re)writing of the social imaginary in modern and contemporary Chinese poetry /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42841628.

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Harmon, Thaddeus. "Sky Lifting His Skirts." Digital Commons @ Butler University, 2015. http://digitalcommons.butler.edu/grtheses/415.

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Chitwood, Chazz R. "North Atlantic Black." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3678.

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North Atlantic Black is a collection of contemplative, lyrical poems that explore issues of coming out, suicide, yearning, and male relationships. Woven together, North Atlantic Black moves through different questions of masculinity encountered by the poet through the process of coming out. Early poems explore themes of masks, of theater, and of dressing and costume as means of escaping the traditional bounds of masculinity North Atlantic Black further braids in concepts of home, how they relate to identity through heritage and expectation, and how they inform the poet’s thoughts on what it means for men to have relationships—how ideas of masculinity have imposed on the poet’s life, and weigh on the relationships he wishes to pursue. Throughout, the moody colors of the Maritimes and the North East, of sealing ports and cold, forested mountains, loom over these confessions and contemplations.

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Olson, Ted. "Book Review of The Oxford Book of American Poetry: The Difficulty of Anthologizing American Poetry." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1142.

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Stamy, Cynthia Scott. "Marianne Moore and China : orientalism and a writing of America." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307421.

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Barber, Rosalind. "Writing Marlowe as writing Shakespeare." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/39699/.

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This thesis consists of two components: a 70,000-word verse novel and a 50,000-word critical component that has arisen out of the research process for that novel. Creative Component: The Marlowe Papers The Marlowe Papers is a full-length verse novel written entirely in iambic pentameter. As with verse novels such as The Golden Gate by Vikram Seth, or The Emperor's Babe by Bernadine Evaristo, its inspiration, derivation, conventions and scope owe more to the prose novel than to the epic poem. Though there is as yet no widely-accepted definition, a verse novel may be distinguished from an epic poem where it consists, as in this case, of numerous discrete poems, each constituting a ‘chapter' of the novel. This conception allows for considerable variations in form and tone that would not be possible in the more cohesive tradition of the epic poem. The Marlowe Papers is a fictional autobiography of Christopher Marlowe based on the idea that he used the pseudonym ‘William Shakespeare' (employing the Stratford merchant as a ‘front'), having faked his own death and fled abroad to escape capital charges for atheism and heresy. The verse novel, written in dramatic scenes, traces his life from his flight on 30 May 1593, through the back-story (starting in 1586) that led to his prosecution, as we similarly track his progress on the Continent and in England until just after James I accedes to the English throne. The poems are a mixture of longer blank verse narratives and smaller, more lyrical poems (including sonnets). Explanatory notes to the poems, and a Dramatis Personae, are included on the advice of my creative supervisor. Critical Component: Writing Marlowe As Writing Shakespeare This part of the thesis explores the relationship between early modern biographies and fiction, questioning certain ‘facts' of Marlovian and Shakespearean biography in the light of the ‘thought experiment' of the verse novel. Marlowe's reputation for violence is reassessed in the light of scholarly doubt about the veracity of the inquest document, and Shakespeare's sonnets are reinterpreted through the lens of the Marlovian theory of Shakespeare authorship. The argument is that orthodox and non-Stratfordian theories might be considered competing paradigms; simply different frameworks through which interpretation of the same data leads to different conclusions. Interdisciplinary influences include Kuhn's philosophy of scientific discovery, post-modern narrativist history, neuroscience, psychology, and quantum physics (in the form of the ‘observer effect'). Data that is either anomalous or inexplicable under the orthodox paradigm is demonstrated to support a Marlovian reading, and the current state of the Shakespeare authorship question is assessed. Certain primary source documents were examined at the Bodleian Library, at the British Library, and at Lambeth Palace Library. Versions of Chapters 2, 3 and 4, written under supervision during this doctorate, have all been published, either as a book chapter or as a journal article, within the last year (Barber, 2009, 2010a, b).

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Vong, Lai Ieng. "Macao poetry today : a study of contemporary writing across cultures." Thesis, University of Macau, 2008. http://umaclib3.umac.mo/record=b1780762.

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Cooper, Karen G. P. "The knife's edge : empathy in poetry, science writing, and sacrifice." Thesis, University of British Columbia, 2006. http://hdl.handle.net/2429/30766.

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This dissertation argues that empathy is a nuanced and paradoxical capacity, which in action puts at risk 1) the common language perceptions of empathy as the intuitive grasp of another's emotional state, 2) our ability to set ourselves empathically apart from those who commit reprehensible acts, and 3) even our very belief in certain forms of severe trauma. The initial dissertation section, "Preliminary Materials," explores common language approaches to empathy alongside more technical definitions of empathy and other terms, especially sympathy. I contend for a version of empathy as a fundamental human capacity which may be deployed in both pro- and anti-social fashions. Case Study I presents four poems. Analysis of the first poem leads to the conclusion that empathy as popularly conceived is impossible. The writer finds in the poem not a representation of the other, but a reflection of herself. Analyses of the other three poems invoke current scientific thinking in the areas of brain science, psychology, and neuro-linguistics. Within this context, a form of empathy which is more like mirroring or resonance is recuperated as meaningful. Case Study II examines the strategies by which an article about an Incan sacrificial site engages and disengages the reader's empathy with various parties, including the writer of the article, the Incan priests and other adults, and the sacrificed Incan children. I conclude that empathy potentially leads to identification with not only the victims, but also the perpetrators, of violence. Further, many textual strategies work precisely to inhibit or deflect this latter identification. Case Study III attempts, by a series of analogies, to illuminate at depth the experience of severe trauma and its aftermaths, and thereby to establish an empathic connection for the reader with the experience of such trauma. A Coda claims that, while Case Study III succeeds in many ways, certain aspects also fail, thereby pointing to ways in which empathy, by inducing trauma in the beholder, can actively contribute to the inexpressibility of trauma and consequent disbelief. "Hearts and Tongues," a creative essay, closes the dissertation by inter-weaving personal and academic experiences of empathy.
Graduate and Postdoctoral Studies
Graduate

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Wilson, Anthony Charles. "A study of teaching poetry writing at Key Stage Two." Thesis, University of Exeter, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400883.

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SAMPAIO, LUCIA BEATRIZ PITANGUY. "READING OGDEN: BODY, VOICE, POETRY A READING AND WRITING EXPERIENCE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2013. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=21854@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Esta pesquisa é um convite a um caminhar partilhado tendo como roteiro á obra de Thomas Ogden. Ao longo deste percurso, travaremos diálogo com Psicanálise através de Bion e Winnicott, e com a literatura através de Frost e Borges. Com Bion, podemos dizer que a experiência de leitura instrumentaliza o aparelho de pensar com novas formas que são o resultado da interseção entre as formas de pensar do autor e as do leitor. a partir de Winnnicott, concebemos que o contato profundo com o outro, no caso desta pesquisa representado pela experiência de uma obra literária, vai ao encontro imediato do verdadeiro Self. Passeando pela biblioteca de Borges, observamos a maneira comoa língua trabalha na cosntrução de verdades subjetivas exemplificadas em suas ficções, que abrem portais imaginários ao leitor para uma experiência verdadeira. Em Frost, sublinhamos algumas expressões - como Sobressons, sons vivos do discurso, o som do sentido, pescando palavras - que contribuem para importante ideia da voz do outro que nos constitue. Compreendedno o corpo como Locus da experiência e a voz como contorno psíquico, experienciamos devaneios poéticos que apontam para a ideia de que a verdade é sempre uma construção que tem como referência as experiências do criador e do observador, no caso da literatura, o escritor e o leitor.
This reaserch is an invitation to a shared walk through the work of Thomas Ogden. Along this course, we will engage in a dialogue with Psychoanalysis through Bion and Winnicott, and with Literature through Forst and Borges. Following Bion, we may say that the experience of reading instrumentalizes the apparatus for thinking with new forms wich are the result of the intersection between the ways of thinking of the author and the reader. Following Winnicott, we conceive that the deep contact with the other, wich, in the case of this research, represents the experience of reading a literary work, leads immediately towards the true self. Strolling through the Library of Borges, we observe the way language works in building subjective truths, wich, exemplified in his fictions, open to the reader imaginary portls towards a true experience. In forst, we underline certain expressions - such as oversounds, sounds of living speech, the sound fo sense, fecthing words - wich contribute to the important conception of the voice of the other that constitute us. Understanding the body as the locus of the experience poetic reveries wich point to the idea that truth is always construct , referenced in the experience of the creator and the observer or, in the case of literature, the reader and the writer.

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Hundehege, Stefanie. "Writing the Nazi movement : the poetry of Baldur von Schirach." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/62985/.

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This thesis examines the literary output and influence of Baldur von Schirach (1907-1974) and - since he devoted his writing to the service of the party and its leader - his resultant cultural contribution to the establishment and consolidation of the National Socialist dictatorship. To date, Schirach's political role as Reichsjugendführer has overshadowed his literary work and influence. By demonstrating that his poems were not only supported by the National Socialist regime but also widely read in nationalist and right-wing circles in and before the Nazi party's rise to power, I aim to complement and correct the current perception of Schirach's role in the Third Reich. A clearer picture of Schirach's cultural persona and ideological development is achieved by considering literary sources as well as historical and biographical data. Based on the analysis of his published and unpublished texts (poems, songbooks, articles, speeches, correspondence, interviews), this study outlines Schirach's position within the National Socialist movement and also situates his writing within the wider context of his times. To this end, it establishes his literary role models and investigates the extent of their influence on Schirach. It explores his literary response to debates around the role of the author in the politicised sphere of the Weimar Republic. Analysis of his poems in comparison with the war writing of the 1920s, in particular with that of Ernst Jünger, reveals that there is more ambiguity in Schirach's poetry than scholarly accounts of his poems have previously allowed. I identify central features of his writing that can be found in Communist poetry but also in non-political poetry written during the same period, especially as regards use of intertextuality and the blurring or merging of the literary and political spheres. These commonalities reaffirm the existing impetus in scholarly research made by Helmuth Kiesel, Uwe Hebekus, Walter Delabar, Sebastian Graeb-Könneker and others to rethink our binary understanding of modernist and National Socialist literature. The example of Schirach, this study concludes, reveals not only the contrasts but also continuities between the literature of the Weimar Republic and the Third Reich. It is also possible here for the first time to extend these reflections to the post-1945 period, as unpublished correspondence and poems from Schirach's twenty-year prison sentence, provided by his family, are analysed in the final chapter. Engagement with Schirach as an author is not an attempt to rehabilitate him, or to rebut his categorisation as a National Socialist writer. Instead, by analysing his literary works and how they relate to other literary and ideological currents of his time, this study contributes to a more nuanced understanding of the role literature played in National Socialism at all stages of the party's development and thus to a broader understanding of the movement as a cultural as well as political phenomenon.

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Lowe, Hannah Louise. "Writing the Empire Windrush (critical thesis), and, Chan (poetry collection)." Thesis, University of Newcastle upon Tyne, 2016. http://hdl.handle.net/10443/3325.

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This doctorate is comprised of a critical thesis (30%) and a creative submission of poetry (70%). The critical thesis examines representations of the arrival of the Empire Windrush at Tilbury on 22 June 1948, interrogating how it became symbolic shorthand for the beginnings of the post-war Caribbean diaspora to Britain, with a central place in the national historical imagination. Critics argue that the representation of the Windrush has undergone a dramatic transformation in its 65-year history, from its deployment in media discourses highlighting the problems of immigration, to its reclamation as a positive symbol of Black Britain at the turn of the century. The 1998 commemorations of the fiftieth anniversary were instrumental in this re-appropriation. This thesis examines depictions of the Windrush from the moment of its arrival to the present day, to argue that the ongoing centrality of the Windrush in the story of the Caribbean–British diaspora has obscured a longer, richer history of black presence in Britain while overlooking the imperial history which prompted the diasporic movements of Caribbean people to the imperial centre. The critical work of Chapters One and Two provides the context for my poetry collection Chan, which is discussed in Chapter Three. The Ormonde sequence of Chan responds to my interrogation of the Windrush creatively, by reconstructing the 1947 voyage of its predecessor, the Ormonde. The remaining sections are thematically linked by their engagement with suppressed or unknown histories, writing from personal and public archives and their exploration of migration, diaspora and mixed-race identities.

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Malby, Mark Edward. "Hong Kong poetry: a comparison of the developmental experience of Chinese writers writing in English andnative speakers of English writing in English and their works." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38725496.

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Higgs, Richard. "Translation of poetry as homicide, with reference to Anna Akhmatova's 'Last toast'." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/11071.

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Includes abstract.
Includes bibliographical references.
The objective of this dissertation is to provide a critical examination of poetry translation, using as a framework the notion that translation of poetry is comparable to an act of murder or homicide. Constructs pertaining to detective fiction are used as a basis to expose critical theories and commentary on poetry translation, which validate the comparison, taking into account the integrity of the poetic text, the context in which it exists, and the identity (constructed or real) of the poet. Four published translations, by different authors, into English of Anna Akhmatova’s poem Posledniy tost (‘The Last Toast’) are analysed in detail to demonstrate the validity of the argument and to attempt to review and quantify the loss of a poem’s essential and vital qualities as a result of translation.

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Martinuik, Lorraine A. "The Language of Trees." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1651.

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The Language of Trees is a poetry collection based on a series of walks, and rooted in the experience of place on a small island off the west coast of Canada. Prose poems and a serial poem that gives the collection its title, reflect the poet's leanings towards experiment. The preface discusses poetics and the poet's technical approach to form.

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Hall-Zieger, Anna. "Astigmatism: poems exploring the misshapen I." Thesis, Texas A&M University, 2006. http://hdl.handle.net/1969.1/4155.

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This thesis is a book of poems, containing two major sections. The first part is a critical introduction to the creative writing; the second part consists of poetry that I have composed, revised, and revisited during the time I have spent working on my Masters degree. The poems comprise the larger section and is a cohesive collection bound by a progression of theme, style, and mode. In the critical introduction, I discuss many influences on my poetry and I explore how my poetry adheres to various modes and styles as well as how it differs from them. While I remain drawn to the confessional style, my work does not adhere enough to the strictures of that mode, and I find it rather stifling. However, instead of attempting to redefine the confessional/postconfessional mode, or arguing for one specific critical perspective, I attempt to propose different guidelines for my poetry, which seems to fall into a yet unnamed category, that I call the lyric memoir. I hope to suggest a method of reading that considers the confessional poem as representative of neither a completely constructed persona, nor a strictly autobiographical retelling of the poetÃ¢ÂÂs life. The second section of the thesis consists of thirty-seven poems. Although, I do not subdivide the poetry into labeled chapters, I have organized it so that the reader can identify a movement or progression of theme. The early poems contain reflective pieces that most closely mirror the confessional and/or postconfessional modes, as I explore my psyche, my perceived reality, and my role in the world. The middle poems address relationshipsÃ¢ÂÂboth my relationships with others and how people interact. The later poetry reflects the world as a whole, although, as suggested by the title, all of the poems respond in some way to the titleÃ¢ÂÂs implication of analyzing identity and add to the cohesion of the collection as they represent a journey from the self outward

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Stumpo, Jeffrey David. "sylvae parvae: poems." Texas A&M University, 2004. http://hdl.handle.net/1969.1/1484.

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The following is a collection of original poetry, supplemented by a critical introduction tracing biographical, literary, and theoretical influences. The critical introduction takes the form of a series of loosely connected notes. The poems are divided into two major sections. I begin by discussing the difficulties involved in writing an overarching introduction to a collection which was never intended to be a cohesive whole, that is to say, a group of individual poems rather than a themed collection or sequence. I examine some of the influences on my work, including other poets and authors. These poets do not fall into strictly defined schools or chronological periods. Rather, I find that certain poets throughout history pay attention in greater or lesser detail to the spaces around words (potential meanings) and the system that is constructed in a given poem. I align myself, therefore, not with particular schools or eras, but with writing styles. I also discuss some of the theories that come into play in my work. Most often these resemble postmodernism, yet I tend to draw on metaphors from science or philosophy rather than literary theorists themselves, who are often needlessly obtuse. Lastly, I look at autobiographical influences that have shaped my writing. I complete my introduction with a detailed discussion of two poems and how these various elements are visible therein, and a few comments on the title of the thesis. The first section of poetry is titled "Lyrics & Observations." As can be gleaned from this title, the poetry is primarily lyric, though alternating between formal and informal in structure. Additionally, most of the lyric poems I write tend to make observations on life, leaving any moral unspoken or open-ended. The second section of poetry, on the other hand, is titled "Narratives & Lessons" and tends towards poetry with an overt message. These poems represent a selected output of the last year. Some of the poems may have begun their lives before I began my studies at Texas A&M University, but almost all have been revised since that point, reflecting my continuing growth and change as a writer.

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Briante, Susan. "Pioneers in the study of motion." FIU Digital Commons, 2000. http://digitalcommons.fiu.edu/etd/1807.

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From the multitudinous streets of Mexico City through the lonely highways of the United States, this collection of poetry charts strategies of representation across complex territories of culture and gender. These poems represent dialogues and negotiations with popular and poetic narratives of the Americas, as well as individual quests for identification against a backdrop of postmodern and postcolonial concerns. The effect is like that of a collage that elicits the reader's participation in order to produce individual signification. The figures alluded to in these pieces enact the struggle to situate the self within multiple registers of discourse and identity, as well as to establish a site from which to speak.

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Camacho, John. "Chords." FIU Digital Commons, 2005. http://digitalcommons.fiu.edu/etd/1984.

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CHORDS is a collection of diverse lyric and narrative poems. The book is primarily composed of free verse in the colloquial tradition of James Wright. CHORDS employs the Romantic device of a strong narrative "I," and utilizes four thematic sections, each named after a specific musical chord, which correspond to four periods in the narrator's life. Section one, "Suspended," follows the young narrator through a tumultuous childhood, underscored by family loss and the disruption of a move from Miami to rural Kentucky; section two, "Diminished," details his adolescence and young adulthood, a period of rebellion and confusion; section three, "Augmented," finds the adult narrator contemplating several life-changing events-marriage, the break-up of his rock and roll band, and the dedication of his life to Christ; finally, in "Resolved," the narrator comes to accept the complexities of his life, and to build, from its dissonant notes, a final chord of resolution.

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Bartman, Jennifer. "Apple." FIU Digital Commons, 2008. http://digitalcommons.fiu.edu/etd/1416.

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Apple is a collection of poems that explores the connection between human relationships and the evolution of an identity. Multiple speakers investigate gender and sexuality, plentitude and poverty, atheism and Christianity in order to better understand some of the forces that affect a woman's consciousness. An awareness of perceived dualities, such as self and other, reason and faith, nature and technology, socialization and loneliness are central to this exploration. The poems employ various forms, such as ultra-talk narratives, lyrical meditations, prose poetry, epistolary poems and hypertext. The variety of structure and form in the collection mirrors the variety of approaches the speakers employ to move closer and further away from the subjects at hand. The rhetorical posture employed in each poem is directly linked to the speaker's relationship with the audience, which is an excellent example of a human relationship affecting the evolution of an identity.

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Blanco, Ricardo De Jesus. "City of a hundred fires." FIU Digital Commons, 1997. http://digitalcommons.fiu.edu/etd/1693.

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These poems capture the "coming of age" experiences encountered by a Cuban-American narrator in the United States and in Cuba. The poems in the book appear chronologically, that is to say, not in the order they were written, but according to the age of the poet-speaker, ranging from early adolescence to young adulthood. The poems in Part I reveal the fragmented traditions and heritage inherited by a first generation Cuban-American, while questioning the complex merging of the two cultures encountered by the poet-speaker. In Part II, the majority of the poems are set in Cuba, as the poet-speaker travels through the living history of his "homeland" to explore the cultural roots discovered in its landscapes, traditions, relatives and towns, like Cienfuegos-"the city of a hundred fires". The style and language of the poetry become unique to the poet-speaker's own cultural vision, the Cuban-American experience transformed to lyric poetry.

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Carrion, Teresa. "Lazy tongue." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/2058.

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Lazy Tongue is a collection of poems that follows the path of a first generation Latin American woman on her trail of self-discovery. Both critique and celebration, the poems zero in on a woman's psychological, social, and sexual encounters, trying to find acceptance of self in the mirror of Catholic indoctrination and culture clash. The poems move through a variety of forms as if each poem were a word moving, searching, stumbling into eloquence, echoing the awkwardness the speaker feels as she moves through childhood into adolescence, and the awkwardness she feels positioning herself in adult life as a rebellious, punk rock women.

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Beer, Nicky. "The diminishing house." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/6024.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on October 16, 2007) Vita. Includes bibliographical references.

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Morris, Marianne. "Problems of the 'political' in British avant-garde poetry and poetics, 2003-2012." Thesis, University of the Arts London, 2013. http://ualresearchonline.arts.ac.uk/7772/.

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This investigation addresses formal and conceptual problems in poetry, identified through critical investigations of my own and my poetic peers’ work, and through theoretical and philosophical texts (Butler, 2000; Hegel, 1807; Owens, 1980; Rose, 1996; Kappeler, 1986). The notion of a ‘political’ poetry, as loosely posited by contemporary critics (Archambeau, 2009) is discussed, using Ancient Greek readings of polis (Arendt, 1958; Yunis, 1996). Subsequent related topics for discussion include critical irony, subjectivity, feminist theory, and fantasy. Source material for their identification includes my own poetry (Morris, 2006; 2007), the poetry pamphlet IRA Quid (Brady et al., 2004), and criticism on the work of J.H. Prynne (Sutherland, 2010). I then discuss the influence of these readings on my practice, and present practice work written in response to the research aims. I present my practical poetic outcomes as an extension of the theoretical questions outlined by way of analysing individual poems, and by presenting poems as their own mode of discourse within the critical text. Research is shown to have influenced my practice through an evolving methodology that responds to questions unearthed during the project. This methodology develops a body politics through compositional experiments with the typewriter (Olson, 1965; Deleuze & Guattari, 1987; Abramović, 2011), and places emphasis on live performance as crucial to ‘political’ poetry due to its affects. Also provided are case studies of poetry readings given during the research period and their effects on practice, and a summary of Lyric & Polis, a festival of poetry readings and open discussion, which I hosted in Falmouth in February 2012. A concluding section looks at future possibilities for poetic practice in light of my findings, and suggests some ways for moving on from some of the key contradictions arising in relation to unequivocal poetic statements, and the question of ‘aboutness’.

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Stewart, Jennifer. "Out of Chaos." ScholarWorks@UNO, 2006. http://scholarworks.uno.edu/td/361.

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This is a collection of poetry on a variety of themes, namely, personal identity, travel, southern upbringing, and interaction with daily ennui. It also presents a range of different poetic techniques, from collage and pastiche to more traditional lyric formats.

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destiche, aurielle. "From the Same Branch." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1868.

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Szabo, Brittany R. "Grey Slate." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1151.

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GREY SLATE is a collection of poems that focuses on the natural world in order to explore the mysteries of life with the intent to create a meditation on what it means to be a human being interacting with this world. Inspired by John Keats’ theory of Negative Capability, GREY SLATE does not seek to explain, but to dwell in the mysteries it explores. The poems are tied together through similar images or ideas in order to mimic the way the mind works as it jumps from thought to thought. GREY SLATE also mixes different types of poems: from haiku to sonnet to paradelle, and from lyric to narrative to prose poem. GREY SLATE hopes to inspire readers to take a break from searching for truths and indulge in the beautiful mystery that is life with no need for answers.

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Evans, John William. "The Five-Dollar Shirt." FIU Digital Commons, 2007. http://digitalcommons.fiu.edu/etd/3216.

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THE FIVE-DOLLAR SHIRT is a collection of poems that explores the connection between the author's experiences working and living in South Asia, Chicago, and South Florida; the phenomenon of global capitalism; and the formative influences of place and culture, both while living in a foreign place and upon returning home. The collection is organized into three sections that loosely follow the chronology of the author's life: "Middle West," "Far East," and "Deep South." Each section includes longer free-verse narratives, shorter lyrical meditations on the associations of specific images, and formal work that incorporates both impulses while suggesting new possibilities that evolve from working within an inherited structure. The poems in this collection reject the ironic ambivalence of one strain of contemporary American poetry, in favor of ardent neoromantic engagement. THE FIVE-DOLLAR SHIRT is ultimately an effort to accommodate seemingly conflicting impulses into an ethical worldview: rootlessness and family, ambition and compassion, progress and conservation.

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Lockridge, Tim. "Survival Tips For A Parallel Universe." Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/77492.

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Survival Tips For A Parallel Universe is a collection of poems concerned with sudden change, limitations, and the way those changes and limits might develop and burden intimate relationships. The collection’s central sequence, “Survival Tips For A Parallel Universe: Parts One, Two, Three, and Four,"? works through an imagined alternate world where the human and the mechanical suddenly and inexplicably merge, creating avenues of possibility that ultimately end in the unknowable, the unreachable, or failure. The surrounding poems further explore the nuance of the unknowable—through language both lyrical and plain-spoken—questioning reality and perception, specifically in their relation to memory, love, and desire. Likewise, the collection largely moves from a second person point-of-view to a first-person perspective, generating a shifting subject and a movement toward a tangible and more direct articulation of feeling and heart. While this collection draws a strong influence from the invention and tradition of the New York School of poetry, it also attempts a new way of speaking—and, in turn, a new way of knowing.
Master of Fine Arts

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Rousseau, Jacques. "Dispatches from an older war." Master's thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/17457.

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Gaffney, Michaelle Brett. "Now is the Time to be Ghosts." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1349.

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Schoenfeld, Staci Renee. "The Blue Notebook." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1351.

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Tokarz, Beverly Joan. "Landscape beyond Corot and other poems." Thesis, Boston University, 1991. https://hdl.handle.net/2144/35679.

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Dissertations / Theses on the topic 'Poetry writing'

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