Dissertations / Theses: 'Poets in literature'

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Jenner, Simon. "Oxford poets of the 1940s." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243010.

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Sewell, Frankie. "Extending the Alhambra : four modern Irish poets." Thesis, University of Ulster, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267793.

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Polcrack, Doranne G. "Poets judging poets T.S. Eliot and the canonical poet-critics of the seventeenth, eighteenth and nineteenth centuries measure John Milton /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1995. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.A.)--Kutztown University of Pennsylvania, 1995. Source: Masters Abstracts International, Volume: 45-06, page: 2823. Typescript. Abstract precedes thesis as preliminary leaves [1-2]. Includes bibliographical references (leaves 180-190).

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Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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Sybert, Darlene. "Two ways of knowing and the romantic poets /." free to MU campus, to others for purchase, 2002. http://wwwlib.umi.com/cr/mo/fullcit?p3052219.

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Allsopp, Niall. "Turncoat poets of the English Revolution." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:72c956c3-ec8b-4b07-ad91-a05b0e72fd39.

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Edmund Waller, William Davenant, Andrew Marvell, and Abraham Cowley were royalist poets who changed sides following the English Revolution, attracted to Cromwellian military power, and the reforming aims of the Independents. This thesis contributes to existing scholarship by showing that the poets engaged strongly with theories of allegiance, self-consciously returning to first principles - the natures of sovereignty and obligation - to develop a concept of allegiance that was contingent and transferrable. Their crucial influence was Hobbes. Hobbes collapsed partisan perspectives into a general theory of sovereignty constituted by a de facto protective and coercive power; this was grounded on a psychological analysis of humans' restless appetite for power. The poets' approach to Hobbes was crucially mediated by Machiavelli, who provided a less abstract account of the relationship between individual agency and collective institutions, and whose concept of virtù offered a model for how restless ambition could be harnessed to political order. An introductory chapter sketches out the intellectual background to this body of theory and reflects on the methods used to show how the poets dramatized it in their works. Chapter two considers the disintegration of Waller's courtly poetry under the pressure of civil war, and his resulting turn to rationalist theory. Chapters three and four focus on the immediate aftermath of the revolution, considering the synthesis of Hobbes' and Machiavelli's theories of military power ventured by Davenant, and the influence of Davenant's ideas on Marvell's Machiavellianism. Chapter five focuses on Cowley and his more religiously-inflected account of Hobbesian psychology and political obligations. Chapter six asks how the poets responded to the Restoration of Charles II, and in particular charts their influence on the younger poet John Dryden. With their emphasis on materialist psychology, the turncoat poets abandoned allegory in favour of a mode of dramatization which observed the contingent circumstances in which allegiances could be generated, dissolved, and transferred. They possessed a political conservatism, but a conceptual radicalism which presented a serious challenge to Anglican and constitutionalist discourses of Stuart monarchy.

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Gutiérrez, Manuel. "Mexican poets and the arts 1900-1950 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=2023846601&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Martin, Seth M. "The Poetics of Return| Five Contemporary Irish Poets and America." Thesis, The University of North Carolina at Chapel Hill, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3562770.

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A thematic study grounded in transnational and transatlantic studies of modern and postmodern literatures, this dissertation examines five contemporary Irish poets—John Montague, Padraic Fiacc, James Liddy, Seamus Heaney, and Eavan Boland—whose separation from Ireland in the United States has produced a distinct body of work that I call, "the poetics of return." As the biological heirs of the Civil War generation and the intellectual heirs of the Irish high modernists, these poets are some of the leading lights of the renaissance in Irish literary arts after midcentury. This dissertation argues that an important aspect of this era has been its reevaluation of narratives of political and artistic exile; those created by nationalists and republicans, on the one hand, and modernists such as James Joyce and Samuel Beckett, on the other. Drawing on the criticism of Patrick Ward and Seamus Deane, I argue that the atomization of the critical vocabulary of exile has enabled modern poets greater means to consider the cultural anxieties surrounding their separation from Ireland. Accordingly they have become less interested in the meaning of leaving Ireland and more interested in the meaning of return. This project engages a range of scholarly literature devoted to the Irish poets and poetry of the last half century and reevaluates a number of standard readings and assumptions.

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Kendall, Tim. "The importance of elsewhere in five contemporary Northern Irish poets." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386484.

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Goodby, John. "Inner emigres : a study of seven Irish poets (1955-85)." Thesis, University of Leeds, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364516.

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Sifakis, Eugenia Myrto. "Identity in travel : English poets in Italy in nineteenth century." Thesis, King's College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266155.

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Kenning, Douglas W. "A failed religion : necessity and freedom in the Romantic poets." Thesis, University of Edinburgh, 1989. http://hdl.handle.net/1842/19007.

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Papanikolaou, Dimitris. "Singing poets : popular music and literature in France and Greece (1945-1975)." Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398045.

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MacKenzie, Victoria R. "Contemporary poets' responses to science." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4058.

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This thesis considers a range of contemporary poets' responses to science, emphasising the diversity of these engagements and exploring how poetry can disrupt or re-negotiate the barriers between the two activities. My first chapter explores the idea of ‘authority' in both science and poetry and considers how these authorities co-exist in the work of two poet-scientists, Miroslav Holub and David Morley. My second chapter considers the role of metaphor in science and the effect of transferring scientific terms into poetry, specifically with reference to the poetry of Michael Symmons Roberts who engages with the metaphors related to the human genome. In my third chapter I focus on collections by Ruth Padel and Emily Ballou that tell the life of Charles Darwin in verse. I discuss how these collections function as forms of scientific biography and show that poetic engagement with Darwin's thought processes reveals some of the similarities between scientific and poetic thinking. An area of science such as quantum mechanics may seem too complex for a non-scientist to respond to in poetry, but in my fourth chapter I show how Jorie Graham uses ideas from twentieth-century physics to re-think the materialism of the world and our perception of it. My final chapter is concerned with the relationship between ecopoetry and ecological science, with regard to the work of John Burnside. I show that although he is informed about scientific matters, in his poetry he suggests that science isn't the only way of understanding the world. Rather than framing science and poetry in terms of the ‘two cultures', this thesis moves away from antagonism towards productive interaction and dialogue. Whilst science and poetry are clearly very different activities, the many points of overlap and connection between them suggest that poetry is a resonant and unique way of exploring scientific ideas.

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Miller, Katherine R. "The place where curses are manufactured : four poets of the Vietnam War." Thesis, University of Kent, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.277367.

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The Vietnam War was unique among American wars. To pinpoint its uniqueness, it was necessary to look for a non-American voice that would enable me to articulate its distinctiveness and explore the American character as observed by an Asian. Takeshi Kaiko proved to be most helpful. From his novel, Into a Black Sun, I was able to establish a working pair of 'bookends' from which to approach the poetry of Walter McDonald, Bruce Weigl, Basil T. Paquet and Steve Mason. Chapter One is devoted to those seemingly mismatched 'bookends,' Walt Whitman and General William C. Westmoreland, and their respective anthropocentric and technocentric visions of progress and the peculiarly American concept of the "open road" as they manifest themselves in Vietnam. In Chapter, Two, I analyze the war poems of Walter McDonald. As a pilot, writing primarily about flying, his poetry manifests General Westmoreland's technocentric vision of the 'road' as determined by and manifest through technology. Chapter Three focuses on the poems of Bruce Weigl. The poems analyzed portray the literal and metaphorical descent from the technocentric, 'numbed' distance of aerial warfare to the world of ground warfare, and the initiation of a 'fucking new guy,' who discovers the contours of the self's interior through a set of experiences that lead from from aerial insertion into the jungle to the degradation of burning human feces. Chapter Four, devoted to the thirteen poems of Basil T. Paquet, focuses on the continuation of the descent begun in Chapter Two. In his capacity as a medic, Paquet's entire body of poems details his quotidian tasks which entail tending the maimed, the mortally wounded and the dead. The final chapter deals with Steve Mason's JohnnY's Song, and his depiction of the plight of Vietnam veterans back in "The World" who are still trapped inside the interior landscape of their individual "ghettoes" of the soul created by their war-time experiences

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Bertram, Vicki. "Muscling in : a study of contemporary women poets and English poetic tradition." Thesis, University of York, 1992. http://etheses.whiterose.ac.uk/2490/.

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Evans, David Andrew. "Poets and warriors : constructions of heroism in Southey, Wordsworth, and Coleridge 1789-1815 /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu148794915006955.

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McMullen, Maram George. "Irish Women Poets of the Twentieth Century and Beyond| Voices from the Margin." Thesis, King Saud University (Saudi Arabia), 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3576677.

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This dissertation study explores the rise of Irish women poets of the twentieth century, in particular Eavan Boland from the southern Republic of Ireland and Medbh McGuckian from Northern Ireland. It investigates the birth of Irish Feminist Literary Theory and Irish Postcolonial Literary Theory and uses these two theories to analyze the poetry found therein. This project shows that, unlike Irish women novelists and playwrights, Irish women poets were excluded from the Irish canon until poets such as Boland and McGuckian destabilized their once rigid national literary tradition and challenged it to include women as both authors and subjects of the Irish poem. In addition to challenging their patriarchal literary tradition, Irish women poets of the twentieth century also drew attention to the lingering effects of British colonial rule in Ireland, demonstrating that Irish women poets were doubly colonized and doubly marginalized. As a result, their poetry features two distinct voices: one which speaks for the women who were silenced in Ireland and one which raises postcolonial issues. By challenging the hegemonic power structures which dominated them, Boland and McGuckian paved the way for the Irish women poets who followed, including Mary O'Malley from the Republic of Ireland and Sinéad Morrissey from Northern Ireland. For the most part, Irish women poets of the twenty-first century have managed to let go of the trauma of colonization—both patriarchal and imperial—and have created a new hybrid national identity, a Third Space, which has liberated their work. This hybridity has broadened the vision of the Irish poem which now features a new global voice.

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Leeder, Karen Jane. "#Hineingeboren' : a new generation of poets in the German Democratic Republic (1979-1989)." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358525.

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Hara, Jacqueline. "Carolina Coronado (1820-1911) : her life and work /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1298475523.

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Taylor, Jane. "'The country at my shoulder' : gender and belonging in three contemporary women poets." Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/56237/.

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This study considers the work of three women poets writing in English during the period 1970-2000. I argue that the poets, Eavan Boland, Michele Roberts and Jackie Kay are all `hybrid' voices, positioned and positioning themselves on the borders between different cultures and traditions. Locating the poets within a specific social, cultural and intellectual context the study considers the different ways in which the poets negotiate these mixed heritages and how gender interacts with their cultural location to affect the poetic identities they inhabit. My study of Eavan Boland locates her as a post-colonial poet writing out of a very specific historical relationship with Britain. I argue that the effects of this relationship are explored in two ways; the political and psychic legacy of the British colonisation of Ireland but also the ways in which women in Ireland have been colonised by a nationalist poetic tradition. I show how Boland interrogates these different colonisations and drawing on the work of Homi Bhabha I argue that Boland finds her own hybrid space in the Dublin suburbs from where she explores the frictions between a number of conflicting positions. My study of Michele Roberts explores the effects of her dual French and English heritage on her writing. I argue that Roberts' desire to embrace both aspects of her identity manifests itself as a desire to reconcile what western dualistic thinking has split and separated. I consider how Roberts advocates a writing and reading practise which asks us to embrace the stranger within ourselves and so begin to heal the split within individuals and nations. My chapter on Kay explores how she negotiates the cultural specificity of her location as a Scottish writer who identifies as black and how her poetry complicates questions of cultural authority and theories of cultural hybridity. I argue that Kay through a focus on `performance' as both theme and aesthetic subverts simple fixed notions of identity. I conclude that all three poets problematise any simple notion of home and belonging as a fixed and immutable space. Rather they inhabit borderlands, unsettled spaces, where there is a constant interaction and reformulation of identity.

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Gallo, Ellen Foundas. "The "barefoot rank" Emily Dickinson and Helen Hunt Jackson: an historical study of women poets." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1399639803.

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Essert, Emily Margaret. "A modernist menagerie: representations of animals in the work of five North American Poets." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=114133.

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This dissertation considers the representation of animals in Canadian and American modernist poetry. In investigating the relationship between the proliferation of animal tropes and imagery and experimental poetics, it argues that modernism is fundamentally concerned with reconsidering human nature and humanity's place in the modern world. By employing a blend of socio-historical and formalist approaches, while also incorporating theoretical approaches from animal studies, this project shows that the modernist moment is importantly post-Darwinian, and that the species boundary was an important site of ideological struggle. This project also makes an intervention into the New Modernist Studies by proposing "North American Modernism" as a coherent area of inquiry; too few studies consider American and Canadian writers together, but doing so enables a richer understanding of modernism as a complex, global movement. Chapter one argues that animal tropes and imagery form part of a strategy through which Marianne Moore and H.D. challenge prevailing conceptions of femininity. Building upon theoretical work that considers sexism and speciesism as interlocking oppressions, it offers a sharper picture of their conceptions of gender and their feminist intentions. Chapter two considers impersonality and animality in the work of T.S. Eliot and P.K. Page. Like the concept of impersonality, Eliot's influence on Page is often taken for granted in the critical literature; it argues that impersonality (in Eliot's formulation) relies upon embodied personal experience, and on that basis offers an account of Eliot's anxieties about embodiment and Page's lapsus. Finally, chapter three investigates Marianne Moore's and Irving Layton's representation of animals to communicate indirectly their responses to global crises. Both poets felt a strong compulsion to comment on social and moral issues, but found it difficult to do so directly; images and tropes of animals enabled Moore to produce modernist allegories, and assisted Layton in depicting human ferity. Cette thèse examine la représentation des animaux dans la poésie moderniste du Canada et des États-Unis. En étudiant la relation entre la prolifération des tropes et d'imagerie animale et la poésie expérimentale, je soutiens que le modernisme est fondamentalement préoccupé par la reconsidération de la nature de l'être humain et sa place dans le monde moderne. En utilisant un mariage d'approches socio-historiques et formaliste, tout en incorporant des avances théoriques provenant d'études animales, je démontre que le moment moderniste est post-darwinien de façon significative, et que la frontière des espèces était un champ de bataille important de la lutte idéologique. Mon projet fait également une intervention parmi les nouvelles études du modernisme en proposant le «modernisme nord-américain» comme un espace cohérent; trop peu d'études considèrent les écrivains américains et canadiens dans un ensemble, mais cela permet une compréhension plus riche du modernisme comme étant un mouvement complexe et mondial. Je soutiens que les tropes et l'imagerie animale font partie d'une stratégie à travers laquelle Marianne Moore et H.D. contestent les conceptions dominantes de la féminité. En m'appuyant sur les travaux théoriques qui considèrent le sexisme et l'espècisme comme oppressions entremêlées, j'offre une image plus nette de leurs conceptions du genre et de leurs intentions féministes. Ensuite, je considère l'impersonnalité et l'animalité dans les travaux de T.S. Eliot et P.K. Page. Comme le concept de l'impersonnalité, l'influence d'Eliot sur Page est souvent prise pour acquis dans la critique littéraire; je soutiens donc que l'impersonnalité (dans la formulation d'Eliot) s'appuie sur l'expérience personnelle incarnée, et sur cette base, je mets en évidence les inquiétudes d'Eliot et les lapsus de Page. Enfin, j'examine la représentation des animaux chez Marianne Moore et Irving Layton qui communiquent indirectement leurs répliques aux crises mondiales. Les deux poètes ont ressenti une forte compulsion pour commenter les questions sociales et morales, mais ont trouvé difficile de le faire directement; les tropes et les imageries de l'espèce animale ont permis à Moore de produire des allégories modernistes, et ont soutenues Layton pour dépeindre l'animalerie humaine.

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Decaires, Narain Denise. "Anglophone Caribbean woman poets from 1940 to the present : a tradition in the making?" Thesis, University of Kent, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283971.

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Dayton, D. "Big country, subtle voices three ethnic poets from China's southwest /." Connect to full text, 2006. http://hdl.handle.net/2123/1630.

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Thesis (M.A.)--University of Sydney, 2007. Title from title screen (viewed 25 March 2008). Submitted in fulfilment of the requirements for the degree of Master of Arts to the Dept. of Chinese Studies, Faculty of Arts. Degree awarded 2007; thesis submitted 2006. Includes bibliographical references. Also available in print form.

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McCaffery, Richard. "Poets as legislators : self, nation and possibility in World War Two Scottish poetry." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/7049/.

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This thesis is the first sustained critical and sociological reappraisal of the poetry produced by Scottish poets who came of age during World War Two and a selection of those who were old enough to have experienced the previous conflict whilst still responding in their art to World War Two. This thesis carves out a critical space for World War Two poetry beyond the poetry of pity and loss espoused by poets of World War One. It also takes into account the conditions and circumstances that mark out Scottish poetry of this conflict from English poetry of the same era, for programmatic, political, poetic and linguistic reasons as well as re-configuring the definition of World War Two poetry to encompass the experience of women poets. At the core of this thesis lies the idea that the Scottish poetry of World War Two was committed to something more than anti-fascism. These poets did not simply oppose a tyrannical, fascist force in their work, they were also developing ways in which their work and art could contribute to a better post-war Scottish society and in many ways espousing both internationalism and proto-transnationalism as well as anti-imperialism. All of these poets contributed in both practical and intellectual ways to post-war Scottish society. In this, this thesis takes its lead from Alice Templeton’s literary theory of a war poetry of ‘possibility’ that transcends both the trauma, witness and outrage of reactions to war. The cumulative effect of the work of these poets is a legislative and educational impact made on society, that poets could have a say in their work on how post-war society could be reconstructed in fairer and more equitable ways. This poetry is both modernist and romantic in the sense that it desires a change and sees life and potential that is being denied by imperial super-powers and structures while it invests the poet with an empowered voice. From the home-front to the front-line, diverse avenues of experience are treated as being of vital importance. The first chapter of this thesis explores the Elegies for the Dead in Cyrenaica and a number of folk songs by Hamish Henderson, to show his unique commitment to post-war Scotland in his folk-song work. Chapter two compares and contrasts the work of Alexander and Tom Scott, showing their range of reaction from the epic to the highly personal elegy. The thesis then moves into an analysis both of George Campbell Hay’s war poetry, which sympathised with the native Arab populations during the desert war, and the work of Sorley MacLean, who found his political certainties shaken. From this point the thesis explores the anti-heroic work of Edwin Morgan and Robert Garioch as well as the political and personal reasons for refusal of conscription expounded by Douglas Young and Norman MacCaig. The thesis closes with a discussion of women’s experience and poetry of World War Two, and an in-depth a look at the major influential figures on the poets of this time, Hugh MacDiarmid and Edwin Muir. Between these figures we shall see a range of experiences, but each poet is united in their struggle, dramatized in their work, for a better post-War Scotland, a drive which this thesis explores and discusses for the first time in detail.

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Woods, Timothy Stephen. "Poetics and politics in the writings of Louis Zukofsky, Charles Olson, and the #Language' poets." Thesis, University of Southampton, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316467.

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Matthews, Steven. "'When centres cease to hold', 'locale' and 'utterance' in some modern British and Irish poets." Thesis, University of York, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.238683.

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Craddock, Jade. "Women poets, feminism and the sonnet in the twentieth and twenty-first centuries : an American narrative." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4158/.

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Initially developed and perfected by male poets, the history of the sonnet has been characterised by androcentrism. Yet from its inception the sonnet has also been adopted by women. In recent years feminist critics have begun to redress the form’s gender imbalance, but most studies of the female-authored sonnet have excluded the twentieth and twenty-first centuries, and thus one of the most important periods in women’s history – the rise of feminism – leading to a flawed narrative of the genre. Repositioning Edna St. Vincent Millay as the starting point in a twentieth-century tradition, this study begins where most others end and examines how the emergence and development of feminism, specifically in an American context, underscores a significant female narrative of the sonnet that emerges outside of the male tradition. By reading the works of Edna St. Vincent Millay, Adrienne Rich, Marilyn Hacker, Marilyn Nelson and Moira Egan within their specific feminist contexts and within the broader trajectory of feminism, it is possible to see how women in the era took ownership of the form. Ultimately, the thesis suggests that feminism has shaped an important narrative in the history of the genre that means today the sonnet is no longer exclusively male.

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Šcepanovic, Sandra. "Αἰών and Χρόνος : their semantic development in the Greek poets and philosophers down to 400 BC". Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669922.

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McCarthy, Erin Ann. "“Get me the Lyricke Poets”: Poetry and Print in Early Modern England." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338379173.

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Dunham, Phyllis M. "The People's Poets: Literature Born of the Texas Singer-Songwriter Movement of the Last Forty Years." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2212.

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The People’s Poets of Texas: Literature Born Within the Singer/Songwriter Tradition of the Last Forty Years is a creative nonfiction exploration of the poetry found within the songs of multiple generations of modern Texas singer/songwriters and a case for the consideration of their work as a genuine regional literature. Studying the roots of Texas music, the musicality of Texan manners of speech and storytelling, and re-examining the Austin, Texas music scene of the 1970s that brought a national focus to the organic, reciprocal manner in which Texas music is traditionally experienced, radically altered the ways in which the songs were written, recorded, and marketed. An examination of this phenomenon allows us to understand that, first, a proliferation of Texas singer/songwriters of unprecedented quality has emerged in recent decades and that, second, a legitimate people's literature is emerging from their song-craft.

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Lea, Bronwyn. "The way into stone / social roles of the poet / Bronwyn Lea." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19073.pdf.

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Dayton, D. "Big Country, Subtle Voices: Three Ethnic Poets from China's Southwest." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1630.

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In the southwest corner of China, the confluence of cultural diversity and national integration have produced a new kind of voice in the Chinese language: an ethnic voice. Speaking fluently in the Chinese nation’s language and culturally beyond its Han foundations, minority ethnic writers or shaoshu minzu in China are inciting a challenge to the traditional conceptions of Chineseness. In the PRC, the re-imagining of the boundaries between ethnicity, nation, and the globe is being produced in ethnic voices that resist the monopolizing narratives of the CCP and the Han cultural center. Furthermore, in the West where the antiquated conception of China as a monolithic Other is still often employed, the existence of these ethnic voices of difference demands a (re)cognition of its multifaceted and interwoven ethnic, political, and social composition. Three ethnic poets from the southwest are examined in this thesis: Woeser (Tibetan), He Xiaozhu (Miao), and Jimu Langge (Yi). They represent the trajectory of ethnic voice in China along the paradigms of local/ethnic vision, national culture, and global connections. By being both within and outside the Chinese nation and culture, they express a hybrid struggle that exists within the collision of ethnic minority cultures and the Han cultural center. Like the hybridity of postcolonial literature, this is a collision that cannot be reduced to it parts, yet also privileges the glocal impetus of ethnically centered vision. The poets’ voices speak the voice of difference within China, the Chinese language, and Chineseness throughout the world.

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Yorke, Liz. "Towards a whole new poetry : re-visionary mythmaking in the work of Adrienne Rich and other women poets." Thesis, Manchester Metropolitan University, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.292884.

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Sackett, James R. "The influence of nationalist ideology in the works of five Irish poets from a Protestant background." Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=232373.

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This thesis examines the ways in which the ideology of Irish nationalism has influenced and shaped the works of five Irish poets from a Protestant background: Louis MacNeice, John Hewitt, Richard Murphy, Michael Longley and Derek Mahon. These poets began their careers during a time period in which the cultural framework for comprehending authentic Irish identity, place and history was largely yielded to the authority of the principles of nationalism. This made a considerable impact on the poets and the ways that they would be made to engage such themes in their poetry. Their works are often noted for expressing ambiguity, ambivalence and complexity with regard to the poets' relationship with their Protestant background. This thesis maintains that much of the conflict found within the poetry can be attributed to an internalisation of a number of precepts from the politicised cultural construct established by nationalism. The nationalist authority over the Irish identity-discourse has not been sufficiently explored or explicated in critical studies of these poets' works. This thesis is dedicated to examining the nuanced ways in which nationalism influenced the poets' understanding of the concepts of Irish identity, place and history. With respect to their individual biographies, contexts and backgrounds, detailed analyses will reveal the significant affect that the tenets of nationalism had on each writer's poetic output and career. The research will make clear the extent to which these five poets exemplify a particular paradigm of the Irish Protestant poetic psyche of the eras under review. The analyses will contribute a fresh perspective to critical understanding of the intricate, oftentimes complicated, relationship that these poets maintained with their community, culture and country of origin.

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Gilbert, Matthew. "Fir-Flower Petals on a Wet Black Bough: Constructing New Poetry through Asian Aesthetics in Early Modernist Poets." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3588.

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Critics often credit Ezra Pound and his Imagist movement for the development of American poetics. Pound’s interest in international arts and minimalist aesthetics of cross-cultural poetry gained the attention of prominent writers throughout Modernist and Post-Modern periods. From writers like Wallace Stevens and Gertrude Stein to later poets like Jack Kerouac and Gary Snyder, image and precise language has shaped American literature. Few critics have praised Eastern cultures or the Imagist poets who adopted an East-Western form of poetics: Amy Lowell and William Carlos Williams. Studying traditional Eastern painting and short-form poetry and interactions with personal connections to the East, Lowell and Williams adapt then progress aesthetic fusions Pound began and abandoned through his interpretation of Eastern art. Like Pound, Lowell and Williams illustrate a mix of form, free-verse language, and modernized poetics to not only imitate Eastern art but to create poetics of international discourse which shape American Modernism.

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Wilkinson, Ruth G. D. "In search of a dwelling place : the treatment of home in the work of four Northern Irish Protestant poets." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360023.

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Ardon, Marisol Francesca. "Formation and Reflection of Identity in U.S. Born Central American and Mexican Book Artists and Poets." Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10113142.

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The difficulties to assimilate within any country when one’s parents are from another country has its own set of obstacles, especially within second-generation U.S. born Central Americans, or Mexicans. Second-generation children are constantly situated within positions to assimilate into U.S. culture, presented with stereotypical images of Latin-American figures like the Cholo, Spitfire or the unwanted illegal immigrant, have familial expectations to be a part of the “American Dream,” but still keep true to their ancestral roots. The struggle to completely assimilate into U.S. American society without losing one's cultural identity is a strong influence for the works of poets and book artists, and is reflected within the artist’s own internal conflicts in struggling to unite their cultural heredity with their new U.S. American culture. This paper will explore the work of LatinAmerican, U.S.-born book artists and poets and argue how their artwork has been impacted by their struggles to merge their cultural heritage and their present culture. This paper will also examine and highlight how social conflicts within both cultures augment further struggles within the formation of identity.

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Kawalit, Alia'. "Across the walls (poetry collection) ; Home, alienation and re-homing in four migrant poets in London (dissertation)." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/49231/.

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This thesis investigates contemporary poetry of migrants and expatriates in the United Kingdom. The thesis starts with a collection of my poems that emerges as a correspondence to changing locations from Jordan, my homeland, to England, the host land. The second part is a dissertation that studies the work of four poets: Merle Collins and her Rotten Pomerack (1992); Amjad Nasser and Shepherd of Solitude (2009); Fathieh Saudi and Daughter of the Thames (2009); Sofia Buchuck and Orange Nights in Autumn (2008). The approach taken in this dissertation is through giving special attention to political context and to the ways in which Collins, Nasser, Saudi and Buchuck reflect it in their poems. In addition, the study shows how both Saudi and Buhcuck use poetry as a means of renewing identity and creating a new homeland. The study also includes personal interviews with Saudi and Buchuck that tell about the difficulties and opportunities faced by migrant poets. Both the critical and creative work offer insights into different experiences with location which result in various poetic expressions and definitions of host land, homeland, and home.

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

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"Poetry 'n Acts: The Cultural Politics of Twentieth-Century American Poets' Theater," focuses on the disciplinary blind spot that obscures the productive overlap between poetry and dramatic theater and prevents us from seeing the cultural work that this combination can perform. Why did 2100 people turn out in 1968 to see a play in which most of the characters speak only in such apparently nonsensical phrases as "Red hus the beat trim doing going" and "Achtung swachtung"? And why would an Obie award-winning playwright move to New Jersey to write such a play in the first place? What led to the founding in 1978 of the San Francisco Poets Theatre by L=A=N=G=U=A=G=E writers, and why have those plays and performers been virtually ignored by critics despite the admitted centrality of performance to L=A=N=G=U=A=G=E writing's textual politics? Why would the renowned Yale Repertory Theatre produce in the 1990s the poetic, plotless plays of a theater newcomer twice in as many years--even when audiences walked out? What vision for the future of theater could possibly involve episodic drama with footnotes? In each example, part of the story is missing. This dissertation begins to fill in that gap. Attending to often overlooked aspects of theater language, this dissertation examines theatrical performances that use poetic devices to intervene in narratives of cultural oppression, often by questioning the very suitability of narrative as a primary means of social exchange. While Gertrude Stein must be seen as a forerunner to contemporary poets' theater, chapter one argues that the Living Theatre's late 1950s and early 1960s anti-authoritarian theater demonstrates key alliances between poetry and theater at mid-century. The remaining chapters closely examine particular instances of poets' theater by Amiri Baraka (known equally as poet and playwright), Carla Harryman (associated with West Coast poetry), and Suzan-Lori Parks (a critically acclaimed playwright). These productions put poetic theater on the backs of tractors in Harlem streets, in open gallery spaces, and in more conventional black box and proscenium architectures, and each case develops the importance of performance contexts and production histories in determining plays' cultural effects.

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Choi, Jung Ja. "Writing Herself: Resistance, Rebellion, and Revolution in Korean Women's Lyric Poetry, 1925--2012." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13070020.

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Despite a recent global surge in the reception and translation of Korean women poets, there has been surprisingly little scholarship on this topic. This dissertation aims to expand the focus of Western scholarship beyond the Korean male canon by providing the first in-depth analysis of the works of Korean women poets in the 20th and 21st centuries. The poets I chose to examine for this study played a critical role in revolutionizing traditional verse patterns and in integrating global socio-political commentary into modern Korean poetry. In particular, by experimenting widely with forms from epic narrative, memoir in verse, and shamanic narration to epistolary verse and avant-garde styles, they opened up new possibilities for Korean women's lyric poetry. In addition, they challenged the traditional notion of lyric poetry as simply confessional, emotional, passive, or feminine. Their poetry went beyond the commonplace themes of nature, love, and longing, engaging with socio-political concerns such as racial, class, and gender discrimination, human rights issues, and the ramifications of the greatest calamities of the 20th century, including the Holocaust, the Korean War, and the Kwangju Uprising. Unlike the dominant scholarship that tends to highlight the victimization of women and their role as passive observers, this project shows Korean women poets as active chroniclers of public memory and vital participants in global politics and literature. The multifaceted and detailed reading of their work in this dissertation facilitates a more nuanced understanding of the complexity of 20th-and 21st-century women's lives in Korea. East Asian Languages and Civilizations

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Cairns, Daniel. "As it likes you early modern desire and vestigial impersonal constructions /." Waltham, Mass. : Brandeis University, 2009. http://dcoll.brandeis.edu/handle/10192/23236.

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Cook, Jessica Lauren. "Material and Textual Spaces in the Poetry of Montagu, Leapor, Barbauld, and Robinson." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5205.

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Women Poets and Place in Eighteenth-Century Poetry considers how four women poets of the long eighteenth century--Lady Mary Wortley Montagu, Mary Leapor, Anna Letitia Barbauld, and Mary Robinson--construct various places in their poetry, whether the London social milieu or provincial England. I argue that the act of place making, or investing a location with meaning, through poetry is also a way of writing a place for themselves in the literary public sphere and in literary history. Despite the fact that more women wrote poetry than in any other genre in the period, women poets remain a relatively understudied area in eighteenth-century scholarship. My research is informed by place theory as defined by the fields of Human Geography and Ecocriticism; I consider how the poem reproduces material space and the nonhuman environment, as well as how place effectively shapes the individual. These four poets represent the gamut of career choices in this era, participating in manuscript and print culture, writing for hire and for leisure, publishing by subscription and through metropolitan booksellers. Each of these textual spaces serves as an illustration of how the poet's place, both geographically and socially speaking, influences the medium of circulation for the poetic text and the authorial persona she constructs in the process. By charting how each of these four poets approaches place--whether as the subject of their poetry or the poetic space itself--I argue that they offer us a way to destabilize and diversify the literary landscape of eighteenth-century poetry.

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Karadas, Firat. "Imagination, Metaphor And Mythopoeia In The Poetry Of Three Major English Romantic Poets." Phd thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/3/12608579/index.pdf.

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This thesis studies metaphor, myth and their imaginative aspects in the poetry of William Wordsworth, Percy Bysshe Shelley and John Keats. The thesis argues that a comprehensive understanding of metaphor and myth cannot be done in the works of these poets without seeing them as faces of the same coin, and taking into consideration the role of the creating subject and its imagination in their production. Relying on Kantian, Romantic, and modern Neo-Kantian ideas of imagination, metaphor and myth, the study tries to indicate that imagination is an inherently metaphorizing and mythologizing faculty because the act of perception is an act of giving form to natural phenomena and seeing similitude in dissimilitude, which are basically metaphorical and mythological acts. In its form-giving activity the imagination of the speaking subjects of the poems studied in this thesis sees objects of nature as spiritual, animate or divine beings and thus transforms them into the alien territory of myth. This thesis analyzes myth and metaphor mainly in two regards: first, myth and metaphor are handled as inborn aspects of imagination and perception, and the interaction between nature and imagination are presented as the origin of all mythology second, to show how myth is something that is re-created time and again by poetic imagination, Romantic mythography and re-creation of precursor mythologies are analyzed. In both regards, poetic imagination appears as a formative power that constructs, defamiliarizes and re-creates via mythologization and metaphorization.

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Klotz, Frieda. "The representation of sophists, philosophers and poets in literature of the Second Sophistic : by themselves and by others." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439754.

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Laver, Sue 1961. "Poets, philosophers, and priests : T.S. Eliot, postmodernism, and the social authority of art." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37755.

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This comprehensive analysis of T. S. Eliot's literary-critical corpus provides both a long-overdue reassessment of the nature and extent of his commitment to notions of aesthetic autonomy, and an Eliotic critique of the hypostatization of art that characterizes both philosophical postmodernism and its literary-theoretical derivatives. The broader context for these two primary objectives is the "ancient quarrel" between the poets and the philosophers and its various manifestations in the work of a number of prominent post- and anti-Enlightenment thinkers. Accordingly, I begin by highlighting several fundamental but much-neglected (or misunderstood) features of Eliot's critical canon that testify to his life-long preoccupation with this still resonant issue. Specifically, I demonstrate that there is a logical connection between his sustained opposition to those who seek in literature a substitute for religious faith or at least philosophic belief, his critique of various more or less sophisticated forms of generic confusion, and his robust defence of the integrity of different discursive forms, social practices, and disciplinary domains. In anticipation of my Eliotic critique of philosophical and literary-theoretical postmodernism, I then locate Eliot's account of these characteristic features of "the modern mind" within the context of Jurgen Habermas remarkably congenial The Philosophical Discourse of Modernity. In successive chapters, I next provide detailed analyses of Eliot's account of the discursive and functional integrity of art, literature, poetry, and criticism. By way of providing additional support for the concept of "integrity," and indicating its relevance to contemporary debates about the relationship between literature, criticism, and philosophy, I advert to the work of a number of other contemporary philosophers, John Searle, Goran Hermeren, Monroe Beardsley, Peter Lamarque, Paisley Livingston, and Richard Shusterman chief among them. I then demonstrate that Eliot's critique of the hypostatizing and levelling tendencies of many of his predecessors and contemporaries can itself legitimately be brought to bear on the similar practices of contemporary postmoderns such as Jacques Derrida and Richard Rorty. I conclude by suggesting that a return to Eliot's literary critical corpus is both timely and instructive, for it provides a much-needed corrective to some late twentieth-century trends in literary studies, and, in particular, to the influence of philosophical postmodernism upon it.

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Reintjes, Meike. "The translingual imagination in the work of four women poets of German-Jewish origin." Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/370710/.

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In this thesis, I am developing a theory of the translingual imagination which can be used as a tool to explore literature written in a second language. The term ‘translingual imagination’ was first coined by Steven Kellman in his essay ‘Translingualism and the Literary Imagination’, describing the work of authors writing in a language other than their first. Recent years have seen a growing body of research on these writers, not least because of a risen interest in post-colonial writing and transnational and migration studies. Literary scholars have increasingly questioned ‘the paradigma of monolingualism’, and linguistic research has looked at interrelations between migration,language and identity. However, research projects have often focused on prose writing, predominantly examining the work of canonized male authors (such as Kafka, Conrad or Rushdie), and post-war migrants(such as Turkish-born authors writing in German, or South American-born writers writing in English). Poetry written by women poets of German-Jewish origin has mainly been considered part of Holocaust writing, and over the past decades German scholars have been trying to reclaim these texts as ‘German -Jewish’ poetry. My thesis considers the work of four English poets of German-Jewish origin in the context of translingual writing. While using Kellman’s term, I shall suggest a set of specific criteria to allow for a clearer definition of the ‘translingual imagination’. In applying these criteria to the work of women poets of German-Jewish origin, I will not only show the translingual imagination at work but also encourage a new reading of literature written by German-Jewish refugees that goes beyond the notion of exile poetry.

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Retief, Petronella. "Die konstruksie van die vroulike subjek in die oeuvres van enkele Afrikaanse vrouedigters sedert 1970 /." Link to the online version, 2005. http://hdl.handle.net/10019.1/1282.

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Muñoz, Tracy Manning. "Peripheral visions Spanish women's poetry of the 1980s and 1990s /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149000160.

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Dissertations / Theses on the topic 'Poets in literature'

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