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Leduc, Natalie. "Dissensus and Poetry: The Poet as Activist in Experimental English-Canadian Poetry." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/38773.
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Many of us believe that poetry, specifically activist and experimental poetry, is capable of intervening in our society, as though the right words will call people to action, give the voiceless a voice, and reorder the systems that perpetuate oppression, even if there are few examples of such instances. Nevertheless, my project looks at these very moments, when poetry alters the fabric of our real, to explore the ways these poetical interventions are, in effect, instances of what I have come to call “dissensual” poetry. Using Jacques Rancière’s concept of dissensus and the distribution of the sensible, my project investigates the ways in which dissensual poetry ruptures the distribution of the sensible—“our definite configurations of what is given as our real, as the object of our perceptions and the field of our interventions”—to look at the ways poetry actually does politics (Dissensus 156). I look at three different types of dissensual poetry: concrete poetry, sound poetry, and instapoetry. I argue that these poetic practices prompt a reordering of our society, of what is countable and unaccountable, and of how bodies, capacities, and systems operate. They allow for those whom Rancière calls the anonymous, and whom we might call the oppressed or marginalized, to become known. I argue that bpNichol’s, Judith Copithorne’s, and Steve McCaffery’s concrete poems; the Four Horsemen’s, Penn Kemp’s, and Christian Bök’s sound poems; and rupi kaur’s instapoems are examples of dissensual poetry.
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Weingarten, Jeffrey. "Lyric historiography in Canadian modernist poetry, 1962-1981." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121330.
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This dissertation focuses on five closely knit writers who, between 1962 and 1981, produced exemplary historiographic poetry that guided their contemporaries. Al Purdy, John Newlove, Barry McKinnon, Andrew Suknaski, and Margaret Atwood were the chief voices of a literary mode that I term "modernist lyric historiography": a meditative modernist lyric that is self-critical, self-consciously incapable of claiming and skeptical about any claim to authority over history, and fundamentally historiographic (in the sense that it synthesizes, discards, and/or critically evaluates fragments of history). Arguably, Purdy was the inaugurator of lyric historiography: in the early 1960s, he experimented with a modernist lyric attentive to a broad vision of Canadian history. Newlove was one of many poets who saw Purdy's lyric historiography as a mode that could be used to provide insight into neglected prairie histories. As part of their search for more intimate connections to history that could sustain longer, narrative poems, McKinnon and Suknaski adapted lyric historiography to explore the familial past. Atwood reimagined lyric historiography as the search for Canadian "foremothers," proto-feminists that could serve as models for the second-wave feminist movement.Addressing the archives, creative writing, and historical contexts of these five writers, this dissertation proposes two primary claims. First, modernism persisted well into the 1970s (and even beyond) and shared with Canadian postmodernism a sophisticated approach to the idea of "history." Second, modernist lyric historiography was a continued investigation into one's ability to claim authority over historical narratives. Many modernists found some measure of such authority by exploring the most intimate connections to the past, which tended to be literal and figurative familial ones.<br>Cette thèse traite de cinq écrivains, qui, entre 1962 et 1981, ont créé des modèles de poésie historiographique, qui ont guidé leurs contemporains modernistes. Al Purdy, John Newlove, Barry McKinnon, Andrew Suknaski et Margaret Atwood ont été les figures principales d'un mode littéraire que nous appelons «l'historiographie lyrique moderniste». Ce terme désigne une poésie lyrique moderniste et méditative, qui est autocritique, réticente à revendiquer une quelconque autorité sur l'histoire et méfiante de cette autorité lorsqu'elle est invoquée, ainsi que fondamentalement historiographique. Au début des années 1960, Purdy expérimente avec la poésie moderniste sur l'histoire du Canada. Newlove considérait l'historiographie lyrique de Purdy comme une manière d'écrire qui pourrait offrir une nouvelle façon de voir le passé négligé des prairies. McKinnon et Suknaski ont adapté l'historiographie lyrique en examinant le passé de leur famille. Atwood a réinventé l'historiographie lyrique en tant que recherche des «aïeules» canadiennes, des proto-féministes qui pourraient servir de modèle à la deuxième génération de féministes. En tenant compte des archives, de l'écriture et des contextes historiques de ces cinq écrivains, cette thèse propose deux idées principales. Premièrement, nous affirmons que le modernisme a persisté durant l'après-guerre et qu'il partageait avec le postmodernisme canadien une approche sophistiquée et critique de l'histoire. Deuxièmement, nous soutenons que l'historiographie lyrique moderniste consistait en un questionnement persistant sur la capacité de revendiquer une certaine autorité concernant un récit historique. Plusieurs modernistes ont trouvé une certaine autorité en explorant les liens les plus intimes avec le passé, qui avaient tendance à être des liens familiaux littéraux et métaphoriques.
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Cook, Méira. "Speaking in tongues, contemporary Canadian love poetry by women." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0025/NQ31971.pdf.
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Deshaye, Joel. "Metaphors of identity crisis in the era of celebrity in Canadian poetry." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:8881/R/?func=dbin-jump-full&object_id=92326.
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Holmgren, Michele J. "Native muses and national poetry, nineteenth-century Irish-Canadian poets." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq28493.pdf.
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Kokotailo, Philip 1955. "Appreciating the present : Smith, Sutherland, Frye, and Pacey as historians of English-Canadian poetry." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39772.
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This thesis argues that as historians of English-Canadian poetry, A. J. M. Smith, John Sutherland, Northrop Frye, and Desmond Pacey explicitly promote the value of past conflict reconciled into present harmony. They do so by claiming that such reconciliation marks the maturity of English-Canadian culture. This thesis also argues, however, that the interactive progression of their histories implicitly undermines this value. It does so because each critic appreciates a different group of poets for realizing their shared cultural ideal, thereby establishing contradictory representations of what they all claim to be the culmination of English-Canadian literary history. The thesis concludes that while their lingering sense of present cultural maturity should now be fully renounced, the value these critics place on reconciliation is well worth preserving and transforming.
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Kaminski, Margot. "Challenging a literary myth, long poems by early Canadian women." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0024/MQ37562.pdf.
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Carrière, Marie J. "Poetics of the other, five feminist writers from English Canada and Quebec." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/NQ45662.pdf.
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Maxwell, Catherine. "Looking and perception in nineteenth century poetry." Thesis, University of Oxford, 1990. http://ora.ox.ac.uk/objects/uuid:8f4ff9be-6c07-4060-b777-6a7402d024c7.
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The thesis examines a series of nineteenth century poets whose poems are concerned with complex relations of looking and perception, and concentrates on Shelley and the poets he influenced: Browning, Rossetti, Swinburne, and Hardy. It focusses on poems dealing with the visual arts and aesthetic modes of perception, and concludes with a study of Walter Pater - an unrecognised follower of Shelley - and his notions of artistic character. An emphasis on the way face and bodily form are scrutinised, in poems concerning painting, sculpture and portraiture, leads to the hypothesis that the way the poet pictures essence or character through corporeal form is correlative to the essence or character of his own poetry. The particular spatial relations and visual representations of the poetry provide an index to specific patterns of reading. At the heart of this examination is a Shelleyan conception of the "unsculptured image", the characterising force and pre-given perspective of a poet's poem, which has a primary shaping effect on his language and representations, and continues to exert itself in the poem's reading. As this "image" is an imaginative rather than purely linguistic force, the analyses of selected poems avoid reduction to considerations of language and rhetoric alone, seeking rather to engage with the question of what constitutes a writer's own essence or particularity and what gives a strong poem its compulsive power. The thesis draws on the work of the French literary critic Maurice Blanchot to inform its ideas of poetic space and depth, and to produce an understanding of the poetic text very different from that given by a classical reading; and so alter the way one perceives the poem as literary object. In addition to this, certain nineteenth century and earlier aesthetic writings, and the prose works of the poets themselves, establish the critical basis of the arguments advanced. The thesis also endeavours to follow through the arguments of traditional scholarship in order to provide critique on distinctions or departures made. Chapter I examines Shelley's 'On the Medusa of Leonardo da Vinci in the Florentine Gallery'; Chapter II deals with portraiture in Browning's 'My Last Duchess' and Rossetti's The Portrait'; Chapter III turns to the sculpture of the hermaphrodite in Swinburne's early lyric 'Hermaphroditus'; Chapter IV looks at Thomas Hardy's poems about sketches and shades; Chapter V is an epilogue in which the work of Walter Pater draws together the ideas developed in the rest of the thesis.
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Richards, Alan. "Not the way you thought it was, a paradoxical modernist aesthetic in Canadian poetry." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ60338.pdf.
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Tracy, Jordan Elizabeth. "Framing the Sacred in Twentieth- and Twenty-First-Century American Ekphrasis." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/556022.
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Framing the Sacred revisits the significance of ekphrasis, the verbal rendering of a visual representation, in modern and contemporary American poetics. Although a seemingly marginal strain of lyric poetry, ekphrasis is a literary crucible in which the problems of representation converge, catalyzing a unique process of enchantment and disenchantment. Through an examination of a number of twentieth- and twenty-first-century poems, I argue that this enchantment has bearing on how we envision the import of religion in twentieth- and twenty-first-century America and its literature. On account of its liminal status--a text that is "betwixt and between" the verbal and visual--ekphrasis does not need to meditate explicitly on spiritual, sacred, or religious objects to undermine and destabilize our definitions of such terms. Each chapter in Framing the Sacred examines the manifestation of a single trope of containment--the figure of the frame, the genre of still life, the genre of the self-portrait, and the acts of collection and curation--and discovers the various ways the ekphrastic work of William Carlos Williams, Wallace Stevens, Marianne Moore, Elizabeth Bishop, Charles Wright, A.E. Stallings, and Jorie Graham constructs and deconstructs such tropes. The pattern that emerges from a number of dramatically different ekphrases reveals the generative value of loosening the frames through which we consider the sacred in the study of literature and the visual arts.
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Lahey, Ernestine. "Text world landscapes and English-Canadian national identity in the poetry of Al Purdy, Alden Nowlan and Milton Acorn." Thesis, University of Nottingham, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423633.
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Ash, Mary. "Integration in the teaching of the arts : a study of the role of metaphor across four forms - music, movement, poetry and visual art." Thesis, Institute of Education (University of London), 1986. http://eprints.ioe.ac.uk/6537/.
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McLauchlan, Laura Jane. "Transformation poetics, refiguring the female subject in the early poetry and life writing of Dorothy Livesay and Miriam Waddington." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq22896.pdf.
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Barbour, Susan Jean. "Elegaic materialism : the poetry and art of Susan Howe." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4a0decd4-dec1-4f23-9457-d4d8b58c97c1.
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The American poet Susan Howe (1937-present) began her career as a visual artist, but owing to a dearth of information about her early collages it has been difficult to say anything substantive about how they might have shaped her poetic practice. In 2010, she placed her collages on archive. Along with a number of personal interviews with Howe, this heretofore unavailable material has enabled me to consider Howe's subsequent work in a new light and to establish significant links between her early visual aesthetics and the poetics of bibliography, historiography, and elegy for which she is now known. Howe's collages, like her poetry, focus on details that are at risk of vanishing from cultural memory and printed record. For this reason, I argue that her work evinces an 'elegaic materialism', or a way of reading, viewing, and thinking about texts that is attuned to loss. If “history is the record of the winners,” as Howe says, then one way of rescuing marginalized perspectives is by regarding manuscripts as drawings, thereby rescuing the concrete particulars deemed irrelevant by editors and historians. As Howe's late work turned increasingly toward elegy, her early aesthetic contributed to a nuanced poetics of personal loss and to a series of astonishing new formal tropes. The Introduction to this thesis discusses Howe's materialism in the context of current literary theory and textual scholarship. Chapter 1 concerns itself with Howe's art historical context. Chapter 2 analyses a selection of her word-drawings. Chapter 3 considers Howe's transition to poetry. Chapter 4 addresses her turn to archival documents in her middle period. Chapter 5 looks at the influence on Howe of documentary film, especially in connection with the task of representing a lost loved one, and Chapter 6 discusses her two most recent elegies, The Midnight and THAT THIS. A Coda completes the circle by once more considering Howe in the context of the visual arts at the moment she was selected to exhibit at the 2014 Whitney Biennial.
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Becker, Charity Dawn. "Constructing the mother-tongue, language in the poetry of Dionne Brand, Claire Harris, and Marlene Nourbese Philip." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0016/MQ54604.pdf.
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Alger, Abdullah. "The verbal and visual rhetoric of old English poetry : An analysis of the punctuation and formulaic patterns in the Exeter book ( Exeter, Cathedral Library, MS 3501)." Thesis, University of Manchester, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515125.
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Hermsen, Terry. "Languages of engagement." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1070294401.
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Thesis (Ph. D.)--Ohio State University, 2004.<br>Title from first page of PDF file. Document formatted into pages; contains xvi, 700 p. Includes bibliographical references (p. 201-209). Available online via OhioLINK's ETD Center
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Drodge, Susan. "The feminist romantic, the revisionary rhetoric of Double negative, Naked poems, and Gyno-text." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25770.pdf.
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Swail, Christopher. "Toward a politics of paranoia, desire and the poetic subjects of Christopher Dewdney and Erin Mouré." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0004/MQ37639.pdf.
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Macfarlane, Karen E. "The politics of self-narration : contemporary Canadian women writers, feminist theory and metafictional strategies." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0016/NQ44504.pdf.
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Langdell, Sebastian James. "Religious reform, transnational poetics, and literary tradition in the work of Thomas Hoccleve." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a2e8eb46-5d08-405d-baa9-24e0400a47d8.
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This study considers Thomas Hoccleve’s role, throughout his works, as a “religious” writer: as an individual who engages seriously with the dynamics of heresy and ecclesiastical reform, who contributes to traditions of vernacular devotional writing, and who raises the question of how Christianity manifests on personal as well as political levels – and in environments that are at once London-based, national, and international. The chapters focus, respectively, on the role of reading and moralization in the Series; the language of “vice and virtue” in the Epistle of Cupid; the moral version of Chaucer introduced in the Regiment of Princes; the construction of the Hoccleve persona in the Regiment; and the representation of the Eucharist throughout Hoccleve’s works. One main focus of the study is Hoccleve’s mediating influence in presenting a moral version of Chaucer in his Regiment. This study argues that Hoccleve’s Chaucer is not a pre-established artifact, but rather a Hocclevian invention, and it indicates the transnational literary, political, and religious contexts that align in Hoccleve’s presentation of his poetic predecessor. Rather than posit the Hoccleve-Chaucer relationship as one of Oedipal anxiety, as other critics have done, this study indicates the way in which Hoccleve’s Chaucer evolves in response to poetic anxiety not towards Chaucer himself, but rather towards an increasingly restrictive intellectual and ecclesiastical climate. This thesis contributes to the recently revitalized critical dialogue surrounding the role and function of fifteenth-century English literature, and the effect on poetry of heresy, the church’s response to heresy, and ecclesiastical reform both in England and in Europe. It also advances critical narratives regarding Hoccleve’s response to contemporary French poetry; the role of confession, sacramental discourse, and devotional images in Hoccleve’s work; and Hoccleve’s impact on literary tradition.
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Panzeca, Andrea. "You Don't Have to Be Good." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1979.
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You Don't Have to be Good, is a nonfiction collection of prose, poetry and graphic memoir set in New Orleans, central Florida, and points in between. In this coming-of-age memoir, I recall the abrupt end of my dad's life, the 24 years of my life in which he was alive, and the years after his death—remembering him while living without him in his hometown of New Orleans. Along the way there are meditations on language, race, gender, dreams, addiction, and ecology. My family and I encounter Hurricane Katrina and Mardi Gras, and at least one shuttle launch. These are the stories I find myself telling at parties, and also those I've never voiced until now.
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Baetz, Joel. "Battle lines : English-Canadian poetry of the First World War /." 2005. http://wwwlib.umi.com/cr/yorku/fullcit?pNR11546.
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Thesis (Ph.D.)--York University, 2005. Graduate Programme in English.<br>Typescript. Includes bibliographical references (leaves 315-338). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNR11546
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Uppal, Priscila. "Recovering the past through language and landscape : the contemporary English-Canadian elegy /." 2004. http://wwwlib.umi.com/cr/yorku/fullcit?pNQ99249.
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Thesis (Ph.D.)--York University, 2004. Graduate Programme in English.<br>Typescript. Includes bibliographical references (leaves 366-393). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ99249
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Austen, Veronica J. "Inhabiting the Page: Visual Experimentation in Caribbean Poetry." Thesis, 2006. http://hdl.handle.net/10012/2622.
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This project explores visually experimental poetry as a particular trend in Caribbean poetry since the 1970's. Although visual experimentation in Caribbean poetry is immediately recognizable – for example, its play with font styles and sizes, its jagged margins, its division of the page into multiple discourse spaces, its use of images – little critical attention has been paid to the visual qualities of Caribbean poetry. Instead, definitions of Caribbean poetry have remained focussed upon oral/aural aesthetics, excluding its use of and contribution to late 20th century experimental poetic practice. By focussing on the poetry of Shake Keane, Claire Harris, Marlene Nourbese Philip, Kamau Brathwaite, and LeRoy Clarke, I bring post-colonial literary criticism into discussion with contemporary debates regarding visual poetic practice in North America. In so doing, this project values Caribbean visual poetry both for its expression of Caribbean cultural experience and for its contributions to broader experimental poetry movements. I argue that visual experimentation functions to disrupt traditional linear reading processes, which thereby allows poets to perform the flux of time and space in post-colonial contexts. Furthermore, such disruption of linear reading practices, often manifested by the positioning of multiple discourses on one page, serves to create a polyvocal discourse that resists patriarchal and colonialist power structures. Valuing the visual qualities of Caribbean poetry as signifying elements, this dissertation explores the aesthetic and social implications of inscription and visual design in Caribbean poetry.
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McGeoch, Ellen. "Les Yeux de Paris: the act of looking and the visual in Baudelaire’s prose poetry." Thesis, 2012. http://hdl.handle.net/1959.13/940828.
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Bachelor Honours - Bachelor of Arts (Honours)<br>A finely-dressed man stands at the balcony of a Paris apartment, gazing at the city. Gustave Caillebotte’s 1875 painting Jeune homme à la fenêtre captures the man from behind and the viewer cannot see his face. He invites the viewer to observe him but he defiantly hides his identity. There is another figure in the scene, framed in the window and whom the dandy’s steady line of sight appears to meet. An unidentified woman stands on the empty boulevard, wearing a fashionable draped bustle skirt in a dark colour in contrast with the pale architecture. She is unaware of her audience, but through this framing and the eye sight of the man at the window, the viewer is drawn to her. Other artworks of the era show the streets of Paris writhing with activity but here all distractions are removed; the lone man gazing at the lone woman on the street is the only interaction, the only sign of life in the work. Whereas the man is safe in his anonymity, a willing and active observer, the woman becomes an exposed art object, unwillingly gazed at and evaluated not only by the man at the window, but the artist himself and the multitude of art gallery visitors who continue to gaze upon her. The painting is an urban landscape and a portrait of two strangers, a man looking and a woman being seen. One is placed on the streets and the other above them, tucked away in his own, contained piece of the city. The piece is also an artwork about the nature of selecting, containing and framing of objects essential to the artistic process, and the inherent hierarchy of the artistic gaze which searches and judges. Several of the concepts in Caillebotte’s painting can be found in Charles Baudelaire’s collection of prose poetry, Le Spleen de Paris: Petits Poèmes en prose, published posthumously in 1869. Both are defined by the act of searching and looking for art’s sake, relying on this hierarchy of the dominating voyeur and dominated object. The following thesis discussion is concerned with the visual processes and the narrator’s gaze in the work. It is of great significance that Baudelaire engaged in both poetry and art criticism; the two are intertwined and at times interchangeable. Given the focus on the visual register, as well as Baudelaire’s active role in the art world, the discussion of the visual processes and themes of the prose poetry alongside nineteenth-century fine artworks serves to establish new inter-disciplinary connections. The collection’s themes and innovations frequently overlap with those being made in fine art during the same time, and although a historical reading of the texts is not the focus, together they serve to contextualise the role of the artist and his gaze, the nature of the modern city and artistic poetic priorities at the time. Baudelaire’s own influential art criticism can be seen as a theoretical outline for his own creative pursuits. In Baudelaire’s prose poetry, the visual register, fine art and concepts of modernity intersect with the written word, and the collection can be seen as a literary incarnation of a visual act.
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Drimmer, Sonja. "The Visual Language of Vernacular Manuscript Illumination: John Gower's Confessio Amantis (Pierpont Morgan MS M.126)." Thesis, 2011. https://doi.org/10.7916/D8FN1BZP.
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The Confessio Amantis, a poem completed in 1393, opens with its author's pledge to: wryte of newe som matiere essampled of these olde wyse [write anew some matter modeled on these old wise books]. Expressing a commonplace among writers of vernacular literature in late medieval England, John Gower describes authorial activity as the process of translating and assimilating pre-existing narratives. This dissertation argues that such conceptualizations of authorship were embraced by illuminators of vernacular literature in their burgeoning notion of invention before the ascendance of print: as translation and compilation provided a model of creativity founded on the alteration of models, illuminators located an ideal congenial to both the restrictions and freedoms of their own profession. The centerpiece of the study is Pierpont Morgan MS M. 126, a manuscript of the Confessio Amantis produced c.1472 and made for Edward IV and his Queen Consort, Elizabeth Woodville. Although it has been acclaimed as one of the most impressive extant manuscripts of Middle English literature, it has never been the subject of a major study. The aim of the dissertation is to recognize and restore to the illustrator the power of his position between the conception of a text and the consumption of a book. Part One focuses on the illustrator's interactions with the textual voices of the Confessio Amantis, demonstrating how the images in nineteen manuscripts of the poem, including the Morgan Confessio, address the identity of the author of the poem (Chapter One); and how miniatures in the Morgan Confessio reinterpret its Ovidian narratives (Chapter Two). Part Two shifts attention to the illustrator's confrontation with his patrons. Although their impact on the production of this manuscript appears to have been minimal, I observe how, as patrons they furnished a visual context for the Morgan Confessio from within their own library of illustrated historical manuscripts (Chapter Three) and books on science (Chapter Four). Produced just before Caxton printed his first book in Westminster in 1476 and standing at the threshold of standardization, this manuscript offers a complex glimpse into the variance that epitomized creative activity in illustrated vernacular manuscripts.
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Aronson, Roberta Chivers. "Interart studies from the middle ages to the early modern era stylistic parallels between English poetry and the visual arts /." 2003. http://etd1.library.duq.edu/theses/available/etd-12032003-161247/.
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CHMAITELLI, NANCY ADELYNE. "THE THEME OF SYNAGOGUE, ECCLESIA, AND THE WHORE OF BABYLON IN THE VISUAL ARTS AND IN THE POETRY OF DANTE AND CHAUCER: A BACKGROUND STUDY FOR CHAUCER'S WIFE OF BATH." Thesis, 1986. http://hdl.handle.net/1911/15963.
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The purpose of this dissertation is to discuss the theme of Synagogue, Ecclesia, and the Whore of Babylon in order to provide iconographic background for Chaucer's Wife of Bath's Prologue and Tale. The first chapter traces the iconographical development of this theme from its beginning through ivory carvings and manuscript illuminations. Special attention is also given to the scriptural and patristic basis of this theme.
The second chapter discusses Dante's use of this theme in the final cantos of the Purgatorio in which Dante the pilgrim sees a Pageant of the Church which is transformed into a vision of the Whore of Babylon. In this chapter, Dante's poetry is compared to the iconography of the north porch of Chartres Cathedral which also deals with the themes of the Old and New Covenants and the Active and Contemplative Lives.
Chapter three discusses the figure of Chaucer's Wife of Bath in relation to this iconography, and a special comparison is made to the imagery of the typological windows which once decorated Canterbury Cathedral. The Wife of Bath, who is described in imagery which recalls Synagogue and the Whore of Babylon, tells the story of a loathly hag who is transformed into a beautiful queen. Thus, a Synagogue-Whore of Babylon figure tells the tale of a Synagogue figure who is revealed as Ecclesia. The dissertation concludes with a brief discussion of Spenser since, by the time of the Reformation, artists and poets were no longer interested in the contrast between Synagogue and Ecclesia, but between Roman Catholicism and Protestantism.
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Gold, Alexandra Jane. "Collaborative poetics: Frank O'Hara and Robert Creeley." Thesis, 2018. https://hdl.handle.net/2144/33242.
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Collaborative Poetics: Frank O’Hara and Robert Creeley draws on literary studies, art history, and bibliography to examine the transactions between the visual and verbal arts found in the American poets’ work. Bringing longstanding aesthetic debates about poetry and painting to bear on studies of collaboration, the dissertation counters the field’s prevailing intra-disciplinary focus. Visual-verbal collaborations, it suggests, undo conventional dichotomies between these descriptive systems, rendering insufficient a binary view of the “sister arts” as antagonists or analogues. By examining Creeley’s and O’Hara’s interdisciplinary forms and practices, this study advances a notion of “collaborative poetics” that centrally depends on both inter-artistic and inter-subjective exchange. As two of the most prolific collaborators of the mid-20th century – completing over 50 projects with visual artists between them – O’Hara and Creeley serve as exemplary case studies, situated at the forefront of an era in which reciprocity between the avant-garde arts was increasingly common.
Through analyses of O’Hara’s early ekphrastic poems (Chapter 1) and Creeley’s literary self- portraiture (Chapter 3), Collaborative Poetics suggests that poets’ interactions with visual media destabilize lyric authority, creating space for reciprocal attachments between artists, artworks, and audiences. The poets’ artists’ books – Frank O’Hara and Michael Goldberg’s 1960 Odes (Chapter 2) and Robert Creeley and Robert Indiana’s 1968 Numbers (Chapter 4) – further advance a claim for alterity by refusing the conservative demand for “artistic purity” and prompting conversation between different (and traditionally opposed) artistic media. Restoring these little-studied works to their original interdisciplinary contexts, the project reinvigorates their status as material objects and subjects of analysis. Finally, the coda both considers the still-tenuous place of such interdisciplinary projects within many institutional spaces, including the academy and the museum, and reflects on the midcentury poets’ collaborative legacy as it turns to a brief reading of contemporary American poet Mei-mei Berssenbrugge and painter Kiki Smith's 2006 artist’s book Concordance.<br>2020-12-11T00:00:00Z
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Hiebert, Luann E. "Encountering maternal silence: writing strategies for negotiating margins of mother/ing in contemporary Canadian prairie women's poetry." 2016. http://hdl.handle.net/1993/31201.
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Contemporary Canadian prairie women poets write about the mother figure to counter maternal suppression and the homogenization of maternal representations in literature. Critics, like Marianne Hirsch and Andrea O’Reilly, insist that mothers tell their own stories, yet many mothers are unable to. Daughter and mother stories, Jo Malin argues, overlap. The mother “becomes a subject, or rather an ‘intersubject’” in the text (2). Literary depictions of daughter-mother or mother-child intersubjectivities, however, are not confined to auto/biographical or fictional narratives. As a genre and potential site for representing maternal subjectivities, poetry continues to reside on the margins of motherhood studies and literary criticism.
In the following chapters, I examine the writing strategies of selected poets and their representations of mothers specific to three transformative occasions: mourning mother-loss, becoming a mother, and reclaiming a maternal lineage. Several daughter-poets adapt the elegy to remember their deceased mothers and to maintain a connection with them. In accord with Tanis MacDonald and Priscila Uppal, these poets resist closure and interrogate the past. Moreover, they counter maternal absence and preserve her subjectivity in their texts. Similarly, a number of mother-poets begin constructing their mother-child (self-other) relationship prior to childbirth. Drawing on Lisa Guenther’s notions of “birth as a gift of the feminine other” and welcoming the stranger (49), as well as Emily Jeremiah’s link between “‘maternal’ mutuality” and writing and reading practices (“Trouble” 13), I investigate poetic strategies for negotiating and engaging with the “other,” the unborn/newborn and the reader. Other poets explore and interweave bits of stories, memories, dreams and inklings into their own motherlines, an identification with their matrilineage. Poetic discourse(s) reveal the limits of language, but also attest to the benefits of extra-linguistic qualities that poetry provides. The poets I study here make room for the interplay of language and what lies beyond language, engaging the reader and augmenting perceptions of the maternal subject. They offer new ways of signifying maternal subjectivities and relationships, and therefore contribute to the ongoing research into the ever-changing relations among maternal and cultural ideologies, mothering and feminisms, and regional women’s literatures.<br>May 2016
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Tallon, Laura. "“To Vindicate her Beauty’s Cause”: the sister arts and women poets, 1680-1790." Thesis, 2016. https://hdl.handle.net/2144/17864.
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This dissertation offers a new literary history of the tradition of the “sister arts” in England during the eighteenth and early nineteenth centuries. While previous scholarship has explored how canonical male poets conceived of their poetry in relation to painting, this project demonstrates that female poets also engaged in various forms of literary pictorialism. By attending to the work of these women writers alongside their male contemporaries, we gain a richer and more complex understanding of how poets evaluated the boundaries between verbal expression and visual composition. In line with my aim to offer a more nuanced historical account of the sister arts by including the contributions of women writers, I also examine the gendered conventions of this tradition.
In my first chapter, I contend that poetry written by Anne Killigrew and Anne Finch calls into question common critical assumptions about the power dynamics of ekphrasis (the verbal description of visual art). The second chapter explores how Anna Barbauld, Anna Seward, and Amelia Opie respond to the influential model for verse epistles on the sister arts established by John Dryden and Alexander Pope, which assumes that poets and artists are male while the muses and objects of representation are female. In the third chapter, I argue that concepts derived from visual art animate the elegiac practices of Thomas Gray and Anna Seward, as they explore how acts of gazing can manifest same-sex desire. My final chapter shows how the concept of fancy, represented either as a mental creative process contrasted with imagination or as a personified female figure, comes to be associated with both visual power and femininity. I trace this poetics of fancy from essays by John Locke and Joseph Addison to Pope’s Eloisa to Abelard, the odes of William Collins, the sonnets of Charlotte Smith, and Visions of the Daughters of Albion by William Blake. The qualities that lead some writers to denigrate fancy—its association with femininity rather than masculinity, dreams rather than reality, and temptation or liberation rather than constraint—are precisely the same qualities that lead the major pictorial poets to seek to internalize it.<br>2018-08-11T00:00:00Z
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Adam-Vézina, Élodie. "(en chemin) Pénélope suivi de : paysages de l'absence : apparition et disparition chez Jean-Aubert Loranger, Fernand Leduc et Jacques Brault." Thèse, 2008. http://hdl.handle.net/1866/7249.
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Robichaud, Geneviève. "The poetics of translation : a thinking structure." Thèse, 2018. http://hdl.handle.net/1866/22640.
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Stasko, Carly. "A Pedagogy of Holistic Media Literacy: Reflections on Culture Jamming as Transformative Learning and Healing." Thesis, 2009. http://hdl.handle.net/1807/18109.
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This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a culture jammer, educator and cancer survivor to illustrate my original vision of a ‘holistic media literacy pedagogy’. This research reflects on the emergence and impact of holistic media literacy in my personal and professional life and also draws from relevant interdisciplinary literature to challenge and synthesize current insights and theories of media literacy, holistic education and culture jamming.