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1
Kramer, Christi. „Poetics of return : toward poetic imagination and peacebuilding“. Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/46488.
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Toward a deeper understanding of poetic imagination, this poetic inquiry explores the creative process itself as a “wellspring that feeds the building of peace” (Lederach, 2005, p. 5). I position the study within the dialogic, as contemplative conversation, where utterance is a limitless continuum or whole (Bakhtin, 1986). I ask: Is it possible to write the world well? I listen to what poetry may say. I submit that “poetry witnesses us” (Milosz, 1983, p. 10) and that the gaze of poetry is courtesy (Lilburn, 1999).
This study attends to poetic image as an essential attribute of the qualitative research methodology called poetic inquiry. Poetic image is whole (Al-Ghazali, 2010) and it is trace. It may be understood as a place or state: a space for radical meeting (Forché, 1993) of self and other; a multidimensional location (Zwicky, 2011) of potential and tension; a threshold, dihliz (Al-Ghazali in Moosa, 2005). Where poetic image is motion, it may be vertical and verb. Poetic image is not equal to metaphor (Bachelard, 1960). It exists in the sensory world, a doorway into our perception and memory, “enabling us to locate and embody the invisible and the unknown” (Kwasny, 2012, p. 2). It is generative, first of the creative imagination (Ibn Arabi in Corbin, 1998), and exists possibly prior to thought (Al-Ghazali, 2010; Bachelard, 1960). Poetic image may be known as direct ontology (Bachelard, 1960, p. xvi), a phenomenology of the soul (Bachelard, 1960, p. xx). Where both the poetic image and phenomenology require active participation and deny passivity or enslavement to object, in poetic image there may be liberation.
Where “there is a sort of poverty of the spirit which stands in glaring contrast to our scientific and technological abundance” (King, 1964), might research performed in humility be an act of reconciliation? Or might poetry, “a source of innocence full of revolutionary forces” directed at a world “my conscience cannot accept” (Elytis, as cited in Ivask, 1981), be the “kind of knowing” Simon seeks, which could support the “reconstruction of social imagination in the service of human freedom?” (Simon, 1992, p. 4).
2
Giordano, Matthew. „Dramatic poetics and American poetic culture, 1865-1904“. Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1092701770.
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Thesis (Ph. D.)--Ohio State University, 2004.Document formatted into pages. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 Aug. 18.
3
Campbell, Charles. „Poets and Poetics in Greek Literary Epigram“. University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1384333736.
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4
Simonyan, Astghik. „Poetics of the same : a philosophical poetic recourse into sameness“. Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1278.
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This study endeavours to investigate the philosophical and poetological dimensions, the philological origins, and significant philosophical-literary representations of the Same. It also assesses sameness as a philosophical and poetological modus operandi; that is to say, it analyzes the ways in which the Same operates in different types of discourses both as an object of investigation and as an agent of (poetic) thought. The concept of the Same or the operation of sameness as the philosophical question par excellence will be considered in the development of Continental philosophy and philosophical poetics from classical antiquity to Postmodernism, and its transposition into poetry. The elaboration of the issue of sameness encompasses any philosophical inquiry which seeks to establish the essence of Being and make it susceptible to a general, unifying principle: as a search for an underlying element; for a metaphysical unity or universal, preceding division or difference and amounting to the harmony in the Universe; or for a transcendental absolute totality. Postulations of the pure conceptual difference are likewise examined as part of the elaboration of sameness, and will be viewed as indispensable for revealing the genuine plenitude of sameness. Part One traces the inception of sameness as a concept of pure identity, amounting to the harmony of the Universe by virtue of the operations of belonging (Presocratics), participation (Plato), and emanation (Plotinus), anchored in the relationships between the One and the many, between the Whole and its parts, between the Original and the copy. Part Two inquires into the limits of postulating sameness in terms of pure identity and points to two possible solutions to this problem: a philosophical-aesthetic digression from sameness (Kant and related aesthetic theories of the seventeenth and eighteenth centuries) and the return to sameness as an absolute totality in Part Three (Schelling and Hegel). Part Four investigates the re-postulation of sameness as pure Difference (Nietzsche, Heidegger, Derrida), hence the entire re-organization of thought in terms of the other. Part Five analyzes the transposition of sameness from 3 philosophy into the poetic language of repetition, using Rilke’s Sonnets to Orpheus as its prime poetic example. It will be argued that the philosophical displacement of the Same from a concept of identity into that of difference does not amount to an abandonment of its plenitude, but rather points to the need for a precarious balance between sameness and difference, the simultaneous quest for unity and the absolute singularity of the other. This balance, it will be argued, must be sought for in every genuine creation.
5
Koutrianou, Eleni. „The emergence and crystallization of the poetics of Odysseas Elytis“. Thesis, University of Oxford, 1997. http://ora.ox.ac.uk/objects/uuid:67c25cfb-3860-497e-9402-46ebafdd753d.
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This thesis examines the poetics of Odysseas Elytis, which, it is argued, emerged from his intense theoretical work on poetry in the period between 1944 and 1960, and was crystallized in the poems he published from 1960 to 1995. Elytis' poetics is examined in this thesis through the exploration of his ideas on the status and function of poetry, on the role of the poet, and on poetic writing; it is also examined through the exploration of the poetry in which these ideas are put into practice. It is argued in this thesis that Elytis' poetics emerged from his effort to provide his poetry with a concrete theoretical basis, an endeavour he deliberately undertook in the 1940s and 1950s; the evolution of his thought coincided chronologically with the period broadly between 1944 and 1960, that is, the period during which he wrote poems but did not proceed to publish any book of poetry. Elytis' thought reached a point of external stabilization before 1960, since in the poetry he published that year his ideas are systematically put into practice. With the publication of these poems, his poetics entered the dynamic phase of crystallization, which prevails throughout his poetic writing from 1960 to 1995, and constitutes a process during the course of which he explored the internal perspectives opened up by the theoretical frame he set for himself in the years 1944-1960. This thesis explores Elytis' theoretical endeavour and his poetic practice, and examines both the emergence of his ideas in the period between 1944 and 1960 and the crystallization of these ideas in the poetry he published from 1960 to 1995.
6
Terne, Clara. „Space + Poetics“. Thesis, Konstfack, Grafisk Design & Illustration, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-123.
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I often ponder over the physical limitations of everyday life. The sense of my body being trapped in the here and now, in being able to imagine so much and experience so little in comparison, and the downhearted disappointment of it all. In my Master project Space + Poetics at Konstfack (2010) I have confronted these issues. I have tried to find ways to bridge the gap between the physical place and the mental space. I strive to create escapes from our rigid surroundings – to create little holes in the everyday where the void creates content.
7
Nykyforuk, T. M. „Poetics of poetry works by Sydir Vorobkevych (meta-language, poetic syntax, versification)“. Thesis, БДМУ, 2020. http://dspace.bsmu.edu.ua:8080/xmlui/handle/123456789/18274.
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8
Thornbury, Emily Victoria. „Anglo-Saxon poetics“. Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615780.
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9
Cui, Wendong, und 崔文东. „Politics vs. poetics“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B47752981.
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Up to now, in the field of translation studies, late Qing translated fictions have still been termed by many scholars as “liberal translation” or “domesticating practice” lacking literary values, or generalized by some others as “rewriting” or “manipulation” completely distorting the originals, which has led to an undervaluation of those works. In the field of historical studies, although researchers have attached much importance to late Qing translations like Yan Fu’s renditions of social and political theories which had profound impact on Chinese intellectual history, translated fictions are still beyond their sight. Based on my critique of previous studies, this research attempts to study five late Qing Chinese translations of Robinson Crusoe from the perspective of intellectual history to explore the historical significance of those works.
As one of the most frequently translated fictions at that time, Robinson Crusoe drew the attention of many Chinese intellectuals because of its ideological significance rather than literary values. On the one hand, aiming at publicizing new ideas to readers under influence of Chinese tradition, late Qing translators tried to deal with the contradictions between new ideas and traditional ideas, thus showing their cultural stance. On the other hand, influenced by the elites’ proposal of enlightening common people with fictions, translators endeavored to bridge the gap between elite discourse and popular culture, thus reflecting the extent of the reception of elites’ ideas.
Based on textual and contextual comparisons, it is easy to see that the translators all looked to the novel, Robinson Crusoe, for national salvation, believing that their renditions would be able to arouse adventurous spirit among Chinese people, and tried to reshape the relation between citizen, nation, family and the self in their renditions. First, they either made Crusoe a patriot or linked the adventure with national salvation although in the original, Crusoe’s adventure has no relation with nationalism. Second, the translators all advocated a new ethical idea by, on the one hand, defending Crusoe’s disobedience to his father and, on the other hand, changing his lack of filial affection. Third, as the economic and puritan individualism Crusoe embodied in the original conflicted with Chinese ethics, all translators transformed the individualist into either Confucian or altruist. Thus the translators’ changes, additions, deletions and explanations in and out of the renditions fully showed the trend of thought in late Qing from the perspective of intellectual history.
Obviously, different late Qing translators of Robinson Crusoe tackled the same cultural conflicts in similar ways, which offers us an opportunity to study late Qing translated fictions systematically. In so doing, the new mode of study enhances our understanding of the general trend of thought in late Qing and the historical significance of late Qing translated fictions.published_or_final_version
Chinese
Master
Master of Philosophy
10
Leadbetter, Gregory Marcus. „Coleridge's transnatural poetics“. Thesis, Oxford Brookes University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520917.
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Coleridge's Transnatural Poetics examines the simultaneous experience of exaltation and transgression as a formative principle in Coleridge's poetry and the fabric of his philosophy. Drawing upon a little-known but extremely rich notebook entry of 1812, the thesis constructs its critical vocabulary through the 'transnatural' and the 'daemonic', as Coleridge uses the terms to define each other and the peculiar qualities of his mind: an imagination fascinated by the transnatural, which in consequence, conceives of itself as daemonic. The thesis proceeds to demonstrate the significance of the principle this represents, as the basis for a new reading of his work. This study focuses primarily on the 1790s, as the period in which Coleridge's spiritual and poetic concerns took shape, but incorporates material from across his notebooks, letters and other prose, in order to demonstrate the continuity as well as the modulation of Coleridge's work. In critical method, the thesis seeks to integrate an informed awareness of social and historical contingencies with a sensitivity to the capacity of language itself to constitute experience. By showing how the 'transnatural' and the 'daemonic' combine to illustrate both the abiding tensions and restless productivity of Coleridge's writing, the thesis throws new light on his relationship with Christianity and Unitarianism; his mythological syncretism; the 'one life' and his organic metaphors of becoming; his psychology of the will and theories of the imagination; his ideas on the Fall and the Prometheus myth; his responses to Shakespeare, Milton and Locke; his crucial relations with Wordsworth, and the vexed concept of 'nature'; his ideas on the poetics of language; his relationship to the literature of the supernatural; and the creative principle of 'poetic faith'. Developing its theme through Coleridge's poetry, including lesser-known works such as 'Melancholy', 'Lewti' and 'The Wanderings of Cain', the exposition builds from 'The Eolian Harp' to 'The FosterMother's Tale', Osorio, 'Frost at Midnight', 'The Nightingale', and a new interpretation of the poems in which Coleridge produced his most compelling myths: 'The Rime of the Ancient Mariner', 'Kubla Khan' and 'Christabe1'.
11
Davies, James. „stack : minimalist poetics“. Thesis, University of Roehampton, 2018. https://pure.roehampton.ac.uk/portal/en/studentthesis/stack(aebfad17-9098-4c69-831d-3af98f9d48e4).html.
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stack: Minimalist Poetics consists of a portfolio of practice-led research — a volume-length minimalist poem entitled stack — and a critical essay. The poem applies and adapts several minimalist writing strategies, which are evaluated in the critical essay to create a text that is rich in imagery yet indeterminate in meaning. In addition, stack is innovative in its structural approach — through original use of enjambment, footnoting and repetition, lines may be treated as discrete entities and, also, as combinations. A key research question that the practice-led component and the critical essay interrogate is the applicability and development of the poetics of the “New Sentence”, and other formally innovative approaches in the field of minimalist writing. The first part of the critical essay contextualises the creative portfolio in relation to the field of minimalist poetics as a whole. It sets out how stack belongs to a strand of minimalist poetry that evolved out of imagism and objectivism, and whose key practitioners include Robert Grenier, Robert Lax and Aram Saroyan. Subsequently, the thesis outlines the methods that were used to generate the creative portfolio. Effectively these latter sections present a manual for making minimalist poetry. Aside from exploring the written elements of stack, the thesis also examines my practice of conducting what I refer to as ‘minimalist interventions’ (embodied, micro-actions). These interventions, which have taken place in a range of environments, generally function as stimuli for the written aspects of the poem.
12
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.
13
Bugan, Carmen. „Poetics of exile : East European poetry in translation and Seamus Heaney's Ars Poetica“. Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408092.
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14
Seibel, George L. IV. „Being a Poet“. Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1346412172.
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Byrne, James. „A poetics of desire“. Thesis, Edge Hill University, 2016. http://repository.edgehill.ac.uk/7782/.
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This PhD capping paper is an accompaniment to three published books of poetry: Blood/Sugar, White Coins and Everything Broken Up Dances. Blood/Sugar and White Coins (hereafter B/S and WC) were both published by Arc Publications in the UK, in November 2009 and April 2015. Everything Broken Up Dances (EBUD) by Tupelo Press in the US, in December 2015. I situate these books within a poetics of desire, exploring the idea of the self in my work and how this relates to the self as other, or desiring of the other. I also consider the possibilities of fragmentation in relation to form and utterance. Significantly—though among others—I examine key texts by Georg Hegel, Judith Butler, Maurice Blanchot, Edmond Jabès and Jacques Lacan and examine their various theories on desire and the function of the self to evaluate poems from each of my own books, as discussed.
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com, MirahB@aol, und Rolf Vaernes. „The Poetics of Being“. Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050617.103850.
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The aim of The Poetics of Being is to inquire into how the
apperception of the Being of beings is produced. We will
recognize this production not primarily in philosophy, but in a
medium accessible to us all, theatre. Although the Romantic
tradition of literary criticism from Herder to Bloom has noted
that Shakespeare produces an exceptional sense of what is
[true], so much so that he is said to create the impression of
nature or life, no one has so far attempted to show how
precisely Shakespeare affects this experience. Contrary to T.
S. Eliot, who is unable to discern any kind of poetics in
Shakespeares plays, we have discovered an insistent and
consistent pattern of inadequation, a kind of mismatch. The
thesis argues, that the predominant tropes of inadequation are
falsity, dissimilarity, nothing, indefinition, elision and
substitution. We shall show that these figures of inadequation
are the universal means by which Shakespeare, almost
imperceptibly, compels the spectator to infer the apperception
of what is [true].
On the basis of these tropes of inadequation the thesis makes
the fundamental philosophical claim that the cognition of Being
through non-Being is a negative form of what Heidegger calls
the ontological difference. We call this the negative ontological
difference. The thesis demonstrates that with the exception of
some Pre-Socratic thinkers, Plato in the Sophist, the work of
Pseudo-Dionysius, and the writings of Derrida, the bulk of the
tradition of Western philosophy has argued Being in terms of
positivities. While the thesis does not question the possibility
of realizing the ontological difference in a positive fashion, as
does Heideggers philosophy of unconcealment, the thesis
claims that the negative ontological difference, or ontological
contradiction, is the more forceful process by which we
become aware of what is [true].
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Vaernes, Rolf I. „The poetics of being /“. Access via Murdoch University Digital Theses Project, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050617.103850.
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Robinson, Joshua Mark. „Adorno's poetics of form“. Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610013.
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Kim, John Hyong. „The Poetics of Diagram“. Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11590.
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This dissertation treats the diagram as a literary object. It explains how the diagram structured the conditions of possibility of a world-literary modernity as it emerged in the late nineteenth- and early twentieth-century. Caught between the competing epistemic regimes of scientific and humanistic knowledge, as well as between the clash of cultures, East and West, the diagram's potential as a scientifically neutral, and thus, "universal" language was deployed and redeployed in complex ways: just as the diagram was used to reveal the fundamental conditions of literary possibility, it was also made into a literary object itself. Thus, as both a hermeneutic tool and an aesthetic object itself, the diagram's place in literature is shown to hinge upon the necessary but ambivalent relationship between the gravitas of literary criticism and the spirit of play in literary art. Beginning with a philosophical and genealogical archaeology of the diagram, the dissertation unfolds by situating various theoretical issues elicited by the placement of the diagram in literature, such as problems of interpretation, cognition, translation, adaptation, and materiality, within an intricate matrix of historical and cultural contexts. Readings likewise draw from a wide range of disciplines, such as continental philosophy, history of science and mathematics, visual studies, as well as from a wide range of languages and literatures, from English, French, and German, to Chinese, Japanese, and Korean.
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Philokyprou, Elli. „Greek Post-Symbolist poetics“. Thesis, University of Oxford, 2009. http://ora.ox.ac.uk/objects/uuid:e5a2e75a-c272-4f79-aafe-b2af905fb250.
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This thesis explores the poetics of the Greek Post-Symbolists, a group of early twentieth-century poets whose main period of activity falls in the years between the Generation of the 1880s and that of the 1930s. By focussing on Post-Symbolist concepts of the role of poetry and on the way in which Post-Symbolist poems are constructed, this thesis examines the poetic system of a group of poets who occupy a transitional period in the history of Modern Greek literature. The Post-Symbolists question both the nationalism of poets of the Generation of the 1880s and their own place in society. Post-Symbolist poetry focuses on themes related to the interior landscape of the individual. It promotes negation and absence, de-emphasizes external reality, foregrounding a poetic reality created through the acoustic links between words, and it undermines the importance previously attached to metre and rhythm in poetry. In this way Post-Symbolist poetic language constitutes a reaction against the dominant poetic discourse of the time, and a turning-point in twentieth-century Greek poetry. This thesis explores both the internal structure of Post-Symbolist poetry and the relationship between Post-Symbolism on the one hand and the discourses of the Generation of the 1880s and of the Generation of the 1930s on the other, placing this in the historical, socio-political and ideological context of time.
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Murton, Megan Elizabeth. „Chaucer's poetics of prayer“. Thesis, University of Cambridge, 2014. https://www.repository.cam.ac.uk/handle/1810/283945.
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Quadrado, Lauro Iglesias. „The poetics of noise“. reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/175202.
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Esta tese gira em torno da obra do escritor estadunidense John Dos Passos (1896-1970), mais especificamente em torno de seu romance Manhattan Transfer (1925). Esta investigação é uma leitura crítica de sua ficção, especialmente no que toca à intensidade de experiências auditivas promovidas pelo autor, em sua maioria baseadas em passagens perturbadoras e ruidosas, representativas da experiência metropolitana do começo do século XX em Nova York. O arcabouço crítico e teórico utilizado varia desde as escolas literárias tradicionais de análise textual, crítica em âmbito público até os Estudos de Som e abordagens de intermidialidade. Com esse apoio, o ruído trazido por Dos Passos pode ser listado sob variadas categorias: o uso de canções e diferentes estilos de música popular da época; a impossibilidade de silêncio; o incômodo do ruído urbano, produzido por máquinas ou pessoas; a audiografia dos personagens, com a transliteração dos sotaques e línguas estrangeiras das personagens. A provocação sonora é contextualizada, visto que Manhattan Transfer foi escrito após a invenção e a popularização do fonógrafo como um aparelho doméstico, que fornecia uma possibilidade inaudita para que se pudesse escutar música em casa a qualquer hora, dando acesso a novas possibilidades de relacionar-se com som para as pessoas em geral. Esta pesquisa segue as narrativas-fonógrafo de Dos Passos, investigando o interesse do autor em sons que eram desprezados ou deveriam ser eliminados da constante mecanização da sociedade do século XX. As idiossincrasias de sua ficção são analisadas em conjunto com a representação do ruído como uma perturbação social, um elemento indesejado que torna a interação humana problemática, porém chave para apreender as relações entre personagens no romance. As perturbadoras impressões acústicas comunicam, em sua literatura, um estado de fragmentação e empolgação dos humanos da modernidade. Finalmente, esta tese aspira recuperar a obra de John Dos Passos, trazendo-a de volta às discussões literárias acadêmicas e generalizadas, opondo tendências em teoria e crítica que vinham, nas últimas décadas, gradualmente relegando sua obra à obscuridade. Este texto argumenta que a presença da obra de Dos Passos tem sido relevante e aplicável a objetos estéticos produzidos além dos anos modernistas, atingindo pertinência contemporânea.This dissertation revolves around the work of American writer, John Dos Passos (1896-1970), more specifically around his novel Manhattan Transfer (1925). This investigation is a critical reading of his fiction, especially concerning the intensity of aural experiences promoted by the author, mostly based on disruptive, noisy passages which are representative of metropolitan experience of the early twentieth century in New York. The critical and theoretical assumptions used vary from traditional literary schools of text analysis and public criticism to Sound Studies and intermediality approaches. With this support, the noise brought by Dos Passos can be listed under assorted categories: the use of songs and different styles of popular music of the time; the impossibility of silence; the annoyance of urban noise, produced by machines or people; the audiograph of characters, with the transliteration of characters' accents and foreign languages. Sonic provocation is contextualized as Manhattan Transfer was written following the invention and popularization of the phonograph as a domestic device, providing a newfound possibility of one being able to listen to music at home at any time, and giving access for new possibilities of relating with sound for people in general. This research follows Dos Passos's phonograph-like narratives, investigating the author's interest in sounds which were despised or should be eliminated from twentiethcentury ever-growing mechanization of society. The idiosyncrasies of his fiction are analyzed combined with the representation of noise as a social nuisance, an unwanted element that makes human interaction more troublesome, yet key to apprehending characters' rapport in the novel. Disruptive acoustic impressions convey, in his literature, a state of fragmentation and excitement of humans of modernity. Finally, this dissertation aspires to recuperate John Dos Passos's oeuvre and bring it back to academic and general literary discussions, opposing tendencies in theory and critique that had, in the past decades, gradually relegated his work into obscurity. This text argues that the presence of Dos Passos's work has been relevant and applicable to aesthetic objects produced beyond modernist years, reaching contemporary pertinence.
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Wyatt, Holliday. „The Poetics of Appeal“. VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/595.
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This study advances a theoretical model of appeal, the framework readers’ advisory (RA) librarians use to make book suggestions. Taking an interdisciplinary approach, it combines elements of media studies, literary theory, and library science to posit new elements of appeal and new models for understanding its dynamics. This dissertation argues that, because appeal as currently practiced relies heavily on reductive binaries, it fails to account for a number of features that play a crucial role in a reader’s experience of a work. Through a historically informed explication of the existing appeal framework, it posits a new formulation: appeal is a tripartite construct involving the sensibility of a text, the content of a work, and the interest of a reader, where reader is understood in its broadest sense. The new framework demonstrates explicitly that appeal is both textual and readerly and advances a number of additional concepts that are possible only in a more nuanced, tripartite structure. The dissertation illustrates its findings through three application chapters, considering in depth Jane Austen’s Persuasion, Charlotte Brontë’s Jane Eyre, and Mary Shelley’s Frankenstein. The study further provides a new theory/practice model of appeal, strongly urging that, if RA service is to continue to advance, its provision and an understanding of its critical concepts be undertaken with depth and rigor.
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Mersky, Matthew. „Poetics of The Real“. ScholarWorks @ UVM, 2016. http://scholarworks.uvm.edu/graddis/575.
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ABSTRACT
The premise of my thesis is to approach poetics anew, using psychoanalysis and other related theoretical disciplines to help answer the often overlooked but fundamental question: 'What is poetry?' This thesis is based on the notion that Freud's insight into the unconscious is itself the key to unlocking the essential function of poetry as it has come to be understood in the 20th century, throughout the modernist period; and that Lacan, as a rewriting of Freud, specifically developed a theory of language that provides the beginnings of a psychoanalytic poetics. Another component of this thesis involves the claim that, of all the modernists, Wallace Stevens particularly embodies a poetic style that most closely embodies the theoretical position of psychoanalysis.
In the first chapter of this study my aim is to draw out thoroughly the relationship to Freudian psychoanalysis and poetry'and to make the specific argument that Freud's technique for dream interpretation is essentially the one that we use to interpret or to read modern poetry.
The second chapter deals with repetition, a favorite of psychoanalysis and poetry, in order to make the claim that the ultimate form of metaphor is repetition, which, more than just a rhetorical technique, has much to do with the human psyche and the formation of subjectivity proper.
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Zournazi, Mary. „A poetics of foreignness“. Thesis, View thesis, 2000. http://handle.uws.edu.au:8081/1959.7/27424.
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This thesis is about the ontology and epistemology of foreignness. With other issues,it developed through a series of conversations on foreignness with Australian and international writers and intellectuals, and a subsequent series of radio essays and conversations based on some of the dialogues. A critical framework is developed which examines the relationships between foreignness, cultural identity and the practice of writing through a series of dialogues. The author's analysis involves exploring how the conversations 'speak' the personal and political experiences of living and writing as a foreigner. The interest lies in the various ways narrating one's life touches on certain elements in the aesthetics and politics of writing.The politics of experience and aesthethic production intertwine throughout the conversations and in the production of the text. As the thesis is dialogic in character, the reader can choose to work through the thesis in a linear fashion or to begin at any part. In this sense, the work is divided into three interrelated parts which can be read as different translations of each other. In the last part, in CD format, the author discusses and includes as a postscript to the research, the radio essays and dialogues based on conversations. It is suggested how these radio conversations enact a different way of speaking and writing about foreignness, and explore the on-going relationships between dialogue, translation and a critical imagination.
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Zournazi, Mary. „A Poetics of foreignness /“. View thesis, 2000. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040414.092213/index.html.
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Vaernes, Rolf. „The poetics of being“. Thesis, Vaernes, Rolf (2004) The poetics of being. PhD thesis, Murdoch University, 2004. https://researchrepository.murdoch.edu.au/id/eprint/376/.
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The aim of The Poetics of Being is to inquire into how the apperception of the Being of beings is produced. We will recognize this production not primarily in philosophy, but in a medium accessible to us all, theatre. Although the Romantic tradition of literary criticism from Herder to Bloom has noted that Shakespeare produces an exceptional sense of what is [true], so much so that he is said to create the impression of nature or life, no one has so far attempted to show how precisely Shakespeare affects this experience. Contrary to T. S. Eliot, who is unable to discern any kind of poetics in Shakespeare's plays, we have discovered an insistent and consistent pattern of inadequation, a kind of mismatch. The thesis argues, that the predominant tropes of inadequation are falsity, dissimilarity, nothing, indefinition, elision and substitution. We shall show that these figures of inadequation are the universal means by which Shakespeare, almost imperceptibly, compels the spectator to infer the apperception of what is [true].
On the basis of these tropes of inadequation the thesis makes the fundamental philosophical claim that the cognition of Being through non-Being is a negative form of what Heidegger calls the ontological difference. We call this the negative ontological difference. The thesis demonstrates that with the exception of some Pre-Socratic thinkers, Plato in the Sophist, the work of Pseudo-Dionysius, and the writings of Derrida, the bulk of the tradition of Western philosophy has argued Being in terms of positivities. While the thesis does not question the possibility of realizing the ontological difference in a positive fashion, as does Heidegger's philosophy of unconcealment, the thesis claims that the negative ontological difference, or ontological contradiction, is the more forceful process by which we become aware of what is [true].
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Vaernes, Rolf. „The poetics of being“. Vaernes, Rolf (2004) The poetics of being. PhD thesis, Murdoch University, 2004. http://researchrepository.murdoch.edu.au/376/.
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The aim of The Poetics of Being is to inquire into how the apperception of the Being of beings is produced. We will recognize this production not primarily in philosophy, but in a medium accessible to us all, theatre. Although the Romantic tradition of literary criticism from Herder to Bloom has noted that Shakespeare produces an exceptional sense of what is [true], so much so that he is said to create the impression of nature or life, no one has so far attempted to show how precisely Shakespeare affects this experience. Contrary to T. S. Eliot, who is unable to discern any kind of poetics in Shakespeare's plays, we have discovered an insistent and consistent pattern of inadequation, a kind of mismatch. The thesis argues, that the predominant tropes of inadequation are falsity, dissimilarity, nothing, indefinition, elision and substitution. We shall show that these figures of inadequation are the universal means by which Shakespeare, almost imperceptibly, compels the spectator to infer the apperception of what is [true].
On the basis of these tropes of inadequation the thesis makes the fundamental philosophical claim that the cognition of Being through non-Being is a negative form of what Heidegger calls the ontological difference. We call this the negative ontological difference. The thesis demonstrates that with the exception of some Pre-Socratic thinkers, Plato in the Sophist, the work of Pseudo-Dionysius, and the writings of Derrida, the bulk of the tradition of Western philosophy has argued Being in terms of positivities. While the thesis does not question the possibility of realizing the ontological difference in a positive fashion, as does Heidegger's philosophy of unconcealment, the thesis claims that the negative ontological difference, or ontological contradiction, is the more forceful process by which we become aware of what is [true].
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Burk, Chelsea D. „Poetics of the document and documentary poetics : documentary poetry by women, 1938-2015“. Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6711.
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This project reconceives the methods critics use to define and analyze the critical field of documentary poetry. Although scholarship on documentary in the visual arts abounds, literary criticism that explores poetry through a documentary lens is sparse. Documentary poetics criticism focuses almost exclusively on socioeconomic class within the poems and on defining the genre. Critics have not attended to the ways that the category “document” inflects this poetic arena. I argue that documentary poetics includes engagement with specific documents and with the power they hold within a given historical moment. This requires attending to what I call document culture: a document’s visual and stylistic norms, in addition to the customs of its subject matter and material/medium. In addition to contributing to critical theory, this project traces documents’ shift from the twentieth century into the twenty-first from wood pulp to strings of code. I focus on representative collections of poetry that foreground the effects particular documents, like congressional hearings, dictionaries, and social media posts, have on people based on their position within the society in which they live. These documentary poems function differently than other poems that engage documents. A second category, poem-documents, interrogate the historical genre of English-language poetry in the nominally postcolonial US, with special focus on the African and Jewish diasporas, and experiences of indigenous people in the colonizing nation. These poems confront the genre’s social position and critically-imposed limitations to demonstrate poetry’s potential to act as a document that names and remembers injustices. My project emphasizes poetry by women, particularly women of color, in order to revise documentary poetics criticism’s interest in class and style to include textual resonances of race, gender, sexuality and nation. Just as the collections documentary poets offer are interdisciplinary in ethos, so is this project, with roots in documentary studies, media studies, feminist criticism, queer studies, and critical race studies in addition to literary criticism.
Each chapter of this project follows the slippage between poem-documents and documentary poems. Chapter one grounds documentary culture in Muriel Rukeyser’s The Book of the Dead (1938), widely considered to be the first American documentary poem. I juxtapose Rukeyser’s interest in document cultures and theory of poetry’s ethical possibilities in The Life of Poetry (1949) with, in Chapter two, Irena Klepfisz’s A Few Words in the Mother Tongue: Poems Selected and New 1971-1990, a collection that reframes lyric poetry as mode of documentation. Chapter three places Harryette Mullen’s critique of English-language reference texts and the accumulations of connotative meaning, Sleeping with the Dictionary (2002), in conversation with M. NourbeSe Philip’s Zong! (2008), which re-documents African women’s experiences of the trans-Atlantic slave trade. The final chapter addresses Citizen (2014), in which Claudia Rankine re-envisions the archive of anti-black racism to include speech and Conflict Resolution for Holy Beings (2015), Joy Harjo’s polyvocal and iconoclastic collection that uses poetry to redefine the archive’s temporality in a way that might counter the erasure of indigenous peoples in the Americas. The nuanced ruminations these poets offer illustrate that, as an area of study with its own investments, interests, and modes of inquiry, critical documentary poetics has just begun.
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Poch, John. „Sorry Guard“. Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2455/.
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Sorry Guard is a collection of poems with a critical introduction on poetic form. Form in poetry can be revealed vocally (how the poem sounds), temporally (how the poem makes use of time), and spatially (how the poem is visualized, both physically on the page due to typography and imagistically due to the shape and movement of its subject matter). In this preface, I will address these three aspects of form in relation to three distinct twentieth century poets: Robert Hass, W.S. Merwin, and W.H. Auden. I am most interested in how particular formal decisions shape meaning and value in poetry. My aesthetic approach here primarily dwells on what Helen Vendler calls, "the music of what happens."
The urgency of Robert Hass's spoken word is important to me because I wish to make poems that should be spoken aloud and remembered. While W.S. Merwin's rejection of punctuation is not my own aesthetic outlook, I strive to achieve through close attention to temporal form the mythic voice of his poemsthe immediacy of his lines and images, especially in his second four books. And Auden's deft use of spatial form is only a small aspect of his remarkable verse. All three poets are concerned with the inadequacy and failure of language in its modern use, yet they write with a certain hopeas if potential power lies hidden in the words.
Most of the poems in the dissertation concern failure. Speakers in the poems fail to prevent death or pain, and they fail to achieve an equally requited love. They fail to protect and to achieve oneness with their loved ones, and often they are left only with the consolation of imagination.
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Hurley, Claire. „The poetics of site : reading the spaces of experimental US women poets“. Thesis, University of Kent, 2017. https://kar.kent.ac.uk/67055/.
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My PhD research centres on three innovative 20th Century American women poets: Lorine Niedecker, Barbara Guest and Susan Howe. Taking inspiration from Virginia Woolf's A Room of One's Own, my research examines how these poets inhabited specific compositional sites. My thesis draws on extensive archival research to reconstruct a picture of the woman poet at work, arguing that for the female experimental poet in the 20th century, the compositional site - namely the workroom that the poet occupied - functions as a critical foundation for the evolution of her poetics. By attending to the particulars of Niedecker's cabin, Guest's studio and Howe's archive, my work considers the intersections between lived, imagined, and textual spaces. In so doing, it asks the following questions: what does it mean for a poet to occupy a certain kind of space? How can the literary work be read as generative or representative of such a site? What does the rendering of such spaces reveal about the topology of the female American avant-garde? The physical writing site is both highly specific to each poet and reveals broader collective investments in inhabiting gendered space. My site-based research responds to the lacunae of the women's literary tradition by rematerializing the quotidian space of female poetic experience. In mapping these sites, I formulate new versions of what Julia Kristeva calls 'l'écriture féminine'; the poetics of site works to articulate the singularities of individual authors whilst simultaneously formulating a new community of female poets. I argue that to challenge the hegemony of male-dominated poetic research cultures, we must find new ways to read women against the American grain. The Poetics of Site offers up one such feminist methodology, building a refuge for exploring the experimental female poet on her own terms.
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McInnis, Nadine. „Dorothy Livesay's poetics of desire“. Thesis, University of Ottawa (Canada), 1992. http://hdl.handle.net/10393/7902.
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Dorothy Livesay's poetic exploration of love illuminates the relationship that exists between the individual woman artist and a culture shaped by men's experiences and stories. Chapter 1 surveys the critical treatment of Livesay's love poems, illustrating how theoretical superimposition can distort the subtext which gives the poems their energy and power. Chapter 2 analyses the thematic and imagistic portrayal of the love relationship present in the poems written during early womanhood, and establishes a link between sexuality and textuality. Chapter 3 explores the violent sexual/textual conflicts contained within the intensely erotic poems of Livesay's middle-age, framed by The Unquiet Bed (1967) and Disasters of the Sun (1971). Chapter 4 examines the resolution of these conflicts in the later poetry, starting with Ice Age (1975) and receiving clearest expression in Feeling the Worlds (1984). Livesay achieves a unified and unambiguous voice when she finds a way to unite her eroticism with her political concerns, and she ultimately succeeds in realizing a clear vision of her role as a woman writer.
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Cabri, Louis de Meillon. „A poetics of aesthetic forms“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq20783.pdf.
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Jones, Emma. „Christina Rossetti and maternal poetics“. Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612952.
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Ravinthiran, Vidyan. „Elizabeth Bishop's poetics of prose“. Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534279.
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Kang, Sukjin. „Joseph Conrad : his dialogic poetics“. Thesis, University of Newcastle Upon Tyne, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244330.
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Haskell, Greer. „The Oresteia : a theatrical poetics“. Thesis, University College London (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363120.
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CABRAL, SIMONE GARRIDO ESTEVES. „BANDEIRA: THE POETICS OF COMPROMISE“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5195@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROA dissertação visa abordar basicamente duas questões relativas à poética de Manuel Bandeira, a partir da troca de correspondência entre o poeta e Mário de Andrade. A primeira delas diz respeito à correspondência propriamente dita, entendendo-se essa correspondência como a enunciação de uma fala que será devolvida por outro, construindo-se, assim, um discurso que estabelece relações mútuas e interferências socioculturais. A segunda questão abordada refere-se à análise da concepção bandeiriana de poética, confrontando-a com sua própria experiência, como a poética concebida foi realizada e que meios foram utilizados para tal efeito, discutindo os elementos de tensão - morte e inspiração - sob a ótica do próprio Bandeira, demonstrada através de suas cartas e realizada na sua poesia.
The aim of this master s thesis is to discuss two questions related to the poetics of Manuel Bandeira, using the correspondence between the poet and Mário de Andrade as the research material. The first question deals with the actual correspondence between the two, the correspondence understood here as an enunciation which is to be returned by the other, constructing thus a discourse which establishes mutual relations and sociocultural interferences. The second question refers to the analysis of the bandeirian concept of poetics confronted with the poet s own life experience, taking into account the way the poetics were realized and the tools that were used to create given effects. Elements of tension - death and inspiration - are discussed from the point of view of Bandeira himself, as revealed in his letters and realized in the poetry.
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Sidhu, Sonny. „Poetics of the videogame setpiece“. Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/81080.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2013.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 131-137).
Many of today's most popular single-player videogames contain short, semi-interactive sequences of tightly scripted, visually spectacular action gameplay, which-despite being generally unrepresentative of a game's 'normal' functions-tend to receive prominent placement in the marketing campaigns that produce desire for the games they appear in. As prevalent as they have become, these setpieces (as they are called in gamers' parlance) are often critically dismissed as mere eye-candy-proof, perhaps, of the skewed priorities of an industry that would sacrifice the interactive substance of games in favor of surface qualities that enhance only their commercial appeal. This thesis attempts to place the technique of AAA videogame setpieces within a series of wider technical, aesthetic, commercial, and cultural problematics relating to the contemporary games industry. It seeks to address the question of the setpiece's artistic merit directly, by understanding the design principles that inform setpieces' creation, and-for the sake of critical context-the aesthetic, cultural, and commercial imperatives these principles exist to serve. Following a historical poetics approach that relates practices of media exhibitionism to the perpetual innovation economy of digital games, this thesis argues that the setpiece is a meaningful site of fluid agency play within games, enabling complex narrative expression as well as self-reflexive comment about a game's own relationship to a continuously reimagined technological state of the art.
by Sonny Sidhu.
S.M.
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Lazarus, Micha David Swade. „Aristotle's Poetics in Renaissance England“. Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:fea8e0e3-df54-4b57-b45d-0b46acd06530.
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This thesis brings to light evidence for the circulation and first-hand reception of Aristotle's Poetics in sixteenth-century England. Though the Poetics upended literary thinking on the Continent in the period, it has long been considered either unavailable in England, linguistically inaccessible to the Greekless English, or thoroughly mediated for English readers by Italian criticism. This thesis revisits the evidentiary basis for each of these claims in turn. A survey of surviving English booklists and library catalogues, set against the work's comprehensive sixteenth-century print-history, demonstrates that the Poetics was owned by and readily accessible to interested readers; two appendices list verifiable and probable owners of the Poetics respectively. Detailed philological analysis of passages from Sir Philip Sidney’s Defence of Poesie proves that he translated directly from the Greek; his and his contemporaries' reading methods indicate the text circulated bilingually as standard. Nor was Sidney’s polyglot access unusual in literary circles: re-examination of the history of Greek education in sixteenth-century England indicates that Greek literacy was higher and more widespread than traditional histories of scholarship have allowed. On the question of mediation, a critical historiography makes clear that the inherited assumption of English reliance on Italian intermediaries for classical criticism has drifted far from the primary evidence. Under these reconstituted historical conditions, some of the outstanding episodes in the sixteenth-century English reception of the Poetics from John Cheke and Roger Ascham in the 1540s to Sidney and John Harington in the 1580s and 1590s are reconsidered as articulate evidence of reading, thinking about, and responding to Aristotle's defining contribution to Renaissance literary thought.
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Cho, Ju Gwan. „Time philosophy in Derzhavin's poetics /“. The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487694389392671.
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Rose-Vails, Shannon. „Joy Harjo's Poetics of Transformation“. Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4358/.
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For Muscogee Creek poet Joy Harjo, poetry is a real world force that can empower the reader by utilizing mythic memory, recovery of history, and a spiral journey to regain communal identity. Her poetic career transforms from early lyric poems to a hybridized form of prosody, prose, and myth to accommodate and to reflect Harjo's concerns as they progress from personal, to tribal, and then to global. She often employs a witnessing strategy to combat the trauma caused by racism in order to create the possibility for renewal and healing. Furthermore, Harjo's poetry combats forces that seek to define Native American existence negatively. To date, Harjo's poetic works create a myth that will refocus humanity's attention on the way in which historical meaning is produced and the way difference is encountered. In an effort to revise the dominant stories told about Indians, Harjo privileges the idea that Native Americans are present and human, and it is this sense of humanity that pervades her poetry. Sequentially, Joy Harjo's volumes of poetry-She Had Some Horses (1983), In Mad Love and War (1990), and The Woman Who Fell from the Sky (1994)-create a regenerative cycle that combats the effects of oppressive history and racism. Through her poetry, violent and tragic events are transformed into moments of hope and renewal. Her collections are powerful testimonies of endurance and survival. They directly defy the stereotype of the "vanishing" or "stoic" Indian, but more importantly, they offer regeneration and grace to all peoples. The poems create a map to help navigate the multiple simultaneous realms of existence, to find a way to travel through the barriers that separate existence. In this dissertation, I employ various reading strategies to support my contentions. Blending a postcolonial standpoint with feminism, I believe Harjo uses a feminist ethnic bildungsroman to explain how a woman of color achieves maturation of self-identity given the many layers of restrictions that act to muffle her voice. Utilizing mediational theory, I study the way in which Harjo's poetry addresses multiple audiences in an attempt to achieve renewal. Furthermore, I posit that Harjo questions the validity of history, and through her retelling of the historical narrative, she impacts the collective consciousness of a nation in an attempt to combat the ill effects of historical trauma. Finally, Joseph Campbell's ideas about the sustaining power of myth, an idea shared by many Native Americans, shapes my arguments regarding Harjo's use of myth as a source of renewal and strength.
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Forehand, Paul. „Poetics of Lev Tolstoy's Kholstomer“. Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18396.
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This thesis contains an analysis of the ways in which form and content are combined to create significance within a text, as well as an exploration of the ways in which the mechanics of didactic fiction convey this significance to the reader.
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Janssen, David. „Walt Whitman's Poetics of Labor“. PDXScholar, 1993. https://pdxscholar.library.pdx.edu/open_access_etds/4593.
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The purpose of this thesis is to organize and examine Walt Whitman's poetic representations and discussions of laborers and labor issues in order to argue that form a distinct "poetics" of labor in Leaves of Grass. This poetics of labor reveals that Whitman was attempting to enlarge the audience for American poetry by representing American society at work in poetry. Whitman also used labor as a poetic subject in order to justify the work of the poet in that society. In this sense, Whitman's poetics of labor is comprised of numerous demonstrations of his argument for the labor of poetry because the representation of America at work is contained within the work of the poet. The organization of this thesis rests upon a distinction between the work of the hands and the work of the mind. This distinction resonates in nineteenth century American literature, and it is especially important to debates about the status of the writer in a working democratic society. This question figures prominently in the works of Emerson and Thoreau, and a central issue for both of them is whether or not the writer should participate in the work of the hands. Whitman engages in this debate as well, and argues that the poet can participate in all kinds of work through poetic representation. He participates by representing workers in poetry, and in Whitman's argument the poet then becomes a representative of those workers. A central premise of this thesis is that Whitman's poetry of labor demonstrates an attempt to ensure that America works according to Whitman's interpretation of democracy. This is most apparent in poems where he directly addresses his working audience, and those addresses reveal a specific ideology behind Whitman's poetics of labor. That is, Whitman attempts to level the implicit hierarchical organization of different kinds of work. For instance, in such poems as "Song for Occupations" and "Song of the Broad-Axe," Whitman engages in a conversation with manual laborers in an effort to acknowledge their value and significance to the democratic process. As he celebrates their contribution, he also associates his own work with them, and argues for the · usefulness of such poetry to that process as well. In such poems as "When I Heard the Learn'd Astronomer'' and "To A Historian," Whitman addresses those who labor with the mind in order to include them in the dialogue, and also to argue that the majority of that work needs to be revised because its claim for authority perpetuates hierarchical distinctions. Whitman offers poetry as a solution, and argues that it is central to democracy because it "completes" all labor by fusing the work of the community with the work of shaping individual identity that comes from reading and writing poetry. This thesis draws upon New Historicist methodologies and approaches to Whitman in order to reconstruct the significance of labor in Whitman's poetics. The poetry which directly addresses laborers and labor issues in Leaves of Grass forms the basis of the argument, but Whitman's relevant prose is considered in detail as well. In particular, Democratic Vistas is examined for its claims that the "work" of poetry is itself incomplete. "Work" is used here to refer both to the aesthetic object and the effort involved in reading it. In other words, Whitman argues that the work of poetry, like the work of democracy, is a continuous, recursive process.
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Hyland, John J. „Indonesian Postcards“. Fogler Library, University of Maine, 2003. http://www.library.umaine.edu/theses/pdf/HylandJJ2003.pdf.
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Warner, Ahren. „Contradictions in coherence : three poets and the poetics of the commodity as fetish“. Thesis, Queen Mary, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612567.
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Janulevičius, Marius. „Absurdo poetika Juozo Erlicko "Prisimynimuose"“. Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060623_123217-11681.
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Absurd literature originated and was developed in the middle of the 20 th century in the West. The brightest representatives of this type of literature are Albert Camus, Eugene Ionesco, Samuel Becket and others. In their works they raised the problem of meaninglessness of human existence, loneliness of an individual and man’s inability to communicate with other people. Are these absurd literature ideas topical issues in contemporary Lithuanian literature?
The poetics of Absurd literature in Lithuanian literature practically has not been researched. One reason might have been that there has not been pure Lithuanian literature of the Absurd, except for perhaps Kostas Ostrauskas’s plays. The other reason is probably the fact that the manifestation of absurd literature is often accepted as an ironic, humorous and not very serious text component. This paper deals with a collection of poems and fiction called „Prisimynimai“ by Juozas Erlickas, National Prize Laureate. The main intention of the paper is to prove that an absurd attitude of mind is not alien to Lithuanian literature.
The main characters of J. Erlickas’s works feel inactive, pessimistic, they do not see meaning in life, try to avoid contact with the surrounding world. This makes them very similar to the classical absurd literature characters, who are also constantly troubled by boredom and a sense of aimlessness.
One of the main themes in Erlickas’s works is a theme of human alienation, which is expanded by the writer... [to full text]
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Kelen, Christopher, University of Western Sydney und School of Communication and Media. „Metabusiness : poetics of haunting and laughter“. THESIS_XXX_SCM_Kelen_C.xml, 1998. http://handle.uws.edu.au:8081/1959.7/542.
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This thesis deals with the writing process in poetry. It consists of two types of text – theoretical and poetic. This thesis asks, for the purposes of a poetics of writing, what knowledge of language poetry requires. Questions as to the sources of poetry are resolved as questions asked of the ethics in which writing is possible. Poetry is that discourse which stands out of the bivalency of judgement, constituting, as speech does in its unending, the delay of freedom. Tropology is structure with which to represent the world, and by limitless tropology we inscribe the manner and scope of poetry’s indirection. What individuals negotiate among differends amounts to their own authenticity. The community of writing is made up of shifting personae whose roles blur between the work of making and the work of keeping the canon. Canon is to literature as langue is to parole – meta-awareness in the service of common sense. We, who make up this community, are constantly at the work of protecting and violating borders. This thesis considers the prospects for a heuristics of poetry writing by way of the affinities of that process for those of (first and foreign) language learning. It contents that poetry’s role is to do inside a language what the foreign language learner cannot help but do between languagesDoctor of Philosophy (PhD)
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Madoc-Jones, Geoffrey. „Hermeneutics, poetics and language arts education“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0023/NQ51895.pdf.
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Malmqvist, Jenny. „Belfast Textiles : On Ciaran Carson’s Poetics“. Doctoral thesis, Linköpings universitet, Avdelningen för moderna språk, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-97390.
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This thesis is a study of the formation and development of Ciaran Carson’s poetics from his debut in the 1970s up to and including his fourth principal collection of poems, First Language, published in 1993. Examining Carson’s recourse to different kinds of rewriting, made manifest as intertextuality and translation, it aims to account for the thematic formulation and formal realization of this poetics. The poetics is elicited from two distinct groups of poems. The first group comprises poems, given in the consecutive volumes The Lost Explorer (1978), The Irish for No (1987), Belfast Confetti (1989) and First Language, in which textile techniques serve metaphorically as poetic techniques. These poems are read as formulating a poetics which is formally realized in a second group of poems in which rewriting is the dominant technique. By examining the textile/textual metaphors, and their gradual reconfiguration, and the different manifestations of rewriting in Carson’s work the thesis seeks to describe and demonstrate some of the main principles and expressions of this poetics and its development over time. The thesis sees rewriting as integral to Carson’s poetic method: Earlier texts are deliberately drawn upon and made a constitutive part of a new poem. To account for the textual relations and their effect on meaning-making perspectives are borrowed from theories of intertextuality, especially intertextuality as conceptualized by Gérard Genette and Laurent Jenny, as well as from contemporary translation studies and poetics. A theoretical framework is also provided by the textile/textual metaphors which are employed as analytical tools. It is argued that rewriting is not an end in itself but an important means for the poet to articulate his views on both aesthetic and historical issues. The thesis relates the practice of rewriting to a prominent concern in Carson’s work: the relation between form and material and how to adequately express the complicated experiences associated with Northern Ireland in poetic form. The thesis contends through detailed analysis of Carson’s strategies of rewriting that his persistent recourse to recycling discloses his attentiveness to his own poetic expression and that his poetics should be seen as both an aesthetics and an ethics – an evolving response along both aesthetic and ethical lines to the complexities of his situation and his role as a poet.Avhandlingen är en studie av den nordirländske poeten Ciaran Carsons poetik, dess framväxt och utveckling till och med Carsons fjärde diktsamling, First Language, som publicerades 1993. Genom en undersökning av Carsons användning av olika slag av omskrivning, manifesterade som intertextualitet och översättning, syftar avhandlingen till att ge en redogörelse för hur Carsons poetik har tematiskt formulerats och formellt realiserats. Carsons poetik friläggs genom ett närstudium av två grupper dikter. Den första gruppen består av dikter från samlingarna The Lost Explorer (1978), The Irish for No (1987), Belfast Confetti (1989) och First Language, där textila tekniker tjänar som metaforer för poetiska tekniker. Dessa dikter läses som formuleringar av en poetik som förverkligas i en andra grupp dikter där omskrivning är den huvudsakliga tekniken. Genom att undersöka dikternas textila/textuella metaforer och deras gradvisa omvandling samt olika manifestationer av omskrivning i Carsons verk, söker avhandlingen beskriva och demonstrera några av de huvudsakliga principerna i Carsons poetik, liksom de uttryck dessa tar sig, samt hur dessa principer och uttryck förändras över tid. Avhandlingen ser omskrivning som en väsentlig del av Carsons poetiska metod. Tidigare texter får tjäna som underlag för en ny dikt. När det gäller textuella relationer och deras betydelseskapande kraft stöder jag mig på teorier om intertextualitet, främst Gérard Genettes och Laurent Jennys, liksom på perspektiv hämtade från samtida översättningsteori och poetik. Teoretiska perspektiv ges också av de textila/textuella metaforer som används som analytiska redskap. Omskrivning är dock inte ett mål i sig för Carson, utan ett viktigt sätt för poeten att artikulera sin syn på både estetiska och historiska frågor. I avhandlingen relateras omskrivningens praktik till något som upptagit Carson i hela hans författarskap: förhållandet mellan form och material och hur de komplexa nordirländska erfarenheterna ska kunna ges ett adekvat poetiskt uttryck. Utifrån en detaljerad analys av Carsons omskrivningsstrategier hävdas att hans genomgående bruk av återanvändning återspeglar en höggradig medvetenhet om det egna poetiska uttrycket. Hans poetik ska ses som både en estetik och en etik – ett sätt att fortlöpande återknyta, längs både estetiska och etiska linjer, till den komplexa situation han befinner sig i och till hans roll som poet.