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Thematische Bibliographien / Poetry / Dissertationen

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Dissertationen zum Thema „Poetry“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 18. September 2024

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1

Lee, Christopher R. „Banaras, Urdu, poetry, poets (India)“. Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2002. http://wwwlib.umi.com/cr/syr/main.

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2

Litz, Kirsten Noelle. „The Poetic Process: A Poetry Collection“. Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/599.

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3

Williams, Todd Owen. „Poetic Renewal and Reparation in the Classroom: Poetry Therapy, Psychoanalysis, and Pedagogy with Three Victorian Poets“. [Kent, Ohio] : Kent State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1194103428.

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Thesis (Ph.D.)--Kent State University, 2007.
Title from author submission page (viewed Sept. 14, 2009 ) Advisor: Mark Bracher. Keywords: poetry therapy, psychoanalysis, Victorian poetry, pre-Raphaelite. Includes bibliographical references (p. )

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4

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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Bristow, J. E. „Browning's poetry of poetry, 1833-64“. Thesis, University of Southampton, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303708.

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6

McLaughlin, Carly Rebecca. „Poetic Redemptions : A Study of Richard Dehmels Poetry“. Thesis, Queen Mary, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499175.

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7

Vernon, Jenifer Rae. „Making community with the deep communication of popular live poetry in San Diego, California at the Millennium“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3330317.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed November 19, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 233-241).

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8

Groom, Kelle. „Five Kingdoms“. Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2168.

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GROOM, KELLE . Five Kingdoms. (Under the direction of Don Stap.) Five Kingdoms is a collection of 55 poems in three sections. The title refers to the five kingdoms of life, encompassing every living thing. Section I explores political themes and addresses subjects that reach across a broad expanse of time--from the oldest bones of a child and the oldest map of the world to the bombing of Fallujah in the current Iraq war. Connections between physical and metaphysical worlds are examined. The focus narrows from the world to the city in section II. The theme of shelter is important to these poems, as is the act of being a flâneur. The search for shelter, physical and spiritual, is explored. The third section of Five Kingdoms narrows further to the individual. Political themes recur, as do ekphrastic elements, in the examination of individual lives and the search for physical and metaphysical shelter. The title poem "Five Kingdoms," was written on the 60th anniversary of the atomic bombing of Hiroshima on August 6, 1945. This non-narrative poem is composed of a series of questions for the reader regarding personal and national security. It is a political poem that uses a language of fear and superstition to question what we are willing to sacrifice to be safe and what "safety" means. The poem ends with a call to action: "Before you break in two, categorize/the five kingdoms, count all the living things." The poems in this manuscript are a kind of counting that pays attention to the things of the world through praise and elegy. The poems in Five Kingdoms are indebted to my reading of many poets, in particular Michael Burkard, Carolyn Forché, Brenda Hillman, Tony Hoagland, Kenneth Koch, Philip Levine, Denise Levertov, Jane Mead, W.S. Merwin, Pablo Neruda, Frank O'Hara, Mary Oliver, Adrienne Rich, and Mark Strand.
M.F.A.
Department of English
Arts and Humanities
Creative Writing MFA

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9

Pan, Lina. „Poetic Labor: Meaning and Matter in Robert Frost's Poetry“. Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1401.

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This thesis examines Frost’s conception of poetry as the labor of human value. It investigates how Frost consciously shaped his notions of “sound of sense” and metaphor, which he deemed fundamental elements of poetic labor, in contradistinction to the Modernist poetics of Eliot and Pound. The author closely examines a representative sample of Frost’s poetry and prose as critiques of Modernist poetic theory and its implications for what Frost deemed the essential human function of poetry. The thesis will interest scholars studying strains of English poetic thought that developed concurrently with and against Modernist poetic thought. More broadly, it will interest those who seek a serious and thoughtful challenge to Modernist literary trends that prevail even today.

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Jamil, Nadia. „Ethical values & poetic expression in early Arabic poetry“. Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670213.

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11

Millard, Kenneth. „Edwardian poetry“. Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302912.

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12

Maier, Benjamin. „Radio poetry“. Thesis, Queen's University Belfast, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.675850.

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This thesis is a creative and critical exploration of "radio poetry" -poems commissioned and produced for radio transmission, which utilise a verse-script, sound effects, music and other sonic materials as part of their poetic make-up. It argues that radio poetry has been overlooked in both literary criticism and radio studies, because of the ephemerality and ubiquity of its medium, and on account of the absence of a fully developed critical framework for its analysis. The thesis is intended to redress such a lack, and to outline the potential of radio poetry as a mode of sono-poetic expression different from other forms of radio output, including radio drama. The creative component is a thirty-seven minute radio poem entitled Captain Swing. This concerns the 1830 "Swing Riots," an agricultural uprising in southern England. The poem employs a multitude of voices and minutely detailed sound design to create a heightened soundscape of Nineteenth Century England in turmoil. The main critical component provides a definition of the radio poem, before detailing a history of this idiosyncratic literary mode at the BBC, a pioneering organisation in the production of English-language radio poetry. It also develops a heuristic method for the analysis of radio poems, using examples from a wide range of broadcasts by contemporary poets. The final part of the thesis is a self-reflective essay, which examines Captain Swing through the prism of the radio poem tradition.

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Varenik, Nikolay, und Alex Fylymonchuk. „Uderstanding Poetry“. Thesis, Sumy State University, 2016. http://essuir.sumdu.edu.ua/handle/123456789/46787.

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If to paraphrase Shakespeare: to read, or not to read: that is the question. Nowadays far fewer people read printed books. But on the other hand there appeared e-books. This allows people to download any book they want and read it whenever they want. And here appears the question: what to read? Some people prefer prose others poetry. I'd like to draw your attention to poetry, especially classical poetry.

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Gillilan, Emily Ellen. „Poetry Matters“. Cleveland State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=csu1277316897.

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15

Almond, Maureen. „What use is poetry? : 'Chasing the Ivy' (a collection of poetry), and, What use is poetry? (the role of poets and poetry with particular reference to Horace and the combination of use and beauty)“. Thesis, University of Newcastle upon Tyne, 2013. http://hdl.handle.net/10443/2253.

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The thesis comprises a collection of poems and a dissertation. Chasing the Ivy is a collection of poems inspired by Horace and his belief (expressed in the Ars Poetica) that the highest form of poetry combines usefulness and beauty. The collection is not a translation but a recontextualisation of the thirty eight odes which comprise Horace Odes I. The collection also includes eleven poems written in the voices of those women who frequently appear in the poems of Horace. Chasing the Ivy addresses the contemporary poetic career, the difficulties involved in publication and the establishment of a literary career. It uses a variety of voices both male and female; the poems invariably have addressees and in order to replicate Horace’s approach use, irony, comedy and self-deprecation. The poems also contain the recurring Horatian themes of impotence, death, relationships and the simple life. The dissertation represents a study of the attitude towards the combination of usefulness and beauty in poetry today as compared with the views expressed by the Roman poet, Horace (see Chapter One). In Chapter Two some major defences and views about poetry and the role of the poet in Britain from the time of Sir Philip Sidney to modern times is examined, concentrating most specifically on usefulness and beauty. The Romantic approach to poetry as an art for its own sake is challenged and it is argued that the proponents of that approach had still to acknowledge its usefulness. Chapter Three, the largest section of the dissertation concerns my personal practice, how I interpret usefulness and beauty, how I use it for educational, social and political reasons as well as for literary ones, I recount how and in what ways my practical poetry residencies have been used by individuals and communities to broaden, educate and enlighten whilst at the same time providing enjoyment and I comment on the use of my poetry by academics and classical scholars. I also reflect on the ways in which my approach to poetry mirrors that of Horace, thereby prompting this research. My conclusions following this research are contained in Chapter Four.

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SANTOS, JANAINA DE OLIVEIRA. „POETRY AS A LANGUAGE OF REALITY: THE POETIC REFERENCES OF PIER PAOLO PASOLINI AN IDEA OF ITALIAN DIALECTAL POETRY“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=26951@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Em 1960, Pier Paolo Pasolini publicou pela editora Einaudi seu livro de ensaios poéticos, intitulado Passione e Ideologia. Essa obra reflete a relação afetiva e intelectual do autor com a poesia dialetal italiana. Partindo do recolhimento dos cantos dialetais feitos por folcloristas do Oitocento, tais como Pitrè, Tommaseo e Nigra, Pasolini elucubrou a poesia dialetal como a poesia popular italiana por excelência. Nesse sentido, pretende-se demonstrar como Pasolini, mediado pela leitura dos trabalhos dos críticos Benedetto Croce e Gianfranco Contini, promoveu um mapeamento das principais referências que justificariam as possíveis afinidades da poesia em dialeto com a poesia dita popular. Autores como Dante, Vico, Rousseau, Herder e Giovanni Pascoli foram mobilizados por ele dentre aqueles que pensavam a poesia como sendo a primeira linguagem entre os homens, sendo ela proveniente do vulgo e, sobretudo, como fruto de uma atividade sentida e imaginada.
In 1960, Pier Paolo Pasolini published by Einaudi publishing his book of poetic essays entitled Passione e Ideologia. That work reflects the emotional and intellectual relationship of the author with the Italian dialectal poetry. Starting from the gathering of dialectal songs done by folklorists of the Italian Oitocento such as Pitrè, Tommaseo and Nigra, Pasolini thought over the dialectal poetry as a popular Italian poetry par excellence. In this sense, we intend to demonstrate how Pasolini, refereed by reading the works of the critics Benedetto Croce and Gianfranco Contini, promoted a mapping of the main references that justify the possible affinities of poetry in dialect with a alleged folk poetry. Authors such as Dante, Vico, Rousseau, Herder and Giovanni Pascoli were mobilized by him among those who thought poetry as the first language of men, coming from the vulgar, and above all, as the result of a felt and imagined activity.

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Connolly, S. „A genealogy of poetry : elegies for poets since 1939“. Thesis, University College London (University of London), 2007. http://discovery.ucl.ac.uk/1444612/.

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Many of the most enduring and influential elegies are those written in memory of other poets. Elegies for poets have always served a fascinating range of both private and public functions. This thesis establishes some of the forms taken and functions served by elegies for poets since W. H. Auden's landmark elegy "In Memory of W. B. Yeats" (1939) to the present day. Such poems are Janus-faced, simultaneously casting back into the past and projecting into the future. Although often radical in form and critical in tone, twentieth-century elegies for poets are also deeply concerned with tradition, and frequently seem to act as a synecdoche of the entire poetic canon, transmitting the legacy of the dead poet to a new generation of poets. This thesis examines the figuration of the dead poet in relation to the literary and political contexts of both elegist and elegized, defines the extent to which elegies for poets crystallize the processes of poetic inheritance, and tests how the elegiac relationship between a precursor and their successor (as in the case of W. B. Yeats and W. H. Auden) differs from the dynamic which may exist between contemporaries (as in the case of John Berryman and Robert Lowell). Such poems form a chain of commemoration and inheritance. Each link is independent and can be taken in isolation, but when seen as part of the chain, it signifies a larger purpose and has a correspondingly greater strength. Finally, by focusing on these elegies as crucial moments of both celebration and usurpation, this thesis demonstrates that one can trace a kind of genealogy of poetry through what Helen Vendler has described as the "golden links of elegy.".

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MhaolagaÌin, AÌine UiÌ. „Cathal OÌ Searcaigh : the poet and his poetry“. Thesis, University of Ulster, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421764.

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19

Amoozegar-Fassie, Farzad. „A poetic defiance : the birth of women’s poetry in Iran“. Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42192.

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This thesis examines the concept of “motherhood” in the works of renowned Iranian poet Parvin E’tesami (1907-1941). E’tesami’s poetry bequeaths inspiration to Iranian women who search and have searched for the possibilities of revealing their true selves in the face of oppressive cultural practices and political machinations. E’tesami was one of the first poets in the recent history of Iran to advocate an equal and empowered place for women. Through the concept of “motherhood,” she probed female identity, emphasizing and endorsing women’s fostering position, maternal instincts and unique nurturing capabilities. E’tesami expanded the consciousness of a vast number of Iranians by illuminating the roles of women in the political, social and religious spheres. She depicted the female essence through biology and natural characteristics, but at the same time her verse embraced the seemingly contrasting idea of the social construction of women. The notion of “motherhood” in E’tesami’s poems offers Iranian women the foundation for a common voice or a collective goal, but also stimulates the inward—individualized—revitalization of the autonomous self for each reader based on personal beliefs and aspirations. By reconstructing the normative practices of motherhood, E’tesami’s poems generate awareness that helps redraw female consciousness and thereby initiate agency, helping women become agents of resistance who challenge the dominating powers. E’tesami produced a poetic language that is personal and realistic, juxtaposing the uproar of an artist with the anguish of Iranian women. This humanist and feminist approach to poetry introduces readers to liberal themes that challenge social and religious ideals through direct and specific examples of mothers’/women’s positions in Iran.

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Tate, Gregory. „The Poet's Mind : The Psychology of Victorian Poetry 1830-1870“. Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519823.

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21

Ahern, Liam Thomas. „The Poet’s Eye: Autopsy and Authority in Early Greek Poetry“. Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13510.

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Traditionally associated with the intellectual revolution of the 6th and 5th centuries B.C. and especially a hallmark of the historiographical authors Herodotus and Thucydides, earlier engagements with the concept of autopsy are often seen as self-explanatory and responding to a basic human sensibility, that is, “I have seen it for myself and therefore know it”. This thesis instead engages with poetic autopsy on its own terms. I examine the rhetorical function of autopsy, its role in the creation of authority and legitimacy. I enquire, in some ways, into the cultural contingency of autopsy, but only in so far as it reveals the structures of authority in and around early Greek poetry. Divided into two chapters, this thesis takes a holistic view towards the study of Greek poetry, taking into account not only the texts as we have them, but also their surrounding apparatus. The first chapter looks at the rhetorical strategies of poetic language in regards to autoptic claims, both by the narrator and by figures internal to the text. The second chapter considers the world outside the text through an analysis of paratexts and what I have termed extratext (that is performance context, biographical works, local tradition and early reception). I consider how these theatres of poetic representation lead to new readings of autopsy in the corpus at hand. I ultimately argue for a reassessment of the heritage of historiography and a more complex reading of the rhetorical place of epistemological thought in early Greek poetry.

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22

Reid, Lindsay Emma. „I am still bed six : a collection of poetry, and, Poetry as therapy and poetry beyond therapy“. Thesis, University of Newcastle upon Tyne, 2016. http://hdl.handle.net/10443/3328.

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This collection of lyrical poetry is significantly inspired by personal experiences, particularly a diagnosis of Ankylosing Spondylitis, a chronic inflammatory arthritis and autoimmune condition. Issues such as hospitalisation, the power dynamics between doctors and patients, and managing both physical and emotional pain inform the writing. Highly specified form in the poetry serves to contain and organise powerful emotions using simple, epigrammatic language. The layout of the research mirrors the layout of the poetry. The researcher’s own experiences of finding therapeutic value in her own poetry writing led to the research element which explores how and why poetry writing works therapeutically and whether poetry is more effective than other forms of therapeutic writing. The specific benefits of poetry writing as therapy for those who have experienced emotional distress are explored in depth. The difference between poetry as therapy and poetry as art is also considered. A small scale research study was undertaken with service users at a local charity, who have experienced emotional distress. A qualitative, semi-structured interview design was used, which was then analysed using Interpretational Phenomenological Analysis. The findings suggest that poetry is a particularly useful form of therapeutic writing as poetry promotes successful processing of a traumatic event through the use of image and metaphor. The participants retained the distinction between their priority of expressing themselves honestly and a preoccupation with artistic endeavour. Stevie Smith and Julia Darling provide examples of poets who found therapeutic elements in the writing process. Some of their poems are analysed in depth and their views on poetry’s therapeutic effects are considered. Alongside this, the difference between poetry as therapy and poetry as art is explored. Research reveals that poetry as therapy prioritises self-expression and poetry as art prioritises artfulness, but the two are not completely distinct; rather, they lie on a spectrum.

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Vaughn, Wade M. „Poetry and Power: The Intersection of Poetry and Transformational Leadership“. Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/603.

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Poetry and Power: The Intersection of Poetry and Transformational Leadership uses literary analysis to show how poetry is an unexplored form of transformational leadership. The paper analyzes the essays and poems of Emerson, Shelley, Sidney, Plato, Carlyle, Whitman, Hugo, Kipling, Henley, and McKay, comparing them against the rhetoric of transformational leaders such as King, Kennedy, and Gandhi. Special attention is paid to how poetry embodies the four pillars of transformational leadership – idealized influence, inspirational motivation, individualized consideration, and intellectual stimulation.

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Gifford, Terry. „Beyond pastoral poetry : notions of nature in poetry 1942-1992“. Thesis, Lancaster University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358103.

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25

Maylor, Micheline. „A little sketch: motherhood in poetry and contemporary Canadian poetry“. Thesis, University of Newcastle Upon Tyne, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.489280.

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This thesis explores definitions of: Good Mother, Good Poetry, and Creative Writing in the Contemporary Canadian context. The first section explores what it means to be a 'good' mother and what it means to write a 'good' poem. The section outlines the predictable phases ofmotherhood poetry in five parts. These phases are defined and explored by citing examples of both established authors and my own creative writing. The section then details the process ofreawakening sexuality following motherhood, which links directly to a section ofpoetry found in the third chapter. The second section (Contemporary Canadian Poetry: The Vineyard) surveys poetry in Canada while addressing nuances in its literary landscape such as regionalism and settlement. The section explains the current and local poetry scene in terms offashion and theory as it has evolved from early modernism. The chapter touches on how Canadian poetry is seen outside of Canada and explores the tensions ofthe present day poetry scene while considering the roots ofthese tensions. The Third section (Little Thoughts) contains Creative Writing. These poems are a result of synthesizing ideas found in previous sections and are presented in six parts. The first section titled Artefacts, considers objects as mnemonics and delves into family history. The second section titled One Bird, conforms to the theme of motherhood. The third section is titled Far Tonight. This poetry explores the reawakening ofthe sexual self after parenthood. The fourth section is called Velleities and is a catch all poetry section. The next section called The Gully, addresses corning of age in a particular landscape. The Body Dream stands as an appendix to the final selection ofcreative work and this section holds the poems that are weak in their attempt to be 'good' poetry and represent a leap in learning.

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Shelley-Smith, Daniel. „Physics and poetry : exploring physics through the medium of poetry“. Thesis, Aberystwyth University, 2016. http://hdl.handle.net/2160/36f06b6c-27a5-4b27-866b-48bc9b5d1743.

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This thesis is in two parts: Part 1 is a collection of 39 poems which use a range of visual and digital techniques to explore, express and explain key concepts in contemporary physics. The poems are presented in three major sections, devoted (respectively) to themes of light, probability & uncertainty, and university. Part 2 is the commentary, comprising four chapters: the first is a strategic overview of the relationship between poetry and science, focusing on major indicative instances and moments, concerning Lucretius, Pope, Blake, Keats, MacDiarmid, and Morgan, and then moving on to consider a series of explorations of how physical principles bear striking similarities to the mechanics of digital poetics. The remaining three chapters address in turn the scientific issues which form the subject matter of each of the three sections of poetry, as well as providing poem-specific commentary and procedural analysis for each one, arranged as follows: Chapter 2 discusses poems 1-13 inclusive, Chapter 3 poems 14-28 inclusive, and Chapter 4 poems 29-39 inclusive. Within each of these chapters, further thematic sub-divisions of the three major themes are employed, as indicated in the list of contents. In the procedures, imagery, metaphors, and motifs they employ, the poems draw upon and develop some of those used in a range of prose works written by scientists and science writers to explain and elucidate the complex theories and concepts of contemporary physics to a lay audience. The poems are intended to work cumulatively in combination with each other, and also in juxtaposition with the poem-specific commentaries and the broader explicatory parts of the commentary to explore the scientific concepts and familiarise readers with them.

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Updegraff, Derek Kramer Johanna Ingrid. „"Fore ðære mærðe mod astige" two new perspectives on the Old English Gifts of men /“. Diss., Columbia, Mo. : University of Missouri--Columbia, 2008. http://hdl.handle.net/10355/5623.

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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on October 6, 2009). Thesis advisor: Dr. Johanna Kramer. Vita. Includes bibliographical references.

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Wardle, Sarah Charlotte. „What is poetry?“ Thesis, University of Sussex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.506960.

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29

Szirtes, George. „Poetry and translation“. Thesis, Anglia Ruskin University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394135.

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Basu, Anindita 1978. „Full-contact poetry“. Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/61131.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2002.
Includes bibliographical references (leaves 113-116).
Full-Contact Poetry is a digital play space for children's poetic expression. It is a software environment in which children can express their poetic thoughts, create their interpretations of writing by others and also share these expressions. The environment combines ideas from literary theory and analysis with constructionism to extend tools for poetic expression. Children can experience poetry by playing with words as objects, experimenting with typographic effects, moving words through space and navigating into and through the text, while also being able to incorporate and reconfigure sound and image. In this thesis, I first describe the Full-Contact Poetry environment then continue with a discussion of a workshop I led for six weeks with a small group of teenagers from Boston. The workshop raised many important issues that fall under the interconnected themes of: finding a voice, creating a language and negotiating context. The experience required negotiations at many levels from our small group. Each member needed to find an individual voice both as part of the group and as a poet. As a group, we needed to develop a language with which we could discuss the work that we were creating since the traditional language regarding poetry, or even workshops, did not quite apply. Finally, we were faced with new contexts. The workshop setting encouraged a classroom feeling, yet it was not a classroom. We were working with technology, but not in the way the children were accustomed-likewise with poetry. The thesis explores the challenges of facilitating an environment to support children's expression and the role that personal models play in shaping that environment.
Anindita Basu.
S.M.

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Messo, George. „Translating Turkish poetry“. Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/49740/.

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This thesis demonstrates how the development of my work as a translator implicitly challenges some of the principal values and assumptions inscribed in the works of my predecessors. I identify what these values and assumptions are in the process of translating poetry from Turkish to English, and why they present particular problems. Throughout, I show how these problems can be reconceptualised, re-examined, and overcome. In section 2 I contextualise my work in the field of literary translation from Turkish to English during the period 1900 to 2012. I sub-divide this period of translation activity into three distinct phases and further justify this sub-division by contextualising these phases in relation to changing attitudes and tastes toward Turkish poetry, particularly in light of increased availability of financial support for translators and increased opportunities to publish literary works in translation. In section 3 I focus on translations of İlhan Berk to demonstrate differences in practice that distinguish my work from the work of my contemporaries. I further extend this comparative analysis of translation strategies in section 4 where I examine the dominant values and constraints influencing choice in the reading and re-making of Turkish poems in English. Finally, in section 5, I shift perspective to provide a descriptive commentary of critical reactions to some of my translation work.

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32

Natale, Giuseppe. „Poetry and translation /“. Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/6651.

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33

Huddleston, Jonathan Luke. „Translating Biblical poetry“. Theological Research Exchange Network (TREN), 1999. http://www.tren.com.

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34

Lin, Chiawen. „Photography and Poetry“. Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-172935.

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Jak se mohou navzájem ovlivnit dvě naprosto odlišná média, jako jsou fotografie a psaní? Tato práce si klade za cíl odpovědět na tuto otázku. Hlavní myšlenkou této práce je určit vztah mezi poezií a fotografií. Pár vybraných fotografií poslouží jako příklady a budou podrobeny rozboru. Práce je rozdělena do pěti kapitol, přičemž první část tvoří Úvod, druhá kapitola podává základní shrnutí obou médií. Třetí kapitola se zabývá rozborem prací japonského fotografa Masaa Yamamota. Čtvrtá kapitola rozebírá několik vybraných příkladů fotografií, které jsou nahlíženy metaforicky. Poslední, pátá kapitola přináší výsledek zkoumání této práce a shrnutí, jak se navzájem ovlivňují poezie a fotografie v dějinách a v tvorbě.

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35

Attwater, Juliet. „Translating brazilian poetry“. Florianópolis, SC, 2011. http://repositorio.ufsc.br/xmlui/handle/123456789/95200.

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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Estudos da Tradução
Made available in DSpace on 2012-10-25T22:11:33Z (GMT). No. of bitstreams: 1 300103.pdf: 1377477 bytes, checksum: 80ae5cb008acfac14cc193717f587d30 (MD5)
Este trabalho parte da investigação do cânone poético brasileiro e o 'cross'-cânone anglo-brasileiro com o objetivo de criar uma nova antologia em inglês de poesia brasileira canônica e contemporânea de 1922 aos tempos atuais. Dessa maneira, examina a formação e os critérios de seleção de antologias em ambas as culturas literárias e analisa estratégias e abordagens para a tradução de poesia. Para concluir, discute três dos poetas e os poemas escolhidos para o projeto, bem como o processo tradutório e o resultado.
With the aim of creating a new anthology in English of canonical and contemporary Brazilian poetry from 1922 to the present day, this thesis investigates both the Brazilian poetic canon and the cross-cultural Anglo-Brazilian poetic canon. It examines the formation and selection criteria of anthologies in both literary cultures, and strategies and approaches for poetry translation. Finally it discusses three of the poets and their poems chosen for the project, analyses the translations, and evaluates the finished product.

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36

Olson, Ted. „Poetry in Appalachia“. Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1191.

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37

Olson, Ted. „Ted Olson's Poetry“. Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1122.

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Ted Olson was the featured poet for the symposium who presented “Scotland the Brave: A Nation's Legacy in Literature and Folklore,” "When First Unto This Country: The Flow of Scottish and Scots-Irish Culture to the American South in Song and Story," "Darkness and Revelation: Ted Olson's Poetry".

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38

Capp, Laura. „Poetry by post“. Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/4951.

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Poetry by Post is a four-month poetry subscription service that will run from November of 2013 to February of 2014. I will produce one mailing per month that will include a letterpress-printed broadside that features a poem of my choosing and an accompanying literary analysis and reply postcard, also letterpress-printed, all contained within calligraphed envelopes and posted with vintage stamps. Subscriptions are available at $150 for the series or $50 for an individual mailing and will not exceed 50 in number. The inaugural Poetry by Post will feature Midwestern poets Jennie Kinneberg Wrisley, Eric McHenry, Catherine Tufariello, and Ted Kooser. I have taken "Midwestern" to mean anyone who has simply spent a good bit of time in the large swath of land in the middle of the U.S. And much like the Midwest, the poetry featured will be plainspoken but no less profound for that.

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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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40

HSIAO, CHING-SONG GENE. „SEMIOTIC INTERPRETATION OF CHINESE POETRY: TU MU'S POETRY AS EXAMPLE (CRITICISM)“. Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188120.

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To interpret a poem is to comprehend a complete act of written communication. And to comprehend such an act, the reader must break the codes in which the communication is framed. Thus, poetic interpretation becomes the study of codes--or semiotics. Poetic codes exist at pragmatic, semantic, syntactic, and phonic levels. The decoding requires the reader's linguistic skills, literary competence, and personal experience. It involves an initial reading and a retroactive reading. At the first step, the reader attempts to supply elements missing in the text. Yet trying to interpret the text literally, he encounters problems in pragmatics, semantics, syntactics, or phonics, and is unable to grasp a coherent sense of the poem. Those problems give rise to a retroactive reading. At this step, the reader looks for a higher level of understanding where a unity of meaning can be identified. And by explaining the clues in the text according to his linguistic and literary competence, and revising his understanding on the basis of his new findings, he finally discovers a kernel concept, on which the whole text can be seen as a single unit, and every element, which first appeared to be puzzling, has a significative purpose. This semiotic model of interpretation has proven to be very fruitful in the explication of Tu Mu's poetry. It also enables the reader to appreciate the poetic discourse more thoroughly. Some of the ideas advocated by the model may also serve as principles for the translation of poetry. For example, in reading a poem, the model requires a search for unified pragmatic, semantic, syntactic, and phonic patterns, which convey the kernel concept. Thus, in translating a poem, the translator should also try to re-produce in the target language such unified patterns so that the reader may grasp the same kernel concept as contained in the original discourse. The model stresses implicities of poetry. Hence the rendition of a poem should preserve the implicities of the original text in order to invoke from the reader a response similar to what would be induced by the original poem.

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41

Van, Zant Melissa G. „Partnering with poetry: poetry in American education standards from 1971-2010“. Diss., Kansas State University, 2017. http://hdl.handle.net/2097/38219.

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Doctor of Philosophy
Department of Curriculum and Instruction
F. Todd Goodson
American education is increasingly driven by standards and high-stakes tests. This creates a dynamic in which curricular content addressed in the standards will be subjected to high-stakes tests while that not addressed in the standards risks being ignored. Such a dynamic threatens poetry—a subject whose strength resides in its ambiguity instead of one correct answer. The literature review establishes poetry as an important area of study for K-12 students and explores how the Standards Movement has affected poetry instruction in other English-speaking countries. This research used context-sensitive textual analysis to examine the treatment of poetry in American English language arts standards from 1971 to 2010 as demonstrated in the following three documents: (1) Representative Performance Objectives for High School English written by the Tri-University Project in 1971, (2) Standards for the English Language Arts written by the National Council of Teachers of English and the International Reading Association in 1996, and (3) the Common Core State Standards for English Language Arts written in 2010. Context-sensitive textual analysis (Huckin, 1992) presumes that the contexts in which texts are written and read impact their meanings. The study describes those impacts, their implications, and suggestions for continued study.

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Lennox, John 1980. „Poetic attention : the impressionist sensibility and the poetry of John Ashbery“. Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79959.

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"Poetic Attention" reveals how John Ashbery's ties with past literary traditions elucidate his own personal aesthetic. Starting with a review of Ashbery's critical reception, the thesis shows how Ashbery's poetry and its reception are polarized in two major post-Romantic approaches to poetry: the Romantic, and the "objectivist" tradition of modernism. Beginning with a look at how Ashbery's early poetry reflects both paradigms, I focus on moments where both are simultaneously active. I demonstrate how impressionism, as a sensibility with certain methodological, epistemological, and technical concerns and devices having to do with the conjunction of consciousness and the world in perception, best describes the interaction between Ashbery's Romantic and modernist strains. Impressionism helps us understand how Ashbery negotiates the Romantic desire for resolutions to spiritual crises and the modernist focus on objects in and of themselves by treating a searching attentiveness to those objects as a value in itself.

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Attwood, Catherine. „The poetic #I' in fourteenth- and fifteenth-century French lyric poetry“. Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260509.

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44

Jewel, Peter James. „Poetry and Process : the Poetic Heart of the Person-Centred Encounter“. Thesis, University of East Anglia, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520441.

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45

梁世聰 und Sai-chung Arthur Leung. „Poetic voice from the margin: the poetry of Ee Tiang Hong“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B43893788.

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46

Prentice, Kate Victoria. „Poetry aloud : the effect of poetic sound on children's literacy skills“. Thesis, University of Cambridge, 2014. https://www.repository.cam.ac.uk/handle/1810/283953.

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47

Leung, Sai-chung Arthur. „Poetic voice from the margin : the poetry of Ee Tiang Hong /“. Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B1868547X.

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48

Sandberg, Peter Benedict. „Repetition in Old Norse Eddic poetry : poetic style, voice, and desire“. Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10051080/.

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This thesis examines the use of repetition as a poetic device in Old Norse Eddic verse from a primarily stylistic point of view. Previous studies have noted the prominence of repetition as a feature of Eddic poetry, but without engaging in an in-depth analysis of the use and significance of Eddic repetition as this thesis does. The analysis begins at the level of syntax in the Eddic strophe, establishing in the first place the syntactic formulae that constitute the most basic building blocks of repetition in Eddic poetry, focusing closely on individual lines and strophes from a broad range of texts. From there the analysis follows the increasing complexity of Eddic repetition, moving from pure syntax to the use of deictic markers in dialogic repetition, as well as the distinct yet clearly related style of repetition of individual words in Eddic poems. These strands of analysis are finally synthesized in the examination of the sophisticated programs of repetition in certain individual poems, particularly Skírnismál and Vǫlundarkviða. Through an analysis of the stylistic structure of repetition in these texts, a completely new reading and fresh understanding of them is possible. The methodological basis of the thesis is close reading and linguistic and stylistic analysis, with extensive reference to a wide range of linguistic, literary, and critical theory. Methodological sources have been selected on the basis of their usefulness to the task at hand rather than the validation of a wider methodological program, and the results provide a productive interrogation both of existing scholarship on Eddic poetry and of the assumptions of the methodological sources. The result is a new understanding of the source material as well as a valuable addition to the study of verbal art in general.

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Bolton, Ken. „At the flash & at the baci /“. Title page, contents and abstract only, 2003. http://web4.library.adelaide.edu.au/theses/09PH/09phb6943.pdf.

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50

Mulvey, Bern. „The mirror kingdom /“. free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3137731.

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