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Thematische Bibliographien / Poets / Dissertationen

Dissertationen zum Thema „Poets“

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Autor: Grafiati

Veröffentlicht am 4. Juni 2021

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1

Du, Plessis Jeanne Catherine. „Poetry portfolio : Things I’ll never say and Mini-dissertation : The fragmented self : female identity in personal poetry, with particular reference to selected poems by Anne Sexton, Antjie Krog and Finuala Dowling“. Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/30351.

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This mini-dissertation examines selected poems by three female poets who deal with what I have termed ‘the personal’ in relation to specifically female concerns in their poetry, namely Anne Sexton, Antjie Krog and Finuala Dowling. There has been a considerable rise in personal and autobiographical writing in the last few decades, and this trend shows no sign of decreasing. This kind of writing has provoked much heated debate, both regarding its content and its style(s). Many critics and poets, such as Robert Lowell or James Dickey, disapprove of the frankness with which female poets discuss subjects which are specific to women, and consider the poems to be too graphic or crude. Personal poems which are not graphic are also criticised as being boring, irrelevant or lacking in artistic craft. Those in favour of poetry of the personal, such as Collette Inez and Alicia Ostriker, believe that contemporary poets’ freedom to examine any topic they like is a positive development. Instead of considering these poems to be irrelevant to readers, they believe that personal poetry can be a means for both writers and readers to explore identity and to navigate various female roles. This mini-dissertation argues in defence of personal poetry, and addresses the common criticisms of this type of writing briefly mentioned above. It highlights women’s issues and questions of female identity throughout. The different ways in which female writers approach personal poetry are also examined, and the mini-dissertation compares the controversial aspects of Sexton’s writing with Krog’s candour and Dowling’s understated humour. Through close textual analysis, the mini-dissertation highlights both similarities and differences in the work of these poets, in support of the value of such poetry for both readers and writers. The mini-dissertation is accompanied by a portfolio of my own creative work. My poems also fit into the category of female poetry of the personal, so while I do not directly discuss my own work in the mini-dissertation, the portfolio and mini-dissertation are thematically linked.
Dissertation (MA)--University of Pretoria, 2010.
English
unrestricted

2

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

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

3

Greer, Janice. „Sir Walter Ralegh's verse conversations“. Thesis, Virginia Tech, 1996. http://hdl.handle.net/10919/42592.

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Sir Walter Raleigh's poems, as tghey circulated in manuscripts, are influenced by Raleigh's position at court, his social situation, the patronage system, and the political scene. Even though many scholars believe that often verses were copied groups according to theme, careful consideration shows that verses that have been tradionally seen as related by theme have a stronger connection. The context of the peom can reveal a great deal about the intention of the author and the situation about which the author wrote.
Master of Arts

4

Minton, Julian. „Velazquez, poets and theorists“. Thesis, University of Essex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.495784.

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5

Best, Felton O. „Crossing the color line : a biography of Paul Laurence Dunbar, 1872-1906 /“. Connect to resource, 1992. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1249488861.

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6

Chen, Zhihong. „"Jin tian" shi qun yan jiu = A study on Today's poems and poets /“. click here to view the abstract and table of contents, 1998. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b15646506a.pdf.

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7

Owen, Ruth J. „The poet's role : lyric responses to German unification, by poets from the GDR“. Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324345.

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8

陳志宏. „《今天》詩群硏究 = A study on Today's poems and poets“. HKBU Institutional Repository, 1998. http://repository.hkbu.edu.hk/etd_ra/201.

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9

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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10

Young, Gwynith. „Poets, belief and calamitous times /“. Connect to thesis, 2006. http://eprints.unimelb.edu.au/archive/00002513.

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11

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

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12

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

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

13

Allton, Kevin Thomas. „The bride of fog /“. free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3144397.

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14

Falzon, John, of Western Sydney Hawkesbury University, of Health Humanities and Social Ecology Faculty und School of Humanities. „Poets with blood on our tongues“. THESIS_FHHSE_HUM_Falzon_J.xml, 1997. http://handle.uws.edu.au:8081/1959.7/336.

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The following areas of poetics and politics are engaged with in the writing practices that constitute this thesis : 1.The class context of poiesis (imaging and making). 2.The construction of the tropes : 'poet' and 'revolutionary'. 3.The ongoing process of making oneself as a poet. 4.The consciousness of oneself as a bodily (economic, political) movement in the oikos (house) and the polis (city), both of which are in the process of being unmade and made. 5.The dialectics of : destruction and creation, analysis (loosening the elements) and poiesis (assembling elements), naivete and terror, revolution and the state, the freely developing human and the crowd (as subject of becoming and binding), the necessity of telling and its impossibility, tightness and looseness, imperialism/post-coloniality, catholic christianity/post-theism, Marx and angels, social analysis and magical realism, presentation and marginalization, labour and capital, black and white, the making of poems and the making of a doctoral thesis, doctor and dictator, the epic and the fragmentary, the beginning and the end, the tongue and the blood. 6.The failure of the practices of Social Democracy and Stalinism in the face of the creativity and destructiveness of capital. 7.The unity/disjunction of the political and the passionate in creative practices. 8.Concrete historical conditions as the basis for poiesis. The text's polyvocality asks, and also avoids asking, how a tongue can speak and not belie its blood and how a voice can be produced that is not sundered from the speaker's blood and how a writer can stake a claim to write (genetically or apocalyptically) with any body's blood. Two paradigmatic images meld the fragmentary pieces into a work. The first is the image made by Marx of the human essence as an ensemble of social relations. The second is the image of the jazz ensemble in which the relationship between the musician and the ensemble produces the effect that nothing is background and all is semiotically loaded.
Doctor of Philosophy (PhD)

15

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

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

16

Falzon, John. „Poets with blood on our tongues“. Thesis, View thesis View thesis, 1997. http://handle.uws.edu.au:8081/1959.7/336.

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The following areas of poetics and politics are engaged with in the writing practices that constitute this thesis : 1.The class context of poiesis (imaging and making). 2.The construction of the tropes : 'poet' and 'revolutionary'. 3.The ongoing process of making oneself as a poet. 4.The consciousness of oneself as a bodily (economic, political) movement in the oikos (house) and the polis (city), both of which are in the process of being unmade and made. 5.The dialectics of : destruction and creation, analysis (loosening the elements) and poiesis (assembling elements), naivete and terror, revolution and the state, the freely developing human and the crowd (as subject of becoming and binding), the necessity of telling and its impossibility, tightness and looseness, imperialism/post-coloniality, catholic christianity/post-theism, Marx and angels, social analysis and magical realism, presentation and marginalization, labour and capital, black and white, the making of poems and the making of a doctoral thesis, doctor and dictator, the epic and the fragmentary, the beginning and the end, the tongue and the blood. 6.The failure of the practices of Social Democracy and Stalinism in the face of the creativity and destructiveness of capital. 7.The unity/disjunction of the political and the passionate in creative practices. 8.Concrete historical conditions as the basis for poiesis. The text's polyvocality asks, and also avoids asking, how a tongue can speak and not belie its blood and how a voice can be produced that is not sundered from the speaker's blood and how a writer can stake a claim to write (genetically or apocalyptically) with any body's blood. Two paradigmatic images meld the fragmentary pieces into a work. The first is the image made by Marx of the human essence as an ensemble of social relations. The second is the image of the jazz ensemble in which the relationship between the musician and the ensemble produces the effect that nothing is background and all is semiotically loaded.

17

Falzon, John. „Poets with blood on our tongues /“. View thesis View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030519.092021/index.html.

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18

Lewis, Colin A. „Poets and the bells of Shandon“. The Ringing World, 2007. http://www.ringingworld.co.uk.

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Colin Lewis was Professor of Geography at Rhodes University, Grahamstown, South Africa from 1989 until his retirement at the end of 2007. In 1990, with the strong support of the incumbent Vice-Chancellor, Dr Derek Henderson, he instigated the Certificate in Change Ringing (Church Bell Ringing) in the Rhodes University Department of Music and Musicology - the first such course to be offered in Africa. Since that date he has lectured in the basic theory, and taught the practice of change ringing. He is the Ringing Master of the Cathedral of St Michael and St George, Grahamstown, South Africa.

19

Rosenthal, Margaret F. „Veronica Franco the courtesan as poet in sixteenth-century Venice /“. [S.l : s.n.], 1985. http://books.google.com/books?id=JzhdAAAAMAAJ.

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20

Slattery, Erin Ferretti. „The book of moonlight /“. free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1421159.

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21

戴穗華 und Sui-hua Dai. „A critical study of the poetry of Xu Hun (788-867?)“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31225925.

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22

Thain, Marion. „Michael Field, May Kendall, May Probyn, and A. Mary F. Robinson : late Victorian responses to a problem of poetic identity“. Thesis, University of Birmingham, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343454.

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23

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

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24

Wallis, William Philip. „Ancient portraits of poets : communities, canons, receptions“. Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11937/.

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This thesis examines the ancient sculptural portraits of poets in relation to the literary reception of their works by investigating a range of contexts for, and interactions with, these objects. Contemporary scholarship has found it productive to examine biographical material relating to ancient poets as evidence for early reception. This thesis explores how the ancient portraits of poets take part in the constructions of these authors, and how they are integrated into the reception of ancient poetry. Recent scholarship has cast doubts over the methodologies conventionally used to relate portraits to the biographical reception of their subjects: there are strong arguments that an individualistic character-based approach to these objects can mislead us about how they were perceived in their various ancient contexts. This thesis takes a different approach by considering the archaeological contexts and literary interactions in which we find these objects, from fourth-century BC Athens to sixteenth-century AD Ferrara. I show how, through these contexts and interactions, the sculptural portraits of poets can engage in keys ways with the literary reception of their subjects: Hellenistic communities use portraits to strengthen their connections to prestigious poets; Roman aristocrats use portraits of poets to signal engagement with Greek culture and therefore elite status; poets are positioned within literary histories and canons through programmatic assemblages; later poets focus on portraits in order to explore their relationships to their predecessors; finally, early modern writers present these portraits as offering an engagement with an absent poet that complements reading the poet’s works. These, then, are the three main concerns of this thesis: communities, canons, and receptions. The case studies examined in this thesis show that the portraits of poets have been engaged in literary reception from antiquity to the present, and that they have raised persistent questions about presence and absence in literary encounters.

25

Rees-Jones, Deryn. „Anxiety and role : four postwar women poets“. Thesis, Birkbeck (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366986.

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26

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

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27

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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28

Quint, Arlo. „Nine New Poets: An Anthology by Arlo Quint“. Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/QuintA2004.pdf.

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29

Klock, Geoff. „Imaginary biographies : misreading the lives of the poets“. Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.443850.

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30

張為群 und Wai-kwan Cheung. „The monk-poets of the mid-Tang period“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31220617.

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31

MATOS, MAURICIO GOMES DE. „THE PRINCE OF THE POETS OF HIS AGE“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5428@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
Desde 1572, com a publicação dos Lusíadas, a obra e a vida de Luís Vaz de Camões tornaram-se objeto das mais variadas formas de apropriação, como, por exemplo, a presente tese, sobretudo em sua terceira parte A Ética nos Lusíadas. Sem o propósito de verificar qualitativamente a pertinência do trabalho dos pesquisadores que, durante os últimos cinco séculos, se vêm debruçando sobre O príncipe dos poetas de seu tempo, esta tese pretende traçar a trajetória histórico- literária da presença de Camões na Literatura Portuguesa, desde o século XVI até ao XX, e, a partir do conceito de Ética enunciado pelo pensador Eduardo Lourenço, investigá- la interna e externamente.
Since 1572, after the release of Os Lusíadas, the life and work of Luís Vaz de Camões became object of many forms of appropriation; for an example the present thesis, especially in the second part A Ética nos Lusíadas. The purpose here isn t verify qualitatively the hard work of many thinkers and researchers which, throughout the last five centuries, have deeply worked over The prince of the poets of his age. This thesis wants to trace the historical and literary trajectory of the Camões presence in Portuguese Literature, from the 16th century to 20th. Based on the concept of ethics from Eduardo Lourenço, this thesis will investigate it intern and externally.

32

Roberts, Mark Patrick Davidson. „The guilty influence : Philip Larkin among the poets“. Thesis, Goldsmiths College (University of London), 2014. http://research.gold.ac.uk/11185/.

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Scholarship on Philip Larkin tends to limit him as a poet, through accusations of narrowness both of subject-matter, and of received influence. The paradox between Larkin’s undoubted place as an important, beloved poet, and the supposedly limited nature of his verse, has served to isolate him – unlike other poets (e.g Ted Hughes) – Larkin’s recognised influences are few. It is commonly accepted that he was influenced perhaps only by W. H. Auden, W. B. Yeats, and Thomas Hardy. He is seen as an opponent of modernism, specifically of the poetry of T. S. Eliot, and his accepted modernist heirs; Robert Lowell, Hughes, Sylvia Plath and others. My project sets out to prove that this view of Larkin is simplistically limited. Sufficient (indeed, much) evidence exists of Larkin as having been a keen reader and assimilator of a wide range of influences, from Eliot through Dylan Thomas, Lowell and Plath. Much of this evidence (e.g. 2010’s Letters to Monica) has come to light only recently, and is yet to be fully acknowledged for the effect that it has had on our reading of Larkin. Added to this is a body of older evidence (1992’s Selected Letters) arguing for Larkin’s ‘English’ influences to be rooted in the ‘studied impersonality’ of Edward Thomas and Wilfred Owen. When compared to Hughes and Thom Gunn, similar poetic and thematic concerns unite these three poets, so often thought to be at odds. These ‘guilty’ influences, show Larkin to be a far more culturally receptive poet than he is often thought of as being. Why such evidence has gone unused or under-appreciated is considered here, as is an assessment of both Larkin’s defenders and detractors. I argue for a more open, less limiting reading of Larkin, and note that, recently, this argument has been gaining ground in scholarship.

33

Waldegrave, Katie. „The poets' daughters : Dora Wordsworth and Sara Coleridge“. Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/53380/.

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Dora Wordsworth and Sara Coleridge were lifelong friends. They were also the daughters of best friends: William Wordsworth and Samuel Taylor Coleridge, the two poetic geniuses who shaped the Romantic Age. Living in the shadow of their fathers’ extraordinary fame brought Sara and Dora great privilege, but at a terrible cost. In different ways, each father almost destroyed his daughter. And in different ways each daughter made her father. Growing up in the shadow of genius, both girls made it their ambition to dedicate themselves to their father’s writing and reputation. Anorexia, drug addiction and depression were part of the legacy of fame, but so too were great friendship and love. In this thesis I give the never-before-told story of how two young women, born into greatness, shaped their own histories. In doing I also re-examine the lives of Wordsworth and Coleridge and the significant role Dora and Sara played in their lives, their writing and their legacies. My study of the lives of Dora Wordsworth and Sara Coleridge was written as a biography aimed at a readership beyond academia. While the narrative is based on primary manuscript sources, I have deliberately used the techniques of the professional biographer to create character, pace, conflict and drama. In order to fit within the PhD assessment criteria, which requires me to submit no more than 100,000 words, the material submitted here is an abridged version of a full-length double biography of Dora and Sara. This main thesis is preceded by a short critical essay with some details about the nature of the research as well as assessment of the PhD’s contribution to knowledge.

34

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

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35

Galloway, LaToya B. „Mess and madness /“. Full text available online, 2005. http://www.lib.rowan.edu/find/theses.

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36

戚本盛 und Pun-shing Babie Chik. „A study of Dai Wangshu's poetry“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B31210739.

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37

Chiang, Wai-yan, und 蔣瑋茵. „A study of Linghu Chu (776-837)“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B45987919.

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38

Inge, Denise Louise Longenecker. „Re-examining the 'Poet of Felicity' : desire and redemption in the theology of Thomas Traherne“. Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/reexamining-the-poet-of-felicity--desire-and-redemption-in-the-theology-of-thomas-traherne(a19f4363-46a1-46ca-89be-0254632f4e7e).html.

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39

Watkin, David Watkin. „In the process of poetry : the New York School and the avant-garde“. Thesis, Queen's University Belfast, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287397.

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40

Khuddro, Ahmad. „The critical reception of the poetry of Rupert Brooke and Wilfred Owen“. Thesis, University of Leeds, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.277704.

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41

Emara, Mohamed Hamed Hafez. „Modernist Arabic poetry and the English modernists : a comparative linguistic study“. Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326926.

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42

Jin, Young-Jong. „Audience, author and theatrical authority in early modern theatre“. Thesis, University of Essex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265026.

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43

Carpenter, Clare. „Medievalism and paganism : interpretations of the Carmina Burana“. Thesis, University of York, 2001. http://etheses.whiterose.ac.uk/10816/.

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44

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

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

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wa, Mutiso Kineene. „Al-Busiri and Muhammad Mshela: two great Sufi poets“. Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91016.

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In this paper I give biographical sketches of a thirteen century Egyptian poet, best known as al- Busiri, the original composer of Kasidatul Burdah in Arabic and the Swahili translator of the said epic best known as Sheikh Muhammad Mshela, from Shela in Lamu, Kenya. Kasidatul Burdah (The Mantle Ode) or Kasida ya Burudai, in Swahili, is the most famous qasida in the Muslim world. I transcribed this qasida from Arabic to Roman script and analysed it (wa Mutiso 1996). My intention is to show how these poets share the same world view concerning Sufism and Islamic culture in particular

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Alexander, Katia. „Of poets, paupers and planes tuberculosis in the city /“. Diss., Connect to the thesis, 2008. http://hdl.handle.net/10066/1327.

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47

Riley, Peter. „Moonlighting in Manhattan : American poets at work 1855-1930“. Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610494.

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48

BASTOS, ROMULO COELHO LISBOA. „IRONY AND CITY STREETS: TWO YOUNG CONTEMPORARY WOMEN POETS“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30155@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Partindo da discussão sobre o que se entende por poesia contemporânea, passando pelos possíveis recortes geracionais da segunda metade do século passado até a atualidade, esta dissertação analisa a obra de duas jovens poetas contemporâneas, Angélica Freitas e Alice Sant Anna, cujos livros de estreia foram publicados no século XXI.
On the basis of the discussion concerning what is meant by contemporary poetry and what counts as a generation in the period from the mid twentieth century to the present, this thesis examines the work of two contemporary young women poets, Angélica Freitas and Alice Sant Anna, who published their first books in the twenty-first century.

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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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Docherty, Brian Francisco. „Situational ethnicity and younger poets of the Irish diaspora“. Thesis, University of Surrey, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.685078.

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